Mark you calendars for a visit to Winterthur Museum in Winterthur Delaware, (USA) in the Fall of 2023. Ann Lowe, American Couturier opens on September 9th and runs through January 7th, 2024.
For those of you unfamiliar with Ann Lowe, she probably is best known as the designer of Jackie Kennedy’s wedding gown when she married John F. Kennedy in 1953 – but Lowe is so much more than that. For decades she was the designer of choice for “America’s most prominent debutantes, heiresses, actresses, and society brides.” Despite designing couture-quality dresses and gowns for such an extensive and elite clientele, she remained virtually unknown in the public arena. Even a feature in the Saturday Evening Post in 1964 calling Ann Lowe “Society’s Best-Kept Secret” failed to secure the recognition she deserved. Recently, however, her place in the pantheon of American Fashion Designers has begun to be recognized, and this major exhibit of her work will undoubtably elevate Lowe to the pinnacle she so richly deserves.
I share this short biographical blurb on promotional material from Winterthur Museum:
Winterthur’s Exhibition will showcase approximately 40 of Lowe’s dresses and gowns, gathered together from museums and private collections across the country. In addition there will be approximately 10 works by contemporary Black designers, influenced by the timeless style and legacy of Lowe’s volume of work.
Here I share 4 images of dresses included in the Exhibition:
Printed Silk Ensemble, c. 1930s, Anonymous Gift to the Cincinnati Art Museum
Evening Dress, c. 1955, Silk Velvet, Lent by The Museum at the Fashion Institute of Technology, Gift of Eleanor Cates
Evening Dress, c. 1962-64, Made for Saks Fifth Avenue by Ann Lowe, Lent by The Metropolitan Museum of Art, Gift of Mrs. Carll Tucker Jr.
Elizabeth Mance Concert Gown, c. 1966-67, From the collection of Elizabeth Mance deJonge.
Last Fall I had the privilege of visiting Winterthur’s Conservation Lab where several of Lowe’s dresses and gowns were being prepared for exhibit. Readily apparent in these pieces was the engineering skill of the designer – all those things going on inside the dress to perfect the fit and carriage of it for each client. Although much of this inside story will obviously not be on display, each and every dress will surely tell its own story of beauty, quality and style.
This Exhibition is guest-curated by Elizabeth Way, associate curator of costume at The Museum at FIT. For more information, visit www.Winterthur.org.
It has been a slow start to the new sewing year of 2023. Although I had anticipated the completion of my first project – this black jacket – to be a speedy endeavor, I anticipated incorrectly! (Has anyone ever said fashion sewing can be very humbling?)
I was making this jacket to go specifically with a wool sheath dress I made two years ago – and also, hopefully, to pair with other dresses or skirts which might benefit from the addition of a somewhat dressy black jacket. I had the pattern, and I had the fabric, a very soft light-weight cashmere (which I found a number of months ago at Farmhouse Fabrics.)
I chose this jacket pattern primarily for its “split” center opening which would work well with the unusual center stripe woven into the wool to balance its uneven plaid.
I first needed to make a fitting muslin (toile) and I needed to determine what changes I would make to the original pattern. That ended up being three items:
I changed the neckline to match the neckline of the sheath dress.
I added a dart to the top of each sleeve, using that method as a substitute for the running stitches normally used to facilitate the insertion of the sleeve into the armscye. I have used this alteration frequently as it seems to fit my shoulder anatomy well.
I shortened the sleeves from full-length to 7/8 length. I did this as I enjoy wearing bracelets, thus giving them a little “breathing room.”
Before I started making this jacket, I had the perception I would need to tie the sheath dress and the black jacket together in some way. Without a shared element, I wasn’t so sure they would necessarily look like they were made for each other. The only problem was, I had very little yardage remaining from the sheath dress, as I had made it from a limited piece of vintage wool. What to do?
Covered buttons would limit my ability to wear the jacket with other pieces, and besides, I thought they would look stark as the only two small embellishments on a very black jacket. I did not have enough fabric left, even for a small neck scarf, so that idea never had a chance. I’m not sure when it came to me, but in a eureka moment, I thought a fabric flower made from the vintage plaid would be just the thing to make this outfit work.
I knew M & S Schmalberg Custom Fabric Flowers in New York City would be my best bet (or only bet) for having a matching flower made. I wasn’t sure I had enough fabric even for that, but I contacted them, sent pictures and measurements of my scrap of wool, and they made it work!
