“. . . A Vivifying and Effervescent Color. . .”

Every December when Pantone announces its Color of the Year for the upcoming annum, I think of it as a holiday gift for the mind and senses.  The commercial implications of the selection are obvious, as the manufacturers in the lifestyle and fashion industries are guided to a degree by the chosen color.  Or perhaps the Color of the Year is more of an affirmation of the direction these manufacturers were headed anyway.  Nevertheless, the color serves as a guideline and often an inspiration.  The color for 2019 is Living Coral, Pantone 16-1546.

Described as “a peachy shade of orange with a golden undertone,” the color shown here is not nearly as vibrant as the real thing!

Its description reads as follows: “ Vibrant, yet mellow, Living Coral embraces us with warmth and nourishment to provide comfort and buoyancy in our continually shifting environment.  Sociable and spirited, the engaging nature of Living Coral welcomes and encourages lighthearted activity.  Symbolizing our innate need for optimism and joyful pursuits, Living Coral embodies our desire for playful expression.”

Pantone has been selecting a Color of the Year for 20 years, although the company had its beginning in 1962.  It certainly appears that they went back to their early roots in when choosing Living Coral for 2019.  Take a look back 58 years at this cover of a 1963 Vogue Pattern Book Magazine:

This cardigan coat is paired with a white wool dress underneath.

One of the prominent colors featured inside this issue from February/March 1963 is referred to as “absolute orange” and “sun-tinged melon.”

This 7/8 length tunic coat is in “the softest of the melon shades.”

And this is a “pink-infused shade of melon.”

Even the back cover of the magazine shows a golden-tinged orange color.

Well, I do not need any convincing to be excited about the chosen color for 2019, as I already have made several garments n this hue.  Not only do I love this coral color, I admire its versatility and wearability with other contrasting colors. Following is a quick run-through of my examples of Living Coral.

Although this dress gave me fits when I was making it (because of the pattern and the fact that it called for knit fabric and I used a stretch charmeuse silk instead), I do get compliments whenever I wear it, so I guess I did something right. Even the print in the fabric looks a bit sea-life and like living coral.

This dressy coat has to be one of my favorite makes:

To me this is a perfect example of Living Coral color.  One of the reasons I love this coat so much is because it pairs so well with blue.

Another example of coral and blue – this time navy blue – is this dress I made a few months ago.

And then last year about this time of year, I made this blouse to pair with a bronze-and-white-lace skirt, tied together with a coral sash.

My most recent make for me (I’ve been sewing for my little granddaughters, too, soon to be revealed!), is this coral wool skirt.  I have worn it with gray , and it will also look good with navy blue and light blue , and of course, winter white.

Although I haven’t tried it yet, I think Living Coral will look spectacular with this year’s color of Ultra Violet, and 2017’s Greenery.

I made this coat last Spring in a color very close to Ultra Violet.

With three weeks left in December, I am presently concentrating on the more traditional colors of red and green and blue and gold.  But Living Coral gives us an optimistic view of the year to come, and that’s a vivifying message for all of us.

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Filed under Fashion history, Mid-Century style, Pantone Color of the Year, Uncategorized

Season for Sewing: Gift Ideas

Every year, it seems, I come across a few select items which either enhance my sewing experience or give me pleasure because of their fashion/sewing connections.  Happily, this year is no different. The following is my list of those items, eight this year, in no particular order.

1)  I actually purchased this needle case a couple of years ago, and for some reason only really started to use it this year. Perhaps I thought it was too pretty to use.  Whatever the reason, I have been making up for lost time.  I am misplacing and losing far fewer needles with this lovely little case.  Susan Khalje sells them on her website.  It is made out of a vintage linen cocktail napkin, and the leaves upon which you fasten your needles are lanolin-infused wool.  This not only protects your needles from rust, it also seems to make them glide more smoothly through your fabric.

These come in various colors and every one is just a little bit different.

