Fashion Past, Fashion Present

Many reviews of Linda Przbyszewski’s book The Lost Art of Dress: The Women Who Once Made America Stylish have been written. Two of the most recent ones are by Stephani Miller of Threads Magazine, and by Joy Landeira in the quarterly newsletter (Summer 2014) of the American Sewing Guild, Notions (available to members only). Both of these, plus many others give an excellent overview of the subject of the book. For those of you abroad and others who may not have been exposed to this book, here in a nutshell is the narrative: From 1900 – 1960, American women’s interest in fashion was shaped to a great degree by many professionals in the fields of Home Economics, Retailing, and Art. Following certain concepts espoused by these “Dress Doctors”, as the author calls them, average American women embraced style, grace, appropriateness, and practicality in their dress, making them paragons of American fashion.

Lost Art of Dress - cover

I found the book completely fascinating to read, learning much about the cultural and social history of this country during those six decades. Although the book is scholarly in its research, documentation, and overview, Linda is an engaging writer, infusing humor frequently, adding pointed commentary throughout, and, finally, extrapolating meaning from the “lessons” taught by the Dress Doctors for present seekers of style. As a dressmaker and frequent user of vintage patterns, I read the book looking for specific references, which would apply to my sewing and fashion sense, and to help me answer the question “Just exactly why do I find the fashions from the ‘50s, ‘60s, and ‘70s so captivating?” To say that I found much to savor is, indeed, an understatement.  However, certain “Aha” moments stood out for me, so that is what I will try to cover in my remarks here.

1) To be successful and enduring, fashion should emphasize one’s face. When I look at vintage patterns, so many of them have details at the neckline, or unusual and flattering collars, or necklines cut gracefully to frame the face. This seems like common sense, doesn’t it? Fashion should bring attention to one’s face – and therefore, one’s person – so that YOU are remembered rather than your attire (although the proper fashions can help you be remembered at your best). Jewelry is one way to help emphasize a face, but, of course, it should not overpower your countenance. Prior to 1965, wearing hats was commonplace, adding another point of emphasis to the face. Now we are not so lucky, save for some very special occasions.

2) Black is fine to wear for evening, but think again for day-time wear. While I am not naïve enough to think that black is going to leave the wardrobes of American women (after all, what is more classic than the Little Black Dress for after-five?), most of us would do well to consider adding more color to our fashion sewing and wearing. Color is a powerful enhancer to complexions (of all hues) and moods.

3) Older women were once considered at the apex of elegance and style. Women and girls younger than 30 were expected to dress in a more youthful manner that mimicked their elders, rather than the other way around! (Isn’t it interesting that 30 was considered the age at which women were expected to assume a more polished appearance?)   Vogue Pattern Book Magazine contained the occasional feature on young girls and college girls, and Vogue even had a pattern series called Young Fashionables. But the majority of their patterns were for the 30 – and – older crowd, showcasing models and fashions which were demure but elegant, feminine but refined.

Here is one "Young Fashionable" pattern, to illustrate the type of style designed for the younger than thirty age group.

Here is one “Young Fashionable” pattern, to illustrate the type of style designed for the younger-than-30 age group.

This page from the October/November 1955 Vogue Pattern Book Magazine shows many of the ingredients of a polished look, the norm among American women at that time.

This page from the October/November 1955 Vogue Pattern Book Magazine shows many of the ingredients of a polished look, the norm among American women at that time.

Even fashion illustration included all the elements of a polished look.  (From the same VPB magazine as above.)

Even fashion illustration included all the elements of a polished look. (From the same VPB magazine as above.)

4) The Dress Doctors were not only concerned with fashion, but also with how fashion could influence the rest of one’s life. First and foremost, one should buy, or sew one’s own attire, which is appropriate for the life one leads. Buying on impulse is rarely a good idea if the item you are buying has no use in your weekly or monthly calendar. Further, if you find a style or look which works for you, repeat it – easily accomplished by those of us who sew. And those of us who sew know that tweaking a pattern, adding or subtracting a detail, and choosing diverse fabrics can make any pattern look new. Hooray for us!