I chose a 3” camellia option for my flower. Look what they did!
A few other details for the construction of the jacket: (1) I under-stitched the facing to control the front edges and neckline of the jacket.
(2) I used a black crepe de chine lining (and lots of extra light when I was sewing it in!) I should mention that I underlined the jacket with silk organza.
(3) The only bit of whimsy I added to the interior was to cover up the ends of the loops for the two buttons with two small jacquard ribbon pieces appliqued on. No one will ever see these except for me, but I like them.
This is definitely a “dressmaker detail!”
(4) I covered the required snaps with the lining fabric.
I am so happy to have this jacket completed. Most of my projects seem to take longer than they should, but that makes completing one just that much sweeter.
Lipstick? What does that have to do with sewing? Well, everything, as it turns out, especially with sewing for 2023. LIPSTICK is the word I have chosen for 2023 to guide my sewing aspirations. And because sewing is so much a part of my life, the word LIPSTICK will undoubtably become a reminder and guide and focus for so many other aspects of my life as well.
How didI ever decide on such a word to guide me through this brand new year? First of all, I am not finished with PINK, my focus for 2022. Truth be told, I’ll never be finished with pink – the color or the joie de vivre it inspires in me – but certainly I wanted a new, expansive word for what I hope will be a year of great optimism and promise and accomplishment. So, pink led me to think of lipstick, with its many pink and red and coral and orange hues – and all the ways a gorgeous shade of lipstick can enhance the colors we wear, be they black, navy, white, green, yellow, brown, etc. But lipstick is more than that.
For me, lipstick is instant confidence. Lipstick adds power to a smile with a simple swipe of color. Lipstick tells the world one is ready for something special, even if it is just a simple trip to the grocery store. Lipstick is feminine and fun and frock-worthy.
But don’t just take my word for it. Here is what some notable people have said about lipstick (and pink) over the decades:
“If you’re sad, add more lipstick and attack.” Coco Chanel
“On a bad day, there’s always lipstick.” Audrey Hepburn
“Lipstick is the red badge of courage.” Man Ray
“I believe in manicures. I believe in overdressing. I believe in primping at leisure and wearing lipstick.” Audrey Hepburn
“If there was [sic] no more pink lipstick un the world, I’d be useless.” Nicki Minaj
“Start each day with your favorite lipstick and a beautiful smile.” Unknown
“Pour yourself a drink, put on some lipstick, and pull yourself together.” Elizabeth Taylor
“I believe in pink.” Audrey Hepburn
“You can never go wrong with a little pink … a lot works for me.” Dana Dalgetty
“Just have fun. Smile. And keep putting on lipstick.” Diane Keaton
“She has a way with words, red lipstick and making an entrance.” Kate Spade.
Making that entrance is where our love of sewing and feeling beautiful in our clothes comes into play. This year, for me, promises to have a number of occasions where an “entrance” has the potential to be made (parties, events, significant milestones, hopefully lots of entertaining). So – what do I have planned to wear to those occasions?
I am dreaming of a dress made from this pale pink plaid wool, buttery soft with a little glimmer to it.
This is the pattern I hope to use for the above wool. I love everything about the design of this dress: it has a two-piece look, but the skirt is attached to a camisole under the over bodice. I love the buttoned back and the front seaming detail. I particularly like the long-sleeved version.
This navy blue cotton sateen will either become a mid-calf length full skirt or a long-sleeved sheath dress. Thoughts, anyone?
More blouses are in my sewing queue, one in orange cotton and one in pink and green gingham.
Being carried over from 2022 will be a long-ish skirt made of this glorious silk twill:
My love of coats continues, as I hope to make one wool boucle coat (if I have enough fabric – shown below) with coordinating silk dress – and one pink floral linen coat with coordinating linen dress.
Two jackets are in my plans, a classic French jacket in black boucle with orange and cream accents (which is currently waiting to be finished), and a black cashmere jacket (at present underway) to wear with this dress and others.
The jacket included in this pattern is the one I am currently working on.
A fancy silk party dress in fuchsia? I hope so….
I watched this fabric on the website of Britex Fabrics for months several years ago, and I finally decided I had to have it. It is silk charmeuse, very soft with the abstract design woven in. Is this the year it will meet its destiny?
As long as my granddaughters seem to enjoy wearing the dresses I make for them, I will keep sewing for them – 3 each again this year? I hope I can manage that.