2)  If you are a fan of ribbons and trims like I am, then you probably have lots of short or long pieces which can difficult to store and preserve in any logical way.  I found these super winding boards at Farmhouse Fabrics, and oh, my, they help at least one of my storage drawers stay neat and tidy and organized.

These come in various sizes, too!

Just beware: once you get on the website for Farmhouse Fabrics, you may not want to leave.  They carry some amazing fabrics, including an extensive selection of beautiful cottons.

3) With all the books on Coco Chanel on the market, you probably do not think you need one more. But take a look at this book of Chanel quotes.  I thought I had heard every sage bit of wisdom and advice she ever gave, but I was mistaken. There are quotes in here that are new to me and which further convince me of her wisdom, fashion and otherwise, biting though it is at times.  It is divided into sections on Style, Women, Herself, Life and Success.  I find this book endlessly fascinating; I hope you will, too.

4) From the sublime to the basic!  Here is a spray bottle which I have found to be perfect for misting.  Wool especially, I find, needs to be misted, not just steamed and this is the best bottle I have found for the job.  I mist lengths of wool when I am getting them ready for sewing, and heavy weight wool responds well to more then just steam.  Made by Dritz, this bottle is available at JoAnn’s or Amazon.  (It also works well on linen.)

5) Oh my goodness, I love this Lap Desk.  It’s perfect for those times when I am doing handsewing in the evening and would rather be sitting in front of a nice cozy fire instead of squirreled away in my sewing room.

As you can see, the cushion that is supported on your lap is ample, but very soft and lightweight.

The flat surface is water resistant, and also excellent for holding a laptop computer.

And the wooden rim around its edge keeps your supplies from rolling all over the place.  This is a winner!

This item is available at Bas Bleu, an online bookseller.

6)  I am constantly making notes while I sew. I’ll be the first to admit that I am addicted to cute notepads.  And when they have a sewing/couture connection, then I am a happy person. This one even has a vintage theme to it, making it even better in my eyes.

You can purchase this from Idlewild.

7)  On a visit to the Fabulous Fashion Exhibit at the Philadelphia Museum of Art this Fall, my friends and I spent ample time in the Exhibit Shop as it was filled with all kinds of  delights.  Among those delights was this “dressform” Christmas ornament.  The body of the form is out of papiermâché.

Unfortunately there was no manufacturer listed on this item.  It also is not listed on the website for the Museum Store, but you can check out the store’s website for some other fashion related ornaments.

8)  I had been eyeing this Sleeve board with built-in presser and clapper in Helen Haughey’s Etsy store for quite a while.  I finally took the plunge and purchased it. It is beautifully made and the width of the pressing board seems calculated excellently for most sleeves.  I am very glad to have it as another one of my essential pressing/sewing tools.

The pressing surface is nicely cushioned, too!

No doubt by next year at this time, I will have come across more sewing essentials, but this will do for 2018.  Perhaps you will find something among this selection to add to your holiday wishlist.   Happy Sewing in this season for gifting!

 

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Filed under Gifts for Sewing, Uncategorized

A Simple Straight Skirt

Sounds super simple, doesn’t it?  Well, yes, but simple does not necessarily equate with speedy.  The skirt in question is this one which I fit into my sewing queue as part of a group project in Susan Khalje’s new subscription sewing club.

Susan provided the pattern to all the members, and the choice of which view to use (if one chose to participate; no pressure in this club, only support!) was entirely up to each individual.

I used View A for my skirt. Although this looks like a simple straight skirt, there are subtle details which make it a step above ordinary. For example, the side seams are set slightly back from the front. There is slight fullness built in at the hip; not enough to be noticeable, but enough to make it more comfortable for wearing. This pattern is available on Susan’s website.

I chose the view with the waistband sitting right at the waist (View A), and decided to use a lovely, soft piece of vintage wool I found recently.  As Susan provided video support for each step of the skirt, and answered questions online, I slowly worked through each component while working on my other projects at the same time.