5) A final point – and it is about many women’s favorite fashion accessory — shoes. According to Linda Przbyszewski, shoes have taken on much more significance than they once did – and should. Shoes should never be the focal point of one’s outfit. They should be chosen to enhance the overall look and to be functional for the occasion for which you are dressing. Shoes used to be just one of the accessories adding to the complete outfit, along with gloves, hats, scarves, handbags, jewelry, and coats. As gloves and hats and coat “wardrobes” have receded from the recipe for a “fashionable look”, shoes have filled that gap for many of us.

The last chapter of the book is devoted to the “demise” of the Dress Doctors in the 1960s and ‘70s. The emphasis on “youth”, starting in the ‘60s, and the women’s liberation movement in the 1970s changed mainstream fashion dramatically. Not addressed in the book is the continuance of some of the standards, established by the Dress Doctors, by the pattern companies in these two decades. Although my experience is mostly with Vogue patterns, I continue to be inspired by many of the fashions, Designer and otherwise, featured in patterns during these two decades. Once again home dressmakers were at an advantage – and continue to be.

The author leaves the reader on a positive note, stressing lessons for all of us to be learned from the wisdom of the Dress Doctors, and crediting the home sewing movement NOW for the beginning of a return to standards and style in the art of dress. I look at this  as a responsibility.  How about you?

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Filed under Book reviews, Little Black Dress, The Conde Nast Publications, Uncategorized, vintage Vogue patterns from the 1960s, Vogue patterns

Thinking Time

There is one more Summer Dress in my head, begging to be made. However, this one needed some thinking time before I could start it, to help me decipher the correct pattern (or patterns) to use. The fabric is pretty special, so I don’t want to make a mistake. What to do to fill up this time I was spending thinking? It seemed the perfect opportunity to do some really simple sewing, as in “Easy Tunic Top”.

Last summer, while in JoAnn’s for one of my frequent thread or zipper trips, I stumbled onto some pretty linen/cotton blends – and on a whim, purchased two lengths.   One I made up immediately into a tunic dress; the other one has just sat around, keeping company with other lengths of fabric folded neatly on my “linen” storage shelf. After finding (in an Etsy shop) this classic tunic top pattern, now out-of-print, I decided this might be a good time to use that second piece of “whim” fabric.

View A is the top I like best...

View A is the top I like best…

No matching necessary on this "whim" fabric.

No matching necessary on this “whim” fabric.

I really did not want to go to the trouble to make a muslin, when I could look at the pattern and make a good guess as to its fit on me. It is loose, as tunics are – so all I did in preparation was to transfer the lines and markings from the tissue pattern onto a sturdier pattern paper.  I decided to line the body (not the sleeves) of the tunic, as the fabric is lightweight, and in the sunlight it could be “revealing”. I used a very lightweight rayon voile, which I get at Dharma Trading. I finished the seams with Hug Snug binding tape, which is just so easy to use and makes such a nice finish. The more I use it, the more I wonder how any dressmaker can live without it!

This shows both the seams finished with Snug Hug and the white voile lining.

This shows both the seams finished with Hug Snug and the white voile lining.

Because I was making the front placket out of the same material as the rest of the top, I knew I would need to do something to differentiate it, so I used a nice, low-profile cotton lace around the edge.

Thinking time - lace

I decided to make the sleeves three-quarter length, which is my favorite sleeve length. At first I wasn’t going to put any lace on the edges of the sleeves, but then it just didn’t look quite right without anything, so I added it.

I attached the lace with the straight edge at the bottom of the sleeve, with a narrow margin of fabric showing,

I attached the lace with the straight edge at the bottom of the sleeve, with a narrow margin of fabric showing.

Thinking time

DSC_1324Thinking time

Now come the True Confessions . . . I’m not sure this top is quite “me”. I think I would like it better in a navy blue and white print. I would also take it in a little bit if I make this pattern again – as I think it looks a bit baggy. (However, since the only way into it is over the head, it can’t be too tight!) I have also decided that I am happiest sewing something that is more of a challenge. I’ll remind myself that I actually said this next time I am in a project that tests my sewing mettle!   That may be soon, as the “thinking time” for my final Summer Season dress is now turning into “doing time”. Here is a hint as to what I will be working on:

Thinking time - tagAny guesses, anyone?