And who knows what else? I will let my inspiration and time (!) guide me. No matter what, I’ll be aspiring to enhance every outfit with the perfect lipstick and its promise of living beautifully, day in and day out, in the easy times and over the long haul.
So, dear sewing friends and readers, put on your lipstick and have a sparkling new sewing year!
Retrospection is a good thing, I think, when it comes to sewing (or many things, actually!) When I think back on 2022 and what I accomplished of my sewing goals for the year, I am surprised by how much I actually marked off my list. I seem to have started the year with a lot of momentum, but by the end of the year, that momentum, both sewing and blogging, fizzled out, for one reason or another. My theme for the year was so, so easy for me to remember – PINK – as in my favorite color. It was so easy, in fact that I almost shied away from any projects which did not keep with the theme.
Here is what I made, in no particular order:
2 Spring/Summer cotton blouses, one pink and one red (the red one is a sleeveless gingham, no blog post and not even any photos.)
I think this blouse may have been Readers’ Choice for 2022!
1 deep pink silk blouse, made from one of my favorite vintage patterns.
1 deep pink cashmere jacket/coat, using a long-owned vintage pattern for the first time, and loving it.
A short cape to match it to match a pair of slacks I made in late 2021.
6 dresses for my granddaughters (three each), none of which are detailed in a blog post. I have found most of my reading audience isn’t really interested in sewing for children, so when I do post the dresses I make for them, it is on Instagram (and I could do a better job of documenting them there …)
1 chicken potholder. Made as a topper for a bridal shower gift, this cutie pie is one of many I have made over the years.
Just for fun, here is that chicken potholder…
1 pink silk gingham Spring coat, with a Trench coat vibe to it.
1 lightweight cotton shirtwaist dress, feminine and breezy.
1 wool/silk blend floral printed skirt, no photos, no blog post, no pink, but heavy on the compliments when I wear it. I took apart a midi-length skirt I purchased once upon a time from the J. Peterman catalog and remade it into a short, straight-skirt style.
Home decorator sewing (6 seat cushions) for our western (second) home in Wyoming (NOT pink!)
When doing a retrospective such as this, I like to ask myself, “What would I have done differently with certain items?” It seems there is frequently something that should have been tweaked a bit, and so it was this year, with three pieces.
If I make the cape pattern again, I will add about 2 inches onto the length. I did not pick this up in the muslin, unfortunately.
I mentioned this in my blog post, but the cuffs of the pink gingham Spring coat should be roomier. I must unbutton them to slip my hands through them, which is a bit of a nuisance. I neglected checking this measurement/fit in my muslin/toile, which was a good reminder to me for the future: every aspect of a garment matters.
I used my go-to shirtwaist blouse pattern for the sleeveless gingham blouse I made, and I had to redo the cut of the armscye twice to get the fit correct. It was easily done, but a bit time-consuming. The result is a comfortable blouse which now fits well.
Here is that blouse pattern I have used over and over. After I adjusted the sleeveless armscye twice to perfect the fit, I finished the edge with a bias strip seamed on the edge, turned in and stitched by hand as discreetly as possible.
PINK was not only my 2022 theme, but it set guidelines for my approach to sewing as well, such as “P“ for perseverance and perspective. Keeping perspective, especially toward year’s end when life set me up for some turmoil, helped me through a few rough spots and sewing droughts.
“I” for indulgence and inspiration were easy guidelines. Indulge in another coat or two? Why, yes, one can never have too many coats. And “I” for inspiration was everywhere, from ready-to-wear, to fellow bloggers, to sewing friends, to gorgeous fabrics, to vintage buttons. The list goes on….
“N” for new endeavors, not necessarily sewing related, added new dimensions to my life this year, to be continued in 2023. “N” was also for Not feeling guilty. Not once did I feel guilty for all the hours I spent in my sewing room!
“K” was for keeping focus. My lists and planning help me with this. And “K” is always for kindness, a good goal at any time in any aspect of life.
How perfect is this image to welcome in a New Year? (From a post by Midcentury Fashion on Facebook). And now is the time to look forward with anticipation and hope and a bit of fun. Happy New Year! To be continued….
Do you ever just feel like making something quick and fun and maybe a little whimsical? Something that isn’t going to task your brain too much, but which is nevertheless rewarding?