Some of the members in the group have gotten very creative with their renderings of the skirt, but I chose just to keep it simple.  I had already used this pattern once when I made my guipure lace skirt last year, but I tweaked the fit again and am now much happier with it.  (And now I have a go-to skirt pattern.)  One fitting tip that Susan shared was to make sure those side seams are exactly perpendicular to the floor.  If they sway to the front or back, then adjustments need to be made.

The wool I used for my skirt was very lightweight, enough so that I determined the lining fabric should be as close in color as possible.  Luckily I had a piece of silk crepe de chine in my “linings” box which matched perfectly.  (I love it when things like this happen!)

I hand-picked a lapped zipper into the center back seam, and this small detail adds just a touch of class, in my opinion.

Here my center back seams are clearly marked, necessary for any zipper application, but especially so with a lapped zipper.

Here the zipper is in, and the center back lines match, showing the offset of the zipper on the left.

More of the same!

And here is what the zipper looks like when completed.

Even though my wool’s lightweight quality would have lent itself to a simple “all-in-one” waistband, I prefer not to have wool up against my bare middle, or my middle, clothed with just a layer of camisole silk between it and the waistband.  So – I made a two-piece waistband with a facing out of the lining silk.  Inserted into the band is a piece of Petersham ribbon, giving it support and shape.

The lining has been attached (see how good the match is to the wool?), and the Petersham ribbon is ready to be encased inside the waistband.

The waistband facing is ready to be attached to the lining/waistline seam.

The back slit of the skirt is angled in about a quarter inch on both sides, so that it hangs and wears with less of a separation.

The white basting stitches show the center back. I angled the edges towards the center before finishing the hem.

The finished slit and hem.

Not too much else to say about this simple skirt, except that it was a very satisfying little project.

Notice how the back slit hangs together?

Actually there is one more thing to say – about straight skirts in general.  They take very little fabric for most people – often a scant yard in a wide-width wool will suffice.  Will there be more straight skirts in my future?  Oh, yes.  In fact, I already have a wool tartan remnant waiting for early 2019.  But there is much to sew before then… not all of it so simple as this!

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Filed under couture construction, hand-sewn zippers, Straight skirts, Uncategorized, woolens

Fabulous Fashion at the Philadelphia Museum of Art

A recent Thursday found two of my friends and me gazing with stars in our eyes at some of the fashions currently on display at The Philadelphia Museum of Art.

Because I sew, I think I look at fashion exhibits differently from those who may not spend so many of their waking hours either thinking about dressmaking or actually engaged in the process.  The opening storyboard immediately spoke to me with these words:

“Feminine fashion is a forum for great creativity and superb craftsmanship.  A single garment can be appreciated as representing the aesthetics of its era, a designer’s vision, a workroom’s skills, or a wearer’s taste.”

I actually believe, at times, all four values can be inherent in one single garment. Actually, as a dressmaker using many vintage patterns, I know this to be true. But I digress!  The fashions on exhibit neatly displayed one or more of these characteristics, even as they were divided into general categories, such as “Shape and Volume,” “Drape” and “Color,” etc.  Included in the Exhibit were the famous designer names one would expect, such as Dior, Chanel, Balenciaga, and Saint Laurent; some of the more recent designers, such as de la Renta, Herrera, and Moschino; and some more obscure designers, such as Emilio Schuberth and Benjamin Green-Field.

As always, it is almost impossible to choose the designs about which to report, when so many deserve mention.  Following is a slightly biased look at some of  the fabulous fashions, in no particular order.

Ball gowns are always crowd pleasers, and this Exhibit had plenty to show.  This gown by Jean Desses from the late ‘50s is typical of his ability to sculpt and drape lace, in this instance, to great effect:

One of Cristobal Balenciaga’s famous silhouettes, from the Spring of 1951, displays his Spanish heritage in its “flamenco dancer’s” interpretation.  This $3,000 (a lot of money for 1951!) “haute couture creation, exquisitely … constructed, was purchased for a special showing at Wanamaker’s department store because it most dramatically illustrates the 1951 fashion trend of extravagant romanticism.’”  (You can read about a very special fashion show I attended at Wanamaker’s in one of my early posts, here.  Wanamaker’s was one of the country’s grand old department stores, and it was my distinct pleasure to shop there “back in the day.”)