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Filed under Blouses, Linen, Uncategorized

The Long and Mysterious Journey of Sandhurst 121

When the piece of linen I had purchased arrived in the mail, I was not sure what to expect. I had bought it with the hope that it was, indeed, a piece of Moygashel linen, but I had nothing to go on except an educated hunch. I knew it was an early piece of fabric, as its width was 35”, a common width for pre-1960’s dress-goods. I liked the design in the photo from which I made my decision, although it was not a colorway to which I normally gravitate. Upon opening the package, I found the only identifying mark on the fabric to be this tag:

Gottshalk's in Fresno, California obviously sold fine fabrics.

Gottschalk’s in Fresno, California obviously sold fine fabrics.

This short length of fabric had been on the remnant table, and, being too good of a bargain to pass by, some home dressmaker in California (USA) scooped it up with all good intentions of making something out of it someday. It must have lived in a dark drawer somewhere, carefully buffered from stains and yellowing. It didn’t even have much of a crease in it. And so, after many years in dormancy, it arrived at my home in Pennsylvania. I knew immediately that it was a Moygashel linen. I could tell by the hand of the fabric, the unique, slightly funky design, and by its amazing survival virtually wrinkle-free.

Sandhurst 121

As I mentioned in a former post, my only dilemma was the scant yardage, combined with the narrow width. So, I stuck it in my fabric closet, to think about another day. One thing nagged at me, however. I really, really wanted to know what year it was from.

Over the past three years or so, I have had some luck in finding copies of old and older (1950-1980) Vogue Pattern Book Magazines. They are fascinating, and treasure troves of mid-century fashion as it relates to home sewing. I have tried to get a good cross-section of magazines from those three decades. One issue, which I tried a couple of times to get – and did not (on eBay) – finally became available to me. I loved the suit on the cover, and those mid-fifties styles are just so chic, even though most Vogue patterns from that time period were unprinted, and therefore, very difficult to use. (By 1957, Vogue was starting to produce many of their patterns in printed and perforated format.)

This is the February/March 1955 issue.

This is the February/March 1955 issue.

Perhaps you can see where I am going with this? I was looking through this particular issue once again in May of this year, and low and behold, a full-page ad for Moygashel linen clearly pictured “my” linen as one of their “new crop”. The colorway was different, but Moygashel was known for producing their fabrics “all in many colors or color combinations.” Maybe a lot of people wouldn’t get so excited about such a discovery, but I was ecstatic! Now I knew, for certain, that the linen I had purchased made its debut in early 1955. (I would be turning 5 years old a little later that year!) I even had a name for it now – Sandhurst 121. I suddenly very much wanted to sew this linen, this Summer!

There is my linen in the upper left hand corner of the full-page advertisement.

There is my linen in the upper left hand corner of the full-page advertisement.

By now, many of you know that I determined to make a sheath dress out of this scant yardage of fabric, and in order to do so, I had to reconfigure my sheath dress pattern to include a back yoke. Here’s the fabric layout, which hopefully will show how sectioning the back enabled me to fit the pattern on the available fabric:

The fabric is shown 35" flat on my cutting table.  The muslin pattern piece for the front of the dress is on the right, and the two shortened back pieces are lined up smack against each other on the left.  The yoke pieces then fit above the dress front.  I did not need facings, as I lined the entire dress in a light weight linen/cotton blend, and finished the neck and armholes all by hand.

The fabric is shown 35″ flat on my cutting table. The muslin pattern piece for the front of the dress is on the right, and the two shortened back pieces are lined up smack against each other on the left. The yoke pieces then fit on the fabric  above the dress front. I did not need facings, as I lined the entire dress in a light weight linen/cotton blend, and finished the neck and armholes all by hand.  I had to face the hem as I did not have enough fabric to do a self hem!

Many of you also know that fortune shone her happy face again on this project when I found three orange vintage buttons, which I knew would help make a back yoke far more interesting. I relied on a Vogue pattern from 1957, which has a back yoke to help me with this reconfigure.

