Classic French Jacket – Number Four

Many of you, no doubt, are familiar with the “10,000 hour” theory. In a nutshell, it purports that to master something, artistically or technically, you must devote at least 10,000 hours to that endeavor (assuming you have a proclivity for it in the first place.) Well, cognitively I know I have a long way to go towards having 10,000 hours devoted to these Classic French Jackets, but it sure seems like I just devoted at least half of those hours to my current, just-finished jacket!

That said, I was aware of an interesting phenomenon as I plugged away on this project. I felt more confident in the process on this one – and more confident in my ability to execute it well. I noticed this especially when I got to the point of inserting the sleeves. The sleeves are, as many of you know, inserted entirely by hand. In previous jackets this has always been my least favorite part. For one thing, you are working within the confined area of the armhole, with lots of very wide seam allowances and “flapping” fabric. It is messy, but precision is necessary to get a beautiful shoulder line and a sleeve that fits well and feels comfortable.   This time it did not feel like an imperfect process; I actually felt like I knew what I was doing!

Getting ready to insert one sleeve.

Voila! It’s in.

Perhaps another of the clues to my feeling more confident in the process of this jacket is the fact that I felt I could take it in a little bit of a new direction. The most obvious departure from the norm is the fact that it has no buttons. Having seen some of the real Chanel jackets in my Pinterest feed that are embellished with bows instead of buttons, gave me the idea to change up this jacket. I really like bows, and I thought using bows would be the perfect foil to this rather regular, non-whimsical hounds-tooth boucle.

I also decided I would eliminate the sleeve extensions and go for curved hems, set off by the trim alone – no bows even for this professed lover of them, as I thought that would be just too much.

Before the trim is applied.

Here is what it looks like on the inside.

Another guiding principle I used for the embellishment of this jacket is the fact that I am planning a matching sheath dress for it. Obviously I want the two pieces to complement each other beyond the shared fabric, so the dress will be trimmed in a manner coordinating with the jacket. (These details will be shared in a future post when I have the dress underway. Eternally optimistic here!) Anyway, envisioning the jacket and dress worn together led me to add both the waistline trim and the trim above the bust (which is across the front only.)

First some details on the waistline trim: I set the pockets to follow this line; the trim is continuous across the top of the pockets (which pick up the curved hems of the sleeves.) I gradually dipped the back edge of the jacket by ½ inch in the center back (a couture technique I picked up from Susan Khalje) and had the waistline trim follow that contour, which I think adds a very graceful look.

I sewed the pocket linings by machine, as that gave the curved dip a better turn. I sewed first along the stitching lines and then cut the curve.

The slightly curved back of the jacket.

Second, I decided I needed the trim across the upper bust as an anchor for the bow I had planned. Obviously I had to set this trim in place before I inserted the sleeves.

The left sleeve pinned in place, the trim already applied.

It was a difficult decision for me to forego a printed lining for this jacket, but I am so glad I did. The black charmeuse has been tiring to work on for my blurry eyes, but it just seems right in this application. And just think – now I have an entire dress to concoct using more black lining!

The boucle is from Mendel Goldberg Fabrics; the trim is from Britex Fabrics, and the black silk charmeuse lining is from Emma One Sock Fabrics.

Until the matching dress is finished, a black sweater and black skirt will have to do.

A red handbag is just what this rather dark and dreary day needs.

I will definitely be ready for some bright Spring colors when this entire ensemble is finished.


Filed under Boucle for French style jackets, Bows as design feature, Chanel-type jackets, classic French jacket, couture construction, Linings

The Essential Coat

How many coats do you own? (Not enough?) How many do you need? (More than you know!) Putting need aside, how many should you have? (Plenty!) In your sewing and in planning your wardrobe, do you give as much thought to your coats as you do to your dresses or pants or blouses? My guess is that you do not.

In our very casual world, coats seem to have taken on the essence of “practical” or “function over form.”   To me, this is such a shame, as I believe coats have an aura to them unmatched by any other garment. They are, after all, so often a significant part of the first impression you make when arriving at an event or party – or anything for that matter. A fantastic coat can also leave a lasting impression when departing such an event.

In her iconic book, What Should I Wear, Claire McCardell devotes an entire chapter to coats. Here is just a small snippet of her thoughts on the impression that your coat can make: “…Remember that a first impression often comes when you are wearing a coat. When you are interviewed for a job, you keep your coat on. Your future employer’s first impression of you may be based on the coat you are wearing.