That’s how I was feeling a few days ago. I just was not ready to start a big new project, of which I have (too) many lined up in my head. In addition, propped in my sewing room, looking at me forlornly, were a few piles of fabric, leftovers from things I had sewn this past summer. For the life of me, I cannot throw away any decent length of fabric left over from something I have made. I always think I’ll need it for something. That is rarely the case, but for once I decided to do something about it. I decided to make some aprons.
Seriously, who doesn’t love an apron? They can be all-business or whimsical, pretty or frilly, plain or busy, colorful or monotone, practical or impractical. The list goes on. Fortunately I had three apron patterns already available to me, one from the 1950s, one from the 1970s and one more recent one, perhaps from the last 10 years or so, shown in order below.
In order to make my leftover fabric go as far as possible, and to make this apron project fit my criteria for fast and fun and frugal, I went with the simple chef’s apron (View F) on the pattern directly above. The only change I made to the look of it was to construct contrasting ties and pockets. Not only did I like the idea of adding color and whimsy to my aprons, but this change gave me the ability to use up shorter pieces of fabric.
The first one I made from excess fabric from dresses I made for my granddaughters this past Spring and Summer.
The neck and waist ties and binding along the side fronts are a continuous piece of bias binding. Oddly, the pattern instructions did not indicate how much should be left for the length of those ties, so I guessed. It seems to have worked out okay!
The second apron used fabric left over from a ribbon-embellished tunic I made for myself, also in the Summer. The ties and pockets used zigzag-patterned fabric I had on hand to use for “baby tote bags” I have made over the years as gifts.
That zigzag fabric is quite an effective accent as you can see by these baby tote bags, made years ago… But “so long” to the red zigzags – now they are embellishing aprons!
I decided to divide the pocket into two unequal parts with a simple line of stitching. Otherwise the pocket gaped a bit and could possibly catch on panhandles or other obstacles!
After making two aprons, I was having so much fun, I thought I would look and see what other apron-appropriate fabrics I could find stored away. I came across a “vegetable” print which is from the 1980s or ‘90s, given to me by a sewing/quilting friend. I had one yard which was perfect for the main part of the apron. I stitched this one up in a flash, having perfected a few time-saving techniques in the first two aprons.
What else would you use this fabric for?
Now I’m ready to approach some more serious sewing! But what fun to create three distinct looks from one simple-to-make pattern. My friends and family had better watch out – they may be getting aprons for Christmas…
Some blouses are worn A LOT. Those are everyday blouses, and I have quite a few of those (with more to come, I am sure!) And some blouses are worn infrequently, but equally loved for their unique properties. These would include exceptional fabric, refined or formal appearance, limited wearing opportunity, or their ability to make a statement. The blouse I most recently completed has all those properties.
This deep pink silk charmeuse Jacquard has been in my fabric closet for over ten years, having been purchased at Britex Fabrics when I started sewing for myself again, way back when. Its color, and the polka dot woven motif, both personal favorites, drew me to it. A couple of years ago, after purchasing another piece of silk – a printed silk twill – I paired the two fabrics together and added them both to my sewing queue. The skirt may have to wait until next year, but the blouse earned a spot in 2022’s sewing agenda.
Two fabrics meant for each other!
I used a blouse pattern which I have made once before. From 1957, this pattern is timeless with its elegant collar (which looks good lying flat or propped up around the neck), petite French cuffs and feminine three-quarter length sleeves. I suppose in 1957, this style blouse may have been considered a casual piece, which the illustrations on the pattern envelope suggest. I saw this blouse as dressy, however, and that is how I have interpreted it.
The collar on this blouse is beautifully engineered.
Here is the first blouse, in silk dupioni, I made from this pattern.
One of the details which make this blouse so flattering to wear is the waistline open-ended darts, easily visible above. They minimize the bulk when the blouse is tucked inside its skirt and add a lovely billow effect above the waist. I made these darts a bit shallower than the pattern indicated. When making these darts, I secured their upper edges by pulling the thread tail on one side to the other side so that I had the ability to knot those threads with three tight loops. For those of you who have made a classic French jacket, this is the same method used to secure the quilting stitches at the end of the columns. The photo below helps to show this.
The darts are secured by knots done by hand both top and bottom.
Those open-ended darts are featured on the back of the bodice, too.