I was delighted to see Jacqueline de Ribes included in the Exhibit.  This dress (below) had to be one of the crowd favorites.  From around 1990, the dress is described as “ streamlined, sculptural, timeless, and alluring.”  Her designs are known for their elegant demeanor, described by her as “the art of being astonishing without creating astonishment.”

I was also happy to see Anne Fogarty represented.  This romantic, youthful dress (below) from about 1953, was a gift of the designer to the Museum, where she had worn it to receive an award for her designs.

Having just seen the wonderful exhibit of Norman Norell last Spring at FIT in New York, this “mermaid” dress, circa 1967-70, caught my eye from across the room.  I hope you can see the rhinestones encircling the cuffs of this dress.  It was gorgeous!

And another American designer (from Philadelphia, no less), James Galanos, was represented with this “ready-to-wear” evening gown (below), each bead and sequin of it stitched on by hand.  This is a great example of the relevance of vintage fashion; this dress would look right at home at some swanky party given this holiday season.  Galanos graciously gifted this dress to the Museum in 1957.

Cocktail dresses were well represented, in splendid manner.  This dress by Emilio Schuberth (below), dating to about 1961, was an astounding display of three-dimensional decoration.  The simple silhouette of the dress is the perfect foil for the exquisite beading and fabric flowers.   (Note the hem of the dress, a good example of a “couture” hem which is typically not pressed flat, adding some dimension to the lower edge.)

Who does not love Oscar de la Renta?  And how could you not love this cocktail skirt and halter ensemble, from 1999?  This happens to be a ready-to-wear example which is anything but ordinary.  The skirt “sparkles with beads and sequins but is enlivened by three dimensional embroidered leaves and dangling strings of beads.” The green silk taffeta of the halter pairs perfectly with that luminescent skirt.

Palazzo pajamas, anyone?  Yes, please, if they can be this example designed by Irene Galitzine in 1962.  The boldly patterned silk taffeta of the top and pants of this ensemble is beaded, while the overskirt is not, creating an unusual and effective texture to the entirety.  They were a gift to the Museum from Princess Irene Galitzine, herself.

And here is the dramatic back view of the Galitzine pajamas.

Of course, daywear was also represented.  A classic example of a Chanel suit was this simple and elegant one, designed by Gaston Berthelet for Chanel, Fall/Winter 1972-73.  As the caption said, “ Chanel’s suit became a staple for sophisticated modern women.”  And it is still thus!

A very clever juxtaposition further showed the influence of vintage on current fashion.  This dress, surviving only in a photograph, was the result of fabric panels left over from an art installation by Ellsworth Kelly in 1952:

Here is the modern interpretation of it, in collaboration with Francisco Costa, and produced by Calvin Klein in 2013:

Conspicuously absent from this Exhibit were coats (jackets, yes, but no outerwear.)  As one who adores coats, this was a disappointment, but only a minor detraction.  The closest thing to a coat, believe it or not, was this wedding gown, designed by Philadelphia native Gustave Tassell in 1968.  There are no words to describe the luminosity of the silk/wool moiré in this “coat-dress.”  Along with its feather-trimmed hood, rather than a veil, this dress could have seen a second life as an evening coat after the wedding.  It was a remarkable look.

Adding to the enjoyment of the Exhibit were looping videos in the gallery viewing areas.  In the entrance, the video showed clips from runways, from the 1950s up through the 1990s.  The second video had a small seating area from which to watch it.  On view were ateliers of various designers, from the 1950s up to the current day.  The bustle of activity by the embroiderers and petit mains (dressmakers), as the designers directed affairs, gave a bit of a hint to the complexity and time-consuming process of haute couture.

This has been a whirlwind tour through Fabulous Fashion.  See it if you can.  For another review, go to the posts for October 30 and November 30, 2018 of  The Vintage Traveler.