This card of buttons cost 2 cents originally!  They seem to mimic the small orange explosions on the dress fabric.

This card of buttons cost 2 cents originally! They seem to mimic the small orange explosions on the dress fabric.  They may actually be even earlier than the fabric.

The yoke on this dress uses 4 buttons.  I only had three, but their large size still makes the proportions work well.

The yoke on this dress uses 4 buttons. I only had three, but their large size still makes the proportions work well.

A close-up of the back of the dress.

A close-up of the back of the dress.  I made bound buttonholes – very 1950-ish!

And then, another classic 1950s’ design detail worked right into this dress: I would need to move the zipper to the side in order for the back yoke to look correct. Now I will be the first to tell you that a side zipper is not as convenient as a back zipper, but it is a small sacrifice when everything else is enhanced by this placement.   After these obeisances to ‘50s’ style, I slipped right into 2014 with a bright orange, newly made belt, a widened jewel neckline, slightly cut-in shoulders, and a back slit to enhance comfort. I like to choose the best from the ‘50s, but I really don’t want to look like the 1950s.

I sent new orange linen to Pat Mahoney of Pat's Custom Belts and Buttons  and this lovely belt came back to me in the mail.

I sent new orange linen to Pat Mahoney of Pat’s Custom Belts and Buttons and this lovely belt came back to me in the mail.

Cool and summery-looking, don't you think?

Cool and summery-looking, don’t you think?

Sandhurst 121

Sandhurst 121

Sandhurst 121

Sandhurst 121

Sandhurst 121

Not every dress can have a story, nor should it. But this fabric, which began its life in Ireland, no doubt entered this country through New York City, ordered by a store in Fresno, California, purchased and squirreled away for decades by persons unknown – has now found a starring role in my wardrobe almost 60 years later. Sewing is just so much fun!

 

 

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Filed under bound buttonholes, Buttons - choosing the right ones, hand-sewn zippers, Linen, Love of sewing, Moygashel linen, Polka dots, side-placed zippers, The Conde Nast Publications, Uncategorized, Unprinted patterns from the 1950s, vintage buttons, Vintage fabric, vintage Vogue patterns from the 1950s

Totes for Tots – and Other Small Things

Sometimes one’s fashion sewing has to take a little break to make way for other sewing projects – of the less complicated sort. Much of my sewing time the last couple of weeks has been dedicated towards getting some baby gifts ready – and making favors for the guests of a baby shower which I hosted just last weekend.

I had seen a Noodlehead blog post for a very cute “baby basket” months ago and had even purchased the pattern (a download, very reasonably priced and, even better, instantly delivered). I thought it might be a cute way to package gifts for all the very deserving moms of my acquaintance and their babies who seem to be arriving quite frequently. What I really like about this pattern is that the basket is the perfect size for storing diapers and other baby supplies, and then it becomes the perfect size for toddlers to load up with their treasures as they become mobile – as in walking!

A picture of one of the Noodlehead baskets in the pattern instructions.

A picture of one of the Noodlehead baskets in the pattern instructions.

I found myself inspired by some very cute home decorator fabric which I found on Fabric.com – heavy enough to give these baskets some heft, but still soft and manageable.

Totes for Tots

The pattern calls for fusible interfacing – which I never use for my fashion sewing – but which works beautifully in this application – specifically in the body of the bag and in the divider inside. The directions are quite clear, but I found that using a walking foot made the sewing much easier and more precise, especially on the handles and the top-stitching around the top of the bag.

Here are the four bags I have made – so far…

Totes for Tots

 

Looking inside of the totes.

Looking inside of the totes.

The front pocket is optional, but I think it adds a useful touch!

The front pocket is optional, but I think it adds a useful touch!

Of course, I made one for my daughter/granddaughter, and I gave them their choice (although I knew the yellow bag would be the one!) I made the pink one for the lovely and talented honoree of the Shower, and I made one of the gray ones for the new baby daughter of another dear young couple adding to their growing family. I am keeping the other gray one in reserve in case I need a quick gift sometime, and I know I’ll be making more of these fun and useful baskets in the months to come.