Buttons are such fun to select for a blouse like this. I have had these vintage white pearl buttons for some time, and no doubt they were waiting for this project. When the skirt is made at some point, the three-lobed profile will play off the designs in the silk twill. But, more than that, I needed something to act as a foil for the polka-dotted field. More “round” would have been fine, but not exciting. Additionally, these buttons are a bit bigger which helps them hold their own on that deep, rich, pink silk.
The French cuffs are secured by buttons both front and back.
Love those buttons!
Being the ‘statement” blouse that it is, I doubt I will be wearing this blouse casually. But I’m betting/hoping I will find good reason to wear it not infrequently to one or another tony event.
Sometimes the smallest thing can be the deciding factor in the trajectory of a sewing project. In the case of this dress – my last dress of summer sewing – the buttons told me how to proceed. There was some serendipity involved as well, which is often the case with my sewing, it seems.
I purchased the very light and airy white and blue fabric from Britex Fabrics two or three years ago. When it arrived, I tucked it away to think about it. Somewhere along the line, I purchased the buttons you see here, but not for this fabric. (I rarely let deep pink vintage buttons get away from me if I can help it.) Somehow the two – the buttons and the fabric – found each other and became best friends. That was all well and good, except for the fact those six little buttons needed some help to bring out the fuchsia and orange dots sprinkled amongst the blue flowers on the white background. Enter deep pink Petersham ribbon left over from holiday dresses I made for my granddaughters last Fall. Somehow, although this ribbon was not a match to either the fuchsia or the orange, it worked! I had my palette….
The interesting thing about the color of the pink ribbon is it seems to be the shade if one mixed the fuchsia and orange dots together. And yes, the buttons are very old!
I had decided to use this pattern again, but a longer version, with different sleeves.
However – and doesn’t it seem there is always an “however” to muddle the plans – I only had six of those petite little buttons. And theoretically I needed at least eight. So – I had to get creative.
I decided I could eliminate two buttons on the bodice if I reconfigured the front opening and collar. Here is what I did:
I angled the front opening: starting at about 6 inches down from the neckline seam, I drew a line from the fold line to the center front line, ending at the neckline.
This allowed me to shorten the collar stand (so it was flush with the front edge of the collar), thus eliminating the need for a button on it.
I redrew the collar so that it would be most attractive either standing up or lying flat.
The original pattern had a self-facing for the bodice (as you can see below), so I had to make a separate, applied facing to accommodate the angle.
The angled opening also allowed for the first button to be 6 inches down – meaning I could get away with two buttons on the bodice – if I used snaps at the waist (which isn’t a bad idea anyway.)
On the right above is my muslin pattern made from the original design. On the left is my reconfigured bodice pattern showing the angle detailed above. (My separate facing piece is not shown.)
Here is what the reconfigured collar and collar stand look like up close:
Two buttons on the bodice allowed me 4 buttons for the skirt, which was adequate. I actually added a small snap 3+ inches below the lowermost button to hold the skirt together indiscreetly.
Moving on with more changes: the flowing nature of the fabric dictated a change in the tailored sleeves of the pattern. I knew I wanted below elbow length with a little bit of fullness, but not too much. A narrow sleeve band seemed appropriate. And then there was the decision where to apply the narrow Petersham ribbon on the sleeve bands. Next to the seamline with the gathered line of the body of the sleeve looked best to my eye, so that’s what I did.
I was fortunate enough to have enough of the narrow Petersham ribbon to put two rows of it at the lower part of the skirt. These two rows of trim are absolutely essential for this dress to look balanced.
Unfortunately I didn’t have my preferred blue shoes with me for these photos.
I should mention I underlined the entire dress, with the exception of the sleeves, with very lightweight cotton batiste. I finished all the seams with Hug Snug seam binding.
I like the bodice “angled” neckline and the reconfigured collar so much, I will probably use these alterations again sometime, even if I am not compromised by too few buttons!
Without those little rosy-pink buttons – and without leftover trim from my granddaughters’ dresses – the white and blue flowered fabric would probably still be sitting in my fabric cupboard. Instead, I was able to finish my summer sewing not only with more pink, but with a dress I really like!