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Filed under Fashion commentary, Fashion Exhibits, Fashion history, Uncategorized

A White Blouse

White blouses (or shirts, if you prefer) seem to occupy a niche all to themselves in the annals of fashion.  There is something both unpretentious and elegant about a white blouse.  A white blouse is almost always noticed and admired, and even the most tailored white blouse has an air of femininity to it.

Here is what Christian Dior had to say about the color white when he wrote The Dictionary of Fashion in 1954: “White is pure and simple and matches with everything. For daytime it has to be used with great care because it must always be really white and immaculate…  But nothing gives the impression of good grooming and being well dressed more quickly than spotless white…”  (Published again in 2007 by Abrams, New York, New York; page 120).

What could be a better example of being well dressed than this white blouse featured in the February/March 1955 Vogue Pattern Book Magazine (page 28)?  With its tucks and French cuffs, it is both demure and sophisticated.

Now this is an elegant blouse!

Timeless is another description that could be given to the classic white blouse.  Here is one featured in the August/September 1962 Vogue Pattern Book Magazine, page 49.  “In suburbia, nothing has as much unstudied elegance as a classic neat, white shirt…”

By the 1970s, collars look like they had overtaken the world, but even with its outsized points, the white blouse gives this velvet suit its focal point:

This is an advertisement for Crompton velvet, featuring a Vogue pattern (Yves St. Laurent evening suit), page XVI of the October/November 1971 Vogue Pattern Book Magazine.

The Wall Street Journal had a full-page feature on The White Shirt in the Weekend Section of March 26-27, 2016.  “Always timely and the quickest shortcut to chic,”  says the caption. Part of the feature is shown here:

Although the article fixated on RTW white shirts, a small section was absolutely apropos for those of us who make our white shirts. Finding your Match maintains that there is a certain chemistry involved in finding the perfect shirt for oneself, and it emphasized the importance of choosing the right fabric.  While cotton is usually the preferred fabric, even it is subject to an appropriate quality and weave.  Choosing a pure cotton fabric will necessitate a commitment to laundering and ironing.  Quoted from the article, “You can throw it in the machine, but for a finished look, Ms [Carolina] Herrera (who has made the white shirt her style signature) recommends hand-washing with a splash of starch for a crisp finish.  The white shirt, remember, is about contradictions – it may be easy, but it has good manners.”  (Oh, yes!)

Well, I can’t say I was thinking about chemistry and laundering and manners when I purchased this white cotton shirting fabric from Britex a few years ago.

I just thought it was so lovely with its woven stripe and scalloped detail.  I am happy to say it has been brought to fruition as a classic white blouse.

While the woven stripe IS lovely, it presented some definite considerations when I was laying out my pattern.  For example, what reveal of the stripe did I want to show on the collar and cuffs.  What about the back yoke?   How should the buttons line up on the design on the center front?  The following pictures detail my decisions as I worked through each component.

I chose to use the plain white band as the center portion of the cuffs.

I chose to position the stripe on the collar in the middle.

I decided to interface the yoke, as the cotton is lightweight, and the facing of the yoke would have shown through without it. I always use a woven, sew-in interfacing when I am making blouses. It works beautifully. I evenly balanced the placement of the stripe on the yoke, with just a slight plain reveal noticeable at the lower edge.

And then, what buttons should I use?   It is so easy – and often appropriate – to choose a simple white pearl, two-hole button to accompany this style of shirt. I was prepared to do that until I came across this card of vintage buttons in my collection:

My first thought was, “How perfect!  The incised stripes on the buttons mirror the stripe in the cotton.  And, to seal the deal, they were also the perfect size, at 3/8”.

I used the same 1970s’ Simplicity pattern (with my many alterations to it) that I used for the two gingham blouses I made over the summer.

It is always satisfying to use a fabric which had been purchased – in the past, shall we say? It reinforces my thought that there is a time for all those lovely pieces of silk, wool, cotton and linen still waiting for their destination.   Perhaps it really is about chemistry, after all.