When you walk down the aisle of a theatre, you are wearing a coat … your audience has already judged you and the most beautiful dress in the world cannot alter that first impression. Coats ride buses and subways and taxicabs…. A coat is not something to be dismissed lightly.”   (The Rookery Press, New York, New York, 2012, pages 61- 62.)

In The Little Pink Book of Elegance: The Modern Girl’s Guide to Living with Style, by Jodi Kahn, she writes: “Many an elegant look is spoiled by throwing on a coat or a wrap that is anything but . . . [I]f you think about the most elegant women you know, or those in the pubic eye, you’ll probably realize they have fabulous outerwear. In the ‘60s, Jacqueline Kennedy asked her designer of the day, Oleg Cassini, to pay special attention to what she wore over her clothes since she was always being photographed coming and going. Even if you don’t have to worry about getting your picture snapped around every corner, a few great coats will transform almost any [look.]” (Peter Pauper Press, Inc., White Plains, New York, c2005, pages 29-30.)

A beautiful coat can also hint at what is beneath it. One of the most elegant looks one can wear (and make for herself) is a matching coat and dress ensemble, where the two pieces are intended only to ever be worn with each other. Such a coat and dress often share similar style lines.   This Vogue Couturier Design by Mattli of London is an example of this:

Another example of a coat and dress with complementary style lines is this Vogue pattern:

And although the style lines of the dress and the coat in this Vogue Paris Original by Madame Gres are not matching, clearly the coat and dress featured in blue on the pattern envelope are intended as such an ensemble:

Here is an example of a formal dress and matching coat, sharing seaming details and clearly designed to go together. Would this dress be anywhere as exciting without its matching coat?

This evening coat makes my heart skip a beat!

Not every coat needs to match a dress, however. Here is a small sampling of coats, both dressy “dressmaker” coats and classy, more tailored coats, the prototypes of which have their rightful place in your coat wardrobe:

This is my original pattern from which I made the featured coat when I was in my mid-twenties. I loved this coat and only wish I still had it!

I am very anxious to make a coat from this pattern.

This is a beautiful example of a dressmaker coat.

Another dressmaker coat.

A coat better suited for everyday wear, but still beautiful.

One of the many catalogs we receive here at our home is the catalog from the J. Peterman Company. It is so creatively conceived and presented, with each entry reading like a mini story, and often evocative of other times and places. The “Owner’s Manual” (as the company’s catalogs are called) arriving during this past holiday season was no exception. Imagine my delight when turning the page to this entry for a “French Coat with timeless Parisian style.”

Click on the image to read its story.

But what really caught my eye was the caption at the top of the page: “I want to know the woman in that coat.” In a nutshell, that sums up the power of a beautiful coat. What fun to know that, as ones who can make our coats, we can also be the woman who made that coat!

And now, in deference to some of my readers who want progress reports on my Number Four Classic French Jacket, here are a few photos – and a short quiz for those of you who have never made one of these jackets, but hope to one day.

Here is the neckline, ready to be stitched.

I call this the “vest” stage. This is the front of the jacket . . .

And this is the back of the jacket.

It is always fun to pin the sleeves on quickly just to see a jacket taking form!

As you can see, all the machine quilting is complete. I’ve finished the interior seams as much as I can at this point. The next step is to insert the sleeves. Then I can complete the finishing work on the interior seams and the hems and get to work on the trim and the pockets.

QUIZ: How much more will I be using my sewing machine to do this work?

  1. a) only for the insertion of the sleeves
  2. b) only to make the pockets
  3. c) both for the insertion of the sleeves and to make the pockets
  4. d) not for anything

Back to Coats:  Are you ready to make one after reading this post? I hope so!


Filed under Chanel-type jackets, Coats, Dressmaker coats, Mid-Century style, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s

Number Four – But Who’s Counting?

One of my more fortuitous undertakings upon my return to fashion sewing early in the current decade was learning how to make a Classic French Jacket. I traveled to Baltimore, Maryland (USA) to take one of Susan Khalje’s week-long classes devoted to this iconic fashion, and I never looked back. As soon as I had finished my first one, I could not wait to start another one and then another one.

From left to right, my first, second and third jackets. I made a sheath dress out of the charmeuse lining fabric for the first jacket: a blouse for the second jacket, again out of the lining silk; and a coordinating linen dress and silk scarf for the third jacket.