Perhaps many of you are familiar with this famous quote from Edith Head (American costume designer, 1897-1981): “A dress should be tight enough to show you’re a woman and loose enough to prove you’re a lady.” When it comes to tunic tops, my very inelegant redo of that quote is: “A tunic should be fitted enough to not be baggy and loose enough to be able to get into it.” I find that combination to be a difficult task. Let’s see how I did with this one:
When I saw this pretty fabric on Emma One Socks’s website, I just knew I needed to purchase a length of it. All cotton, it is finely woven and silky soft. Originally, I thought I would make a dress, but when it arrived, I saw it as a tunic top, trimmed in pink, of course. I have a couple of tunic patterns, but I went back to this one because the front opening is longer than most, making it easier to get on and get off.
Yes, I needed to shorten it to be a tunic top rather than a dress, but that’s an easy thing to do.
The interesting thing about this pattern is that there is no fastener/button indicated for that long opening. I’m not sure how one would keep a degree of modesty – or even keep the tunic properly on one’s body – without a button or at least a hook and eye. More about that later.
There are a couple of features of this pattern I like, besides that long opening in the front. It has shoulder darts in the back, which I always find add just a little necessary fitting finesse.
I love these diagrams which give so much information about the pattern. The shoulder darts are clearly indicated here.
I also like the way the front facing is constructed, and the width of the stand-up collar. However, the pattern lacks slimming darts in the back. My limited experience with sewing tunics has taught me that without long defining fisheye darts in the back, my tunic is going to be baggy and look like a sack. So, I added them.
There are darts there!
I also shortened the sleeves, as I prefer a length just below the elbow, and I took out some of the width of the “trumpet.” Even with a narrower sleeve, I knew turning up a hem on it would result in a less than smooth finish. To get around this, I took the pattern piece for the bottom panel for the long sleeve (shown on the pattern), flipped it, narrowed it, and shortened it to give me a facing which would be a perfect fit into the lower curve of the sleeve.
The “trumpet” design of the sleeve is evident here.
Here is the facing piece I cut from the pattern.
And here it is pinned in place.
The seam connecting the sleeve to the facing is visible here. I turned up a scant 1/4″ of the unfinished edge of the facing and machine sewed it in place. The pink thread you see is from the attachment of the trim.
Back to that front opening: when sewing the facing on, I added a loop to the right side so that I could strategically place a button to keep the gap closed. On this fabric, it seems hardly noticeable, but oh my, is it necessary!
One of the beauties of tunics is there are no rules on how trim is applied or placed or even if it is used. I had purchased two widths of Petersham ribbon for use on this garment, fully intending on using two rows to echo the front opening. However, I determined that would be too much. Instead, I used the narrower ribbon on the collar and as the second row around the hem and the side slits. The sleeves seemed to look better with the wider width of ribbon. The ribbon adds a degree of stability to the hem, especially, which helps the tunic to hang properly.
By the way, sewing all that Petersham ribbon on is helped immensely by the use of Dritz WashAway adhesive tape.
Obviously I have not washed this tunic yet, but in its first laundering the tape securing the ribbon will, indeed, wash away. I expect a softer appearance of the ribbon at that point, which seems to have a few waves in it at present.
Pictures often are the best way to check fit on a garment (even after multiple try-ons to fine-tune it), and I was pleased with the final, slightly fitted, non-baggy appearance of this tunic. In other words, it does not look like a sack! It is easy to slip on, less so getting it off, but still very manageable. (Sometimes a side zipper can be – or needs to be – added to help with this task of dressing and undressing. The abbreviated length of this example precluded that option.)
If I make this pattern again, I may make the darts a little bit deeper for more definition.
I’m not sure what Edith Head would have thought about tunics, if anything (!), but I am thinking positively about this one.
Although I rarely purchase any Ready-to-Wear (RTW) clothing, I often find it to be a great source of inspiration and ideas for me. (I have written about this before, twice at least). I know I am not alone as often I will see beautiful products of top-notch fashion sewing inspired by RTW. A few years ago on my Instagram feed, I saw a post by Julie Starr (co-author with Sarah Gunn of The Tunic Bible and Classic Sewing) featuring a lovely blouse which she made as a copy of a Gretchen Scott design. I was very taken with it – it was a traditional casual, collared, button-down-the-front blouse, but with a twist. The elbow length sleeves ended in a graceful ruffle rather than the traditional to-the-wrist buttoned cuff. She had made hers in a petite windowpane blue check. It was so fresh and charming, and I kept thinking about it as the months/years went by. When I found a medium pink, cotton, 1” gingham check this past Spring at Farmhouse Fabrics, I knew the time had come to make my yearning a reality.
I used my go-to, tried and true blouse pattern as the base for my copy/re-creation, making several changes to effect the look I wanted.