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Filed under Blouses, Buttons - choosing the right ones, Fashion commentary, Fashion history, Uncategorized, underlinings, vintage buttons

A Surfeit of Sewing

Do you ever have so many sewing plans that you don’t know where to begin?  Do you find yourself at a loss of how to prioritize your projects?  Do you look at the calendar and find yourself in disbelief that there are only two months left in the year?  How did that happen?

My answer to those first three questions is Yes, Yes, and Yes.  (My answer to the last question above is “I have no idea,” but that’s my reaction every year when the calendar is about to turn over to November.)

It is very unlike me to have more than one project going at a time.  I like to finish what I start before moving on to something else. However, four different “sewing adventures” are vying for my attention right now, so I think they are going to have to share space and time.

The first item is the one about which I am least concerned.  That is the skirt I am making as a member of the newly minted Susan Khalje Sewing Club (SKC Sewing Club).   Inaugurated in September, this online couture sewing club is by subscription only, but open to all who may already employ couture techniques in their fashion sewing or those who want to learn more about this remarkable method of creating beautiful apparel.  As a way of creating dialogue and offering fitting advice, Susan sent all members a copy of her “skirts” pattern.

This pattern is available in Susan’s online store (see link above.) It is a beautifully drafted pattern, and very versatile. I will be using it often!

Those who choose to follow along (Susan posts video lessons online) are working through the process with their own choice of fabric.  I have chosen to use this lightweight wool herringbone tweed for my skirt:

With my skirt fitted, basted and underlined in silk organza, with darts and seams sewn, I am currently on hold, awaiting our next step.  Bit by bit, this skirt will be finished forthwith, of that I am confident.

An item I had every intention of getting to this Fall is another Classic French Jacket.  I am currently in the process of laying out the pattern on my boucle.

Here is a small swatch of the boucle I am using for the jacket, purchased from Mendel Goldberg Fabrics.

I have revised my expectations now to have, at the very least, the jacket cut out, the outline basting complete, and the lining pieces quilted onto the jacket pieces.  Actually finishing this jacket will no doubt happen in 2019.

For some reason, I have it in my mind to make a white cotton blouse.  Where that came from, I don’t know, but that’s what I want to do. I found this woven-in-stripe Swiss cotton at Britex Fabrics several years ago, and it keeps surfacing in my fabric closet.  I think it is time to make this blouse!

And then there are Christmas dresses for my two granddaughters, to be ready in time for December’s many pre-Christmas activities.  There is no negotiating on these.  They must be finished on time.  I have ordered fabric (kindly through Mulberry Silks and Fine Fabrics, which I had the pleasure to visit on a very recent trip to North Carolina.) Oh, the many (still secret) plans I have for these!

The last two months of 2018 are going to be . . . well . . . very busy indeed.

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Filed under Blouses, classic French jacket, couture construction, woolens

An A-Line Cocktail Dress

The A-Line silhouette is certainly a very recognizable and common style.  Although there is nothing spectacular about it, it does have a rather interesting origin in modern fashion history.  I had lots of time to think about this style as I worked through my most recent project, and I was surprised with what I discovered.

This entry in Fairchild’s Dictionary of Fashion gives a succinct history:

“Apparel styled close and narrow at the shoulders or waist and flaring gently away from the body to the hem in a line resembling the letter A.  Introduced in 1955 by Paris couturier Christian Dior, the term is used as an adjective in describing a wide variety of apparel with this shape, including coats, dresses, jumpers, and skirts.” (The Fairchild Dictionary of Fashion, by Charlotte Mankey Calasibetta and Phyllis Tortora, Third edition, Fairchild Publications, Inc., New York, New York, c2003, page 11)

A further entry adds “…Usually made with narrow shoulders, [and] a high neckline…” (Ibid, page 11)

Dior’s “A-Line” collection in the Spring of 1955 featured a “fingertip-length flared jacket worn over a dress with a very full, pleated skirt.” (“A-Line dress,” by Susan Ward; Encyclopedia of Clothing and Fashion, by Valerie Steele; Thomson Gale, Detroit, Michigan, pages 35-36) Fairchild’s Dictionary has a depiction of this very dress which was called “the most wanted silhouette in Paris.”