Choosing and applying trim is one of my favorite parts in the process of making these jackets.

Of course, the Classic French Jacket is based on Coco Chanel’s original 1920s’ cardigan jacket, updated and reintroduced as the “Chanel suit” when she reopened her couture house in 1954. A “Chanel suit” usually “consisted of two or three pieces: a cardigan style jacket, weighted with her trademark gilt chain stitched around the inside hem, a simple easy-to-wear skirt, worn with a blouse, the blouse fabric coordinated with the jacket lining.” (The Saint James Fashion Encyclopedia by Richard Martin, Visible Ink Press, Detroit, MI, c1997, page 81.) As I have said before, “Only Chanel is Chanel.” But a classic Chanel jacket is undeniably the prototype for the Classic French Jacket.

What a succinct and perfect “thumbnail” description of a Chanel Jacket. (The Fairchild Dictionary of Fashion, Third Edition, by Charlotte Mankey Calasibetta and Phyllis Tortora, Fairchild Publications, Inc., New York, New York, 2010, page 65.)

It is such a clever design, with some basic building blocks: 1) boucle fabric, the “sponginess” of which is necessary to help hide those quilting stitches which hold it to its silk lining fabric, 2) coordinating charmeuse/silk for that lining, 3) coordinating or contrast trim/trims, 4) usually fasteners of some sort, 5) a weighted chain for the hem, and 6) a pattern which includes three piece sleeves. One of its main charms, particularly for dressmakers, is the opportunity it gives to make a unique, creatively conceived jacket, whose “heritage” is nonetheless instantly recognizable.

As planned, after finishing my “Champagne Dress” in the first half of January, I brought out my red and black houndstooth boucle to get started on my fourth classic French jacket.

I decided to use plain black charmeuse for the jacket lining. I also plan to make a sheath dress out of the boucle to match the jacket. And I am quite excited to have found this trim!

As luck and life would have it, I then ran into a “snag” for three weeks, which I will not go into, but suffice it to say, I have just returned, finally, to serious work on this jacket. So – I am little behind where I wanted to be – but excited to see some progress and enjoying the process very much.

The quilting is complete, and now onto sewing the seams and finishing them.

Because I have written about making these jackets in previous posts, I certainly do not want to bore my readers with more of the same. To help fill the “space,” I plan to do a couple posts about other sewing and fashion subjects near and dear to my heart – and maybe a few updates on Number Four, too!


Filed under Boucle for French style jackets, Chanel-type jackets, Coco Chanel, Uncategorized

The Champagne Dress

It is a fact of sewing life that the construction of some dresses is just more difficult and time-consuming than other ones. This was a difficult dress to make and at times I really wondered just how long it would take to finish.

Before I go into the making of this dress, I want to put its pattern into historical context. This pattern is one of Vogue Patterns’ “Paris Originals.”

A former owner of this pattern made the notation about the bust enlargement.

As is obvious from the envelope cover, the dress was designed by Guy Laroche (1923-1989; pronounced Ghee Lah-rush); it is copyright 1960. According to the St. James Fashion Encyclopedia, Laroche was a French couture and ready-to-wear designer who worked for Jean Desses from 1950-57. Desses was known for his intricately draped dresses, asymmetry in his designs and ornament derived from the “architecture” of the garment, according to his profile in The St. James Fashion Encyclopedia by Richard Martin, Visible Ink Press, Detroit, MI, c1997, page 100. Bingo! It appears that Laroche learned well from his time with Desses and incorporated some of the same details into his couture designs once he opened his own fashion house in 1961.

I find it interesting that this pattern is dated 1960, one year before Laroche opened his couture house. Perhaps this statement in the Vogue Sewing Book from 1963 helps to explain how Vogue Patterns managed to obtain a Guy Laroche design before he had his own eponymous line:

Please click on the image to enlarge the print.

In any event, the appeal of this pattern, for me at least, was the asymmetrical draped bodice back and the tailored bow which anchors the drape on the right shoulder of the dress. It was also these details – and others – which made it a time-consuming project.

I made some alterations to the pattern before I even got started, as I wanted to eliminate some of the blousing above the waist of the dress. I do not have enough height to carry off too much excess around the mid-section, so I pulled most of the blousing into darts. Doing this made me rethink the instructions for the lining, the waistline of which was supposed to be sewn to the waistline of the dress itself. I assume the joining of these two elements was to insure that the blousing of the dress remained at the proper “elevation.”