Once I had finished the baskets, I turned my attention to making favors for the guests of the Baby Shower for dear Jess. I am kind of partial to making potholders, as I know that everyone uses them, even if just for a microwave. So I designed one in the shape of a baby block, and decided to put a big question mark (?) in the field where a letter or shape would be.

One example of the question mark.

One example of the question mark.

And the finished potholders...

And the finished potholders…

Why a question mark? Easy to appliqué, for one thing, when many need to be made! But it also plays into the age-old question “What’s for dinner?” and, on a more baby-specific level, “Who is this little creature – and what do I do now?” (At least for me, I remember thinking those questions when I had new little ones…)  I needed to make over twenty of these potholders, and I wanted each one to be a little different, as shown here:

Totes for Tots

Totes for tots

Totes for tots

Truly, I can be away from fashion sewing for just so long – and I was ever so anxious to get back in my sewing room yesterday to continue work on my current linen “dress–in-process”. The biggest question mark I have facing me right now is: “How long will this one take to complete?” Oh, but how enjoyable the process is!

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Filed under Potholders, Sewing for children, Uncategorized

When Enthusiasm Meets Reality

Fashion sewing has it all. Even the making of a simple dress has some or all of these aspects inherent in its construction: color theory, proper fabric selection, proportion and fitting, pattern manipulation and engineering, technical know-how, style sense, intrigue. Intrigue? Yes – Intrigue. I have done it again. I have my heart set on a making a certain style in a certain fabric, and I don’t have very much of that fabric with which to work.

I found this piece of Moygashel linen earlier in the year. (It was sold to me as “probably Moygashel”, and how I determined for certain that is indeed that famous brand of Irish linen required some detective work, which I’ll cover in a future post.)

Enthusiasm meets reality

Freshly laundered, this linen looks and feels like new!

When I first saw it, I immediately thought it would make a cute pair of pants, even though I don’t wear a lot of brown. But I was really drawn to the little explosions of orange scattered throughout the yardage. Actually I should qualify that by saying “scant” yardage. This was only a piece of fabric 1 and 5/8 yards long, which sounds reasonable until the width of the fabric is figured into the equation. At 35” wide, this was not a lot of fabric.   Nevertheless, I certainly figured I could get a slim pair of simple pants out of it. That was my intent until I finished my polka-dotted sheath dress just recently. Cool linen dresses and Summer just seem to go together, and suddenly I decided I did not want a pair of pants – I wanted another sleeveless dress.

This was partly determined by the fact that I have a piece of new orange linen I picked up a couple of years ago from Britex Fabrics, and the thought of pairing this funky, stylized-dot fabric with an orange belt made out of that linen sealed the deal for me in my enthusiastic wardrobe dreams.

Enthusiasm meets reality

Then reality hit. How was I going to manage to squeak a sheath dress out of the amount of fabric in hand? After eyeballing the stretched out fabric, with my sheath dress pattern pieces arranged casually on top, it did not take long for me to know that, NO, this would not work. I would have to figure something else out, but I wasn’t giving up on the dress idea.

The only solution was to get more creative. I have always loved subtle “back” details on dresses, such as unusual closures, V-necklines above a back zippered opening, an embellishment of some sort, that type of thing. And I suddenly realized that if I could section the back pieces (only) of my sheath pattern so that I would have an upper back yoke, then I could probably fit everything on the fabric (knowing it would still be a squeeze, however).

Now I got really excited. One of my favorite patterns (from 1957) features a back- buttoned yoke, which is seamed right above the shaping darts in the back body of the dress. I figured this is exactly the spot where I would need to section the back of the dress to make it fit on my fabric.

The yoke on this dress is obviously part of the kimono sleeve section, but I like the idea of a three-buttoned yoke.

The yoke on this dress is obviously part of the kimono sleeve section, but I like the idea of a three-buttoned yoke.

And then – wheels turning in my head – I seemed to remember I had some orange buttons (vintage, no less!) in my button box.   These seem to me to be a perfect pairing with the linen fabric:

This card of buttons cost 2 cents originally!  They seem to mimic the small orange explosions on the dress fabric.