I shortened the point and slope of the collar.
I added very narrow darts to the front, beginning a couple of inches below the bust and continuing into the hem.
The darts are faintly visible in this photo. The darts help to define the shape of the front of the blouse.
Obviously I shortened the sleeves to accommodate the ruffle.
And –
I placed the collar band and the yoke on the bias. This aligned with the bias band I used to cover the seam where the ruffle meets the sleeve, as seen above.
It was fun to have to think through the changes that were needed and to mix up that pattern a bit. If I use a pattern over and over, I find it can get a little B O R I N G. This blouse was not boring. After I finished it, I was, however, a little conflicted about it. I don’t wear a lot of ruffles, even casually, and it took a few wearings of this blouse to feel completely comfortable in it. Now I find it fun to wear.
I made a self sash to wear with this blouse in case it needs to appear a little dressier.
There is one change I will make should I ever make another blouse of the same design. I think I will taper the vertical seam of the sleeve down to the ruffle gradually by about an inch. It may not be obvious to anyone else, but I think the diameter of the sleeve where the ruffle is attached is just a bit too wide.
Most of my summer wardrobe needs are for casual attire, whether I like it or not! I find this blouse has a bit of flair to it, which steps it up a notch while still being casual and easy-to-wear. I guess you could say this blouse progressed from Ready-to-Wear – to a First Copy – to a Copy of the First Copy – to Easy-to-Wear. Many thanks to Julie Starr for the inspired First Copy.
…but Your Outfit Can Be. I took a picture last summer of this sign at a Western wear store in Pinedale, Wyoming (Cowboy Shop). I loved the saying, but little did I know how often I would reflect on it this summer, which has had its difficulties.
And even when my outfit, like Life, is far from perfect, which has been often, I know there is always Hope, and yes, that is hope with a capital H.
*******
What a long hiatus it has been between my last musings about Trench coats and Dressmaker coats and pink gingham. The final, finishing stitch in my pink checked coat was in mid-June, and at this point I can hardly remember what I wanted to say about it.
I purchased the pink silk gingham from Farmhouse Fabrics several years ago.
It does seem appropriate to start with the changes I made to the pattern, of which there were two major ones. The first change was to the size of the collar. In the 1970s long pointed collars were a trend. Although I like a pointed collar, one with a more petite profile seemed to be a little more flattering and classic. To achieve this desired look, I shortened the collar’s points by about an inch on either side.
For comparison purposes, here is a good look at the original collar.
When I made this coat in 1974, I remember being a bit disappointed with the volume of the back of the coat. I was using a cotton twill, so it was a heavier fabric than the silk taffeta in my new version, making the volume seem even more pronounced. But even so, I thought I would be happier with a less full back. I experimented around with my muslin/toile until I got the desired girth. It turned out I eliminated a total of three inches from the back pattern pieces, 1 ½” from each side back panel.
Again, the image of the 1974 pattern illustrates the volume of the gathering in the original design.
In addition to these alterations, I had a slight construction change. The instructions for the gathering of the lining at the back waistline called for using elastic thread. First of all, I didn’t have any elastic thread, nor did I think it would give the look I wanted even though it would not be very apparent on a lining. Instead, I had some elastic cord, and I attached it by hand, using embroidery floss in a criss-cross stitch enclosing it the width of the back. Worked like a charm, and I like the effect it made.
This is the wrong side of the lining, showing the criss cross I achieved with embroidery floss.
And here is what it looks like on the right side of the lining. The lining gathers beautifully with this thread channel for the elastic cord, as is apparent in the image below.
Once I had the coat partially assembled, I decided I would have liked it to be a bit longer than I planned with the muslin. I was very tight with fabric, so I really could not have cut it longer and still been able to get the coat out of the fabric I had. So, to gain another inch and a half, I decided to face the hem right to the point where the lining would be attached. It certainly took extra effort, but I’m glad I did it as I much prefer the slightly longer length.
The one thing I would change should I ever make this coat again (which I doubt) would be to add about an inch or so to the diameter of the cuffs. I would like to keep them buttoned and be able to slip my hands through them. As they are, they are too tight to do that. This was something I could have determined had I made a muslin/toile with completed sleeves, which I did not. All I did was check the length. A good reminder to me to be more thorough in situations like this.
When I was planning this coat, I intended to use this vintage silk fabric for the lining.