The series of dots around the waistline indicate the sewing line to anchor the dress to the lining.

Having removed most of the blousing, I did not need to anchor the dress to its lining, so I left the lining loose.

This photo shows the loose lining and also the back neckline. Ordinarily, in couture sewing, facings are eliminated. However, in this case, knowing that the weight of the drape would be added to the back neck, I chose to use the facing to add more stability. I finished its edge with Hug Snug tape.

As you can see from the diagram of the lining (above), the back neckline is asymmetrical, to accommodate the attached drape on the bodice. I’m not sure why, but I found this rather confusing, resulting in sewing the lining together, first correctly, then thinking I had done it wrong, redoing it in what I thought was correct – and then realizing I had it right the first time. Fortunately it was easy to remove the stitching from the crepe de chine lining silk, but really? Three times? And then guess what this is?

Yes, this is a backwards back bodice!  Apparently I had flipped (or marked incorrectly) my silk organza underlining/pattern when I placed it on the fashion fabric, cut it out incorrectly and even had the underlining and the fashion fabric all carefully basted together.  When I discovered my mistake,  you can imagine my panic until I realized I had enough of the charmeuse left to cut it out again, this time correctly. Of course, then I had to baste it to the organza underlining for a second time. Tick tock, tick tock!

Things then went along fine until I got to the front neckline, which presented a quandary to me. From the instruction sheet, it seemed there was to be no interior finishing of it. It appeared to be a draped version of a bateau neckline. When I tried the dress on, it was uncomfortable as it pulled too tightly from the shoulders (which did not show up in my muslin).  It also did not look good. I decided the only way out of this predicament was to reshape it. I carefully basted and clipped and trimmed and clipped and trimmed some more (no photos of this, I am sorry to say. I was too intent on the task at hand to even think about photos!) But it all worked out. The front neckline certainly isn’t as draped as was intended, but I love the way it fits and looks.

The lining is not supposed to be attached to the dress at the front neck, according to the instruction sheet. In order to finish the neckline without adding any bulk (which would surely show up on that wide bias expanse), I stay-stitched and then catch-stitched the raw edge to the organza underlining. Not as finished a look as I would like, but it works well.

Another section of the pattern which did not present a proper interior finish for this very particular dressmaker, was the drape. It is partially gathered as you can see from the instruction sheet.

#7 shows the gathering of the interior drape.

As I did not care for a raw edge to be hiding under the drape, I decided to bind the edge with Hug Snug tape. This worked out so well and looks nice and tidy!

Besides these time-consuming corrections and additions, there were the hours of work involved in making the bow, attaching it to the dress, and making the belt. Then when I thought I was just about finished, I remembered I needed to add lingerie keepers, due to the wide stance of the shoulders. Okay, I thought. What else??

I have decided the belt is a little loose, so I need to reset the fasteners… What else, indeed!

What a good feeling of accomplishment to finish this dress and like it!

Here is a detail of the bow. I do love a tailored bow!

I haven’t worn it yet for any occasion, but when I do, I hope there is champagne involved, as I am going to toast myself for successfully finishing this one!



Filed under Bows as design feature, Cocktail dresses, couture construction, Linings, Messages from past owners of vintage patterns, Mid-Century style, sewing in silk, side-placed zippers, The Conde Nast Publications, Uncategorized, underlinings, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

A Rosy Sewing Year

It seems that every new sewing year – at least for me – does not start right on time, as I am always finishing up a project from the month of December. Such is the case in this early January of 2018. However, that does not keep me from planning and dreaming about the coats and jackets, dresses and blouses to come. I can’t help but think of the new year at hand as a “rosy sewing year,” because the fabrics that are in my queue right now share a common theme – so many are predominantly red or pink or peach or floral, a bouquet of colors and textures.

First up is this red and black “hounds tooth” boucle which I found at Mendel Goldberg. Yes, it will be a Classic French jacket, with a sheath dress to match.

I am planning some variations in detail and trim for this jacket and dress, about which I am excited. It is a big project, so I hope January gives me lots of sewing time! No doubt this will spill over into February…

As I mentioned in one of my December posts, I hope to make a coat from this vintage purple boucle I am so fortunate to own.

A few years ago I found this silk charmeuse (also at Mendel Goldberg) which I intend to use for a coordinating dress with the coat.