This card of buttons cost 2 cents originally! They seem to mimic the small orange explosions on the dress fabric.

I have spread out my current working sheath dress muslin a couple of times to determine the viability of my plan. I really think it will work. I am prepared to use narrower seam allowances than I usually like, and I may have to face the hem.

This is how I envision the back of my proposed dress.

This is how I envision the back of my proposed dress.

But – first things first. Initially I will be making a new muslin, with the altered and sectioned back pieces. I am sure my enthusiasm for this idea will keep me focused, and in this case, reality may have sewn the seeds for a much more creative outcome than I originally envisioned!

 

 

 

 

 

 

 

 

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Filed under Buttons - choosing the right ones, Linen, Moygashel linen, Polka dots, sewing with, Uncategorized, vintage buttons

Sometimes It’s All About the Fabric

Great fabric – just like great art – can (and probably should) elicit an emotional response from an engaged viewer and/or potential purchaser. It’s a very individual preference, of course, influenced by sewing knowledge, intended purpose, wear-ability, one’s fashion style, and nostalgia.

I freely admit to being nostalgic about polka dots. I have always loved them. And I have always been drawn to fabrics and fashions featuring dots, whether they be large, jumbo, small, tiny, or medium. In my fashion lexicon, they are never out of style, but it is always particularly rewarding to see dots featured as “fashion forward” – as in the July 2014 Harpers Bazaar.

Linen dotted dress - HB magazine

The dots I have been focusing on the last week or so, however, could tell those new dots a thing or two about fashion trends and durability. My beloved dots are probably celebrating their half-century mark, without a wrinkle to show for it!

Linen dotted fabric

Linen dotted fabric

Each dot is individually embroidered onto the base linen fabric.

When I purchased this vintage linen fabric online, all I had was a photo or two. There was no selvedge marking, no attached label, no sales receipt to give any clue to its origin. However, the photos were clear, the weave of the fabric was visible enough, that I felt fairly confident that I was looking at a mid-century Moygashel linen. At 36” wide, I knew from experience it was prior to 1960. I also knew that Moygashel produced many embroidered dress linens in the 1950s. Here are two Moygashel linen ads which show both printed and embroidered linens:

This ad was on the inside front cover of Vogue Pattern Book magazine from December/January 1953-54.

This ad was on the inside front cover of Vogue Pattern Book magazine from December/January 1953-54.

And this ad was on the inside front cover of Vogue pattern Book Magazine from December/January 1957-58.

And this ad was on the inside front cover of Vogue Pattern Book magazine from December/January 1957-58.

I knew the real “proof of the pudding” – to authenticate the linen as Moygashel – would be in how it laundered.  Moygashel linen was known for its resistance to wrinkling! Months went by after the fabric arrived in the mail, but a couple of weeks ago, I retrieved it from my fabric closet, put it in a gentle wash cycle (with Woolite detergent), tumble dried it on medium heat, and out it came, as I had hoped, crisp, clean, and looking like new. All it needed was just a quick ironing on high heat to make sure the fabric would lay flat for marking and cutting.

Yes, I knew I had an authentic Moygashel linen in hand, and I wanted to make a dress that would be all about the fabric. I envisioned a simple sheath, whose look could be changed so easily with different color accessories. Knowing I already had a sheath dress pattern that fit me well, I made my sewing life simple (for a change!) and went with it.

One can't get much simpler than this classic sheath design!

One can’t get much simpler than this classic sheath design!

First, a few details and precautions about sewing with embroidered linen:

1) All ironing must be done on the wrong side of the fabric, in order not to squash the embroidered details.

2) All ironing must be done on top of a towel, also for the same reason.

3) It’s best to sandwich paper under seam allowances before pressing to prevent “impressions” from going through to the right side of your fabric.

4) Because cut embroidery details have a tendency to fray along the edges of seam allowances, it is best to finish them with either a Hong Kong finish or with rayon (Snug Hug) hem tape. I used Snug Hug as it did not add any extra bulk to the inside of my garment.