However, even though I underlined the fashion fabric with white cotton batiste, I felt there was a slight “see-through” of the black details in the print of the intended fabric. In the meantime, I had ordered a piece of polished cotton in “Paris Pink” from Emma One Sock Fabrics. Although not an exact match, the two fabrics – the pink checked taffeta and the polished cotton – made a pretty pair so I changed course, and the rest is history.
I am quite happy with this pink lining!
No report on this coat would be complete without mention of the buttons. Again, I went with vintage mother-of-pearl buttons. These have a carved detail in them, which I thought would pair nicely with the gingham.
I chose to do machine buttonholes on this silk coat.
This was an involved, lengthy project. I was rather in awe of my 24-year-old self for attempting it “back in the day.” But making it again brought back hidden memories (good ones) and new appreciation for all that I have learned over the ensuing years. Wearing my new version of this Trench-inspired coat will, I believe, fall into the “nearly perfect“ category.
fiftydresses 
A Blue, White and Pink Tunic Top
Perhaps many of you are familiar with this famous quote from Edith Head (American costume designer, 1897-1981): “A dress should be tight enough to show you’re a woman and loose enough to prove you’re a lady.” When it comes to tunic tops, my very inelegant redo of that quote is: “A tunic should be fitted enough to not be baggy and loose enough to be able to get into it.” I find that combination to be a difficult task. Let’s see how I did with this one:
When I saw this pretty fabric on Emma One Socks’s website, I just knew I needed to purchase a length of it. All cotton, it is finely woven and silky soft. Originally, I thought I would make a dress, but when it arrived, I saw it as a tunic top, trimmed in pink, of course. I have a couple of tunic patterns, but I went back to this one because the front opening is longer than most, making it easier to get on and get off.
The interesting thing about this pattern is that there is no fastener/button indicated for that long opening. I’m not sure how one would keep a degree of modesty – or even keep the tunic properly on one’s body – without a button or at least a hook and eye. More about that later.
There are a couple of features of this pattern I like, besides that long opening in the front. It has shoulder darts in the back, which I always find add just a little necessary fitting finesse.
I also like the way the front facing is constructed, and the width of the stand-up collar. However, the pattern lacks slimming darts in the back. My limited experience with sewing tunics has taught me that without long defining fisheye darts in the back, my tunic is going to be baggy and look like a sack. So, I added them.
I also shortened the sleeves, as I prefer a length just below the elbow, and I took out some of the width of the “trumpet.” Even with a narrower sleeve, I knew turning up a hem on it would result in a less than smooth finish. To get around this, I took the pattern piece for the bottom panel for the long sleeve (shown on the pattern), flipped it, narrowed it, and shortened it to give me a facing which would be a perfect fit into the lower curve of the sleeve.
Back to that front opening: when sewing the facing on, I added a loop to the right side so that I could strategically place a button to keep the gap closed. On this fabric, it seems hardly noticeable, but oh my, is it necessary!
One of the beauties of tunics is there are no rules on how trim is applied or placed or even if it is used. I had purchased two widths of Petersham ribbon for use on this garment, fully intending on using two rows to echo the front opening. However, I determined that would be too much. Instead, I used the narrower ribbon on the collar and as the second row around the hem and the side slits. The sleeves seemed to look better with the wider width of ribbon. The ribbon adds a degree of stability to the hem, especially, which helps the tunic to hang properly.
By the way, sewing all that Petersham ribbon on is helped immensely by the use of Dritz WashAway adhesive tape.
Obviously I have not washed this tunic yet, but in its first laundering the tape securing the ribbon will, indeed, wash away. I expect a softer appearance of the ribbon at that point, which seems to have a few waves in it at present.
Pictures often are the best way to check fit on a garment (even after multiple try-ons to fine-tune it), and I was pleased with the final, slightly fitted, non-baggy appearance of this tunic. In other words, it does not look like a sack! It is easy to slip on, less so getting it off, but still very manageable. (Sometimes a side zipper can be – or needs to be – added to help with this task of dressing and undressing. The abbreviated length of this example precluded that option.)
I’m not sure what Edith Head would have thought about tunics, if anything (!), but I am thinking positively about this one.
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Filed under Blouses, Fashion commentary, Loops for buttons, Tunics, Uncategorized, Vogue patterns
Tagged as Emma One Sock Fabrics, fashion sewing, sewing, tunic tops