Other silks I would love to concentrate on this year are purchases made several years ago from Britex Fabrics in San Francisco:

This is a French crepe de chine.

This silk helps satisfy my penchant for polka dots.

Then there are two linens I never got to in 2017, one a geometric red and the other a ecru and black floral. I assume they are waiting patiently for me. Add to all this my determination to sew for my two little granddaughters and – there’s the year! (And can I possibly finish another classic French jacket next Fall?  We will see.)

But let me complete 2017 first. Whatever made me think I should start (and could possibly finish) another dress for myself in December I will never know. But that’s exactly what went through my head. I had plans to make taffeta “Cinderella” dresses for my granddaughters for Christmas presents, but thought I would sneak in some personal sewing time before I started on that project. Perhaps it was the pattern that made me do it? Or was it the fabric?

When I purchased this pattern at the end of last summer, I really had no idea when I would be using it; I just did not want to miss the opportunity to own it, knowing that I would surely use it someday. Little did I know that someday would be just a couple of months later.

Now it just so happened that I had draped this fabric, below, over my dress form so I could admire it while I worked on other things. I purchased this silk charmeuse from Mendel Goldberg fabrics in 2016 as an end cut, three yards in length.

I knew with three yards I would be able to use a dress pattern which called for more than normal yardage, and I had found a pattern in my collection which I thought I would use:

My idea was to lengthen the sleeves to three-quarter length.

But something just did not seem right. I could not get excited about that pattern in that fabric, even with three-quarter sleeves. Well, I had one of those proverbial light bulb moments when it occurred to me to use the Guy Larouche pattern for the champagne-colored, floral silk. It seems to be a perfect match. The bodice of the pattern is cut on the diagonal, and the meandering flower and vine motif in the fabric lends itself to both straight of grain and diagonal placement. I made my muslin (with quite a few alterations) and was really quite excited about the draped back, shown here in muslin:

And here is the front, minus one sleeve. The front neckline is a bit unusual and I think it will be flattering.

I got as far as transferring the markings onto the silk organza underlining, cutting out the fashion fabric, and basting the two layers together, all ready to start sewing. Then reality hit like a sledgehammer! I had to get those dresses for my granddaughters finished in time for Christmas (which I did, after some frantic sewing – and they love them, which made it all worthwhile!)

Just in case anyone would like to see these dresses, here they are. Big bows in back, and the sleeves are adorned with little bows. Very girly!

So that’s how I am now at this point, finishing up 2017, with the hope of starting the new sewing year one of these days – with my Guy Laroche dress perched in my closet, awaiting its debut. May the New Year be rosy and kind to all of us, and may it end with many sewing dreams fulfilled!


Filed under Boucle for French style jackets, Chanel-type jackets, Coats, Linen, Moygashel linen, Polka dots, Sewing for children, silk, Uncategorized, vintage Vogue patterns from the 1960s

“Blazing Fashions”

Every once in a while, something unexpected and totally charming arrives in the mail. Such was the case when a Christmas card we received had something extra inside, besides a lovely greeting. The envelope was rather lumpy so I could not imagine what might be enclosed. The dear friend who sent the card has a generosity of spirit which is an inspiration to me. She is so thoughtful and ever mindful of the passions and interests of her friends. So when I opened the card and a very large size matchbook fell out, I knew she had once again given me something very special and very apropos.   (Thank you, Nancy C.!)

This was no ordinary matchbook!

This matchbook measures 4″ x 6″ so it definitely makes a statement!

“Blazing fashions” –“Larry’s world famous dresses! 10,000 dresses to tell your friends about…at cut prices.” If I had to assign a particular year to this little gem, I would say 1957, based on the styles, hem lengths, and hairdos on display in the drawing. Certainly it is from the final half of the decade of the 1950s.

The back of the matchbook gives a nostalgic glimpse into the constraints of shopping hours during that time in history. “Get here by 2:30 P. M. to be waited on” and “Closed Sunday.”

I can just imagine some of the dresses, coats and suits available for purchase. This is especially enticing when you look at the list of brands carried by Larry’s:

(Click on the image to see the partial list of designers and fashion houses.)