Side seams finished with Snug Hug.

Side seams finished with Snug Hug.

I did not want to underline my dress (as in silk organza), as I wanted to preserve the lovely breathability of the linen fabric. However, I did want to line it, so I used a very light, almost gauzy, cotton/linen blend.

I actually catch-stitched all the seams and dart edges on the lining, to help it mold as nicely as possible with the interior of the dress.

I actually catch-stitched all the seams and dart edges on the lining, to help it mold as nicely as possible with the interior of the dress.

I decided to make the lining entirely separate and then attach it to the dress at the neck, armholes, zipper and back hem slit using a fell stitch. However, once I had my seam allowance folded back at the neck and armholes, I noticed a little bit of “shadowing through” of some of the colored dots along those edges.

Perhaps you can see the shadowing of the dots underneath the crossed pins?

Perhaps you can see the shadowing of the dots underneath the crossed pins?

To remedy this, I cut 5/8” wide strips of bias lining fabric and basted them onto the seam allowances in those areas. That was just enough to take care of that problem.

This narrow strip of lining fabric prevents the color of those dots from showing through.

This narrow strip of lining fabric prevents the color of those dots from showing through.  This is the wrong side of the fabric.

Once the dress and lining were attached, I under-stitched the neck and armhole edges by hand. It really makes a lovely interior!

Linen dot dress

A close-up of the bodice.

A close-up of the bodice.

The back of the dress, with its hand-picked zipper.

The back of the dress, with its hand-picked zipper.

And one more view of the full dress.

And one more view of the full dress.

I finally (as of July 1, 2014) got some pictures taken!

I finally (as of July 1, 2014) got some pictures taken!

Polka dotted linen sheath

Polka dotted linen sheath

I love this dress!

I love this dress!

Moygashel linen is, sadly, no longer manufactured, about which I have written previously. One of its tag lines was “The first name in linen – The last word in quality”. I might change that to read “… The lasting word in quality.” Of course, there are some beautiful linens being manufactured today, but none will ever command a dressmaker’s imagination in quite the same way that Moygashel linen did for decade after fashionable decade.

 

 

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Filed under hand-sewn zippers, Linen, Moygashel linen, Polka dots, Uncategorized

The World of Couture Sewing

Excitement abounds in the world of couture sewing! The long-anticipated debut of Susan Khalje’s video series has arrived with the release of “The Cocktail Dress”.

Many of you are familiar with the Craftsy Class by Susan in which she guides one through the process of making a dress adhering to the fine and precise construction methods of “The Couture Dress”. Susan’s own video series promises to be more expansive, as she includes patterns, which she has designed and developed, with each video.

The three views of the Cocktail Dress pattern feature partial lace construction, one with an asymmetrical neckline and hemline insert, and what looks to me to be a (gorgeous!) Balenciaga-inspired bow at the shoulder. The feminine sheath styling, princess lines and Susan’s precise fitting advice are sure to make this dress a classic in one’s wardrobe.

Here is the pattern which comes with your enrollment in The Cocktail Dress.  The three variations of the dress each have their own charms!

Here is the pattern which comes with your enrollment in The Cocktail Dress. The three variations of the dress each have their own charms!

For those of you unfamiliar with Susan’s exceptional teaching style, her video series provides a wonderful opportunity for you: she includes two Free Videos on her website. Check out “Things to Bear in Mind When Choosing Fabrics” and “Choosing the Right Pattern Size” for a small preview of Susan’s friendly, easy-going, informative approach to fashion sewing.

Other courses planned in Susan’s video series are:

  • The French Couture Jacket
  • The Lace Class
  • The Couture Notebook
  • The Little Black Dress
  • The Corset
  • The Skirts Class

Finally – one thing I know, both from completing Susan’s Craftsy course, and from taking classes with Susan in person, is that you will grow as a dressmaker as you make your way through the couture process taught by her. Yes, it takes patience and tenacity, but the finished product is more than just a dress or a jacket (or whatever!) – it is art and craft and style all rolled into one. I am so looking forward to getting started on my Cocktail Dress — care to join me??

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Filed under couture construction, Love of sewing