Obviously the A-Line shape then evolved into a less dramatic, and more ubiquitous style during the 1960s and ‘70s, much closer to  what we recognize today as A-Line.

When I was contemplating which pattern to use for my dress (I had purchased the fabric, 1½ yards, 54” wide,  from Mendel Goldberg Fabrics in April of this year), I wanted a style which would showcase the fabric. Although I originally thought I would go with a sheath dress silhouette for this fabric, when I found this pattern, it struck a chord.

The line drawing for the shorter length shows more detail of its seaming and darts. The description on the pattern envelope reads: “Evening or street length, high shaped, slightly A-line dress has short sleeves and scoop neckline with or without slit at center front…”

I liked that center front seam with its notched neckline, even though I knew it might be a little tricky to match the embroidered vines and flowers.  However, I thought  the semi-attached appliqués would be lovely overlapping the seams.

The small slit in the center front neckline.

It took me a full week to finish my muslin.  The bust needed to be dropped so those princess-seamed darts needed a lot of adjustment.  In the shoulder area I had some gaping in the front, and I also needed to reshape the top of the shoulders.  Instead of easing the sleevecaps to fit the armscye, I decided to replace that ease with a shaping dart to the top of the sleeves.  I really liked the fluid look that gave to the shoulder line. I drafted three-quarter sleeves as I was contemplating that change to the original pattern.

It is difficult to see in this black fabric, but this is the top of the sleeve with its shaping dart.  If you look closely, you can see some loose edges of the larger appliqués.

Can you guess what is coming next?  As is often the case when I purchase fabric first and then choose a pattern, I created a challenge for myself.  It was almost immediately obvious to me that I would not be able to work on the lengthwise grain of fabric, as I could not begin to fit the pattern pieces onto the fabric and do any matching whatsoever. As luck would have it, I preferred the appearance of the meandering of the vines and flowers on the crossgrain, and I figured out how to stagger the pattern pieces to both fit the fabric, and match the seams.  But those three-quarter length sleeves?  No way were they going to happen!  I could just fit in the original short sleeves, so short they were going to be!

Here are the silk organza underlining (pattern) pieces laid out on my fabric. I had to stagger the four main pieces to fit it on the fabric. Fortunately I was still able to match the pattern of the vines and flowers. Whew! (I took pictures on my iPad to help with the matching.  You can see it in the upper right corner.)

I ended up basting by hand every single seam on this dress.  Even with great care, it was incredibly easy to catch corners of those loose appliqués by mistake, so it was much easier to make adjustments in basting rather than in the finished machine-sewn seams.  The basting also showed me I needed to take out a small bit of the width of the skirt from the waist down, about an inch total.  When is an inch more than an inch?  In this dress!  That one inch made a huge difference in its final appearance.

Because I was sewing this dress using couture techniques, the neck facing was eliminated, with the black crepe de chine lining fell-stitched to the edge of the neckline.  When I under-stitched the lining to secure it in place, I used an off-white silk buttonhole twist. It was so much easier to see light thread on the black lining, and also, I think it looks pretty.

I hand picked the zipper, which virtually disappears in this dark jacquard embroidered fabric.

I was able to arrange the hem of the skirt so the larger of the semi-attached appliqués would hang just beneath the fold-line.

This shows two of the appliqués at the hemline.

I love the graceful flow of this dress.

The simple look of this dress belies the hours and hours I spent on it!

And I am so pleased that I was unable to make three-quarter length sleeves. These short sleeves are just perfect!

I am quite happy with the way this dress turned out.  I do think its simple lines show off the fabric well – no need for anything too fussy when the fabric is so incredibly lovely!  I love that I can wear this 1960’s A-Line style and somehow feel – and hopefully look – very current.

 

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Filed under Cocktail dresses, couture construction, Fashion history, Formal or fancy dresses, hand-sewn zippers, Mid-Century style, Uncategorized, underlinings, vintage Vogue patterns from the 1960s