Many of these fashion houses/designers I recognize, others I do not. Some of the notable brands are: Nini Ricci, Adele Simpson, Donald Brooks, Nettie Rosenstein, McMullen, Davidow, Mr. Mort, Herbert Sondheim, Nantucket Naturals, Kasper, Norman Norel, Christian Dior (New York), Oleg Cassini’s, Teal Traina, H. B. Wragge, Ann Fogerty. Some of the names are hidden beneath the match sticks (which are a good 3“ in length). Also hidden is a coupon to cut out and mail in and request the following: “Please Notify Me When Your Private Sale Begins.” Also mentioned is the fact that Larry’s is “Air Conditioned for Comfort” and “All Sales Are Final.”

A number of the fashion houses/designers listed also designed for Vogue Patterns during that time period, such as Nini Ricci, Christian Dior, and Teal Traina. And I would suspect that many of Larry’s customers were also women who sewed for themselves, as so many fashionable ladies did. I also suspect that Larry’s did a booming business during the holiday season – Christmas and New Year’s – when dressing up was de rigueur. So many stories reside in this little vintage piece, to remind us all that, although much has changed, fashion and dressing well is timeless.

Also timeless is this beautiful and sacred Christmas season. It is a magical time, filled with wonder and awe, a time when the generosity of spirit is abundant and enhanced by kindness and love. May your holiday be filled with such beauties and with the love and companionship of dear friends and family. All the best to you from me!


Filed under Fashion commentary, Mid-Century style, Uncategorized

December Surprises

While a life in sewing can never be humdrum, a few good surprises are always welcome. What better month for surprises than December? While my focus right now is almost entirely on getting ready for our family Christmas celebration, four unexpected occurrences have recently added fun and focus to my life in sewing. I will tell you about two of them . . .

Of course – when it comes to sewing, finding a special fabric is always a welcome surprise. Those of you who follow Fifty Dresses regularly will know that I am always on the lookout for exceptional vintage fabric. After feeling so fortunate to find one gorgeous piece of French Lesur wool earlier in the year, I thought my chances of running across another piece of Lesur were next to nothing. So – imagine my surprise when a length of midnight black Lesur came to my attention. Although this piece did not have a selvedge marking, its tags were still attached. In addition I was able to match its weave to another example which I have found in my research on this storied French manufacturer. The weave is a minute basket weave, with almost a stretchy component to it, although the weave is quite tight and the fabric is fluid.

I am always excited when I can date a fabric. From what I can tell, the real heyday of availability for Lesur wool in the USA was the early to mid 1960s. The tag on this wool clearly supports that timeframe.

The date of this fabric is in pencil on the right margin of the tag, 1/14/64.

The tags also indicate the purity of the wool, and they show the process it went through during importation from France to this country.

The lovely person who sold me this piece told me it came “from the collection of an amazing professional dressmaker who definitely splurged on her fabrics.” I have had it in the back of my mind to put a “little black dress” in my sewing queue, so this purchase now makes that inevitable.

Surprise number two is also fabric-oriented. Like many of you, I always look forward to hearing what the Pantone Color of the Year will be. I am often surprised and sometimes delighted with the choice. For the year 2018, I was both. Color 18-3838 Ultra Violet is “a blue-based purple that takes our awareness and potential to a higher level.” According to Pantone’s description, “Ultra Violet suggests the mysteries of the cosmos, the intrigue of what lies ahead, and the discoveries beyond where we are now.”

Although I do not wear a lot of purple, I love the color. I think it can be distinctive, flattering, and creative, if handled correctly. It was for that reason that when I had the chance, a few years ago, to purchase a length of vintage, purple, wool boucle, I felt very fortunate.

This is a coat weight boucle, with a distinctive windowpane weave.

What made this purchase even more exciting for me is that this is a piece of Einiger wool, from a distinguished American manufacturer of fine woolens (now no longer in business). It is not often an opportunity to own such a piece of wool comes along, especially one whose origin is clearly marked.

“Luxury Inspired by Einiger” sounds good to me!

From the early 1960s, this wool embodies not only the “intrigue of what lies ahead,” but also the intrigue of what was in the past.

So, what does lie ahead for my treasured Color of the Year fabric? Since its purchase, I have collected a flowered silk charmeuse to coordinate with it, I have picked a coat and dress pattern from the early 1960s, and I have thought much about this project. Obviously, 2018  will be – should be –  the year to make this coat.

Now, if only the “mysteries of the cosmos” could promise more sewing time in the year to come!


Filed under Little Black Dress, Mid-Century style, Uncategorized, Vintage fabric, woolens