Monthly Archives: August 2014

In the Company of Cows and Sheep

Vacationing in a foreign country always has its own special charms, but when that country is Ireland, the charms are manifold. My husband and I were lucky enough to be joined by our son, our daughter, our son-in-law, and our year-and-a-half old granddaughter on a trip to Cork and Kerry Counties in southwest Ireland (our treat to them!), from which we have just returned. All of us love to hike (granddaughter Aida went on her Daddy’s back in a child carrier made for trekking), but we also enjoy nice accommodations and good food after a day on the trail – so we arranged our trip through CW Adventures, who took care of all the details and enabled us to take some incredible hikes through stunningly beautiful Irish countryside.

Photo of the Coastline in Dingle taken by Nate Helm (my son!)

Photo of the Coastline in Dingle taken by Nate Helm (my son!)

Ireland We expected to see cows and sheep, but the sheer quantity of cows and sheep, some of whom we shared our trails with, was a delight! Gentle-natured and handsome animals they are, living in this verdant green land with breathtaking vistas. We all agreed that the Irish butter was the best we have ever tasted. And, of course, we all know what lovely product comes from sheep. Irish lambs wool must be some of the softest in the world.

Ireland I thought it would be nice to come home with some Irish wool – can you believe that? We were not in cities for very much of our vacation, nor did I have time while we were in the cities to search for fabric stores. But I did expect to find some woolen yard goods in the smaller towns and villages.   There was plenty of knitting wool for sale, but very few bolts of fabric. I found this small offering of tweeds in one store, all of which were lovely, but not quite what I wanted.

Tweeds - Ireland Actually I wasn’t quite sure what I wanted until I saw this small blanket in a store in Dingle:

The dimensions of this small blanket are approximately 36" long by 62" wide.  The fringe is 3 1/2" long.

The dimensions of this small blanket are approximately 36″ long by 62″ wide. The fringe is 3 1/2″ long.

The colors in it seemed to speak to me of Ireland: greens reminiscent of the pastures and hills, the yellows and reds of the abundant flowers sprinkling the countryside, the brown of the cliffs and stone walls – all set in a pleasing grid just like the hills and valleys delineated by centuries-old stone fences and hedgerows. And it had fringe! I love fringe. But – it was a blanket. Could I possibly use this blanket as woolen yardage for a fringed skirt? Would I dare to cut it up?

I guess we’ll find out, as home it came with me, with that intention.

Draped loosely on my dress form.

Draped loosely on my dress form.

 I wrapped the blanket around myself in the store - as a skirt - to test my theory.  Here it is pinned on my dress form

I wrapped the blanket around myself in the store – as a skirt – to test my theory. Here it is pinned on my dress form

I hope you can see the herringbone weave in these close-up photos.

I hope you can see the herringbone weave in these close-up photos.

Ireland blanket

The weight of this wool is perfect for a skirt.

There is an old Irish proverb (so I am told) that seems apropos to this particular blanket/piece of wool: “Time is a good storyteller.” It will indeed take some time for me to figure this one out, but hopefully the story will have a happy ending!

And now, for the rest of this week, I’ll be in the company of —- my sewing room, working on my blue cocktail dress, which must be ready for our next trip! Move over please, cows and sheep …

 

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Filed under Blankets and doll blankets, Uncategorized, woolens

The Search for the Perfect Blue

Do you ever have a specific color in mind when looking for fabric for a specific type of dress? I am usually open to changing my mind if something else wonderful appears, but this time I really, really wanted to find a blue fabric for a cocktail dress. I started out thinking I would like a pale or periwinkle blue silk to pair with white lace, having Susan Khalje’s new Cocktail Dress pattern in mind.

The version I was thinking I'd like to make is the third one, with lace for the top and bottom panels.

The version I was thinking I’d like to make is the third one, with lace for the top and bottom panels.

I sent off for swatches – and more swatches – and even more, but I couldn’t find what I was looking for. This is what happens when one lives in an area which is devoid of fine fabric stores. ARGH! Then I found this lovely lightweight silk/linen/viscose blend at Emma One Sock. The color was just what I had in mind and I loved the feel of the fabric. The delicate woven design within this fabric catches glimmers of light.

The subtle design is in shades of pink, green and peach.

The subtle design is in shades of pink, green and peach.

I really loved it. BUT – I knew it wouldn’t look good paired with lace. So-o-o-o, I thought to myself, maybe I’ll save the lace idea for another time. Maybe I should look at my pattern collection and see what other cocktail dress patterns might be more suitable.  I picked out two more designs and gave myself some thinking time.

Perfect Blue - Mattli pattern

View D would be my choice.

View D would be my choice.

Since the yardage needed was about the same for all the patterns, I felt confident ordering the fabric and making my decision after it arrived. Can you guess which design I finally chose – and why?

The Vogue Couturier Design by Jo Mattli was the winner. I felt like the vertical “stems” and “leaves” woven into the fabric would be shown to best advantage by a dress that did not have a whole lot going on in it in the way of seams and tucks and gathers. I also like the fact the Mattli design very cleverly gives the feel of a two-piece dress, but in reality, it is one-piece. In fact, only the front of the dress looks two-piece. Here is the back view:

Perfect Blue - thumbnail sketch of backs

The lightweight nature of this fabric also means that there will not be an excess amount of bulk in that double layered front. The fabric is ideal for underlining in silk organza, with a lining in luscious china silk which Emma One Sock helped to select for me.

I spent several days working on a muslin (toile) for the dress, making some subtle changes which I’ll cover in a future post. The dress itself is now “under construction”! Of course, the longer I work with this beautiful fabric, the more I wonder if I should order more of it….?   A coat with a lining to match the dress would be quite something, wouldn’t it? (Any coat would not be finished in time to wear to the early September event for which I am making this dress, but would I let a small detail like that keep me from a vision?) What do you think? Coat or no coat? And if I did make a coat, what color should it?

 

 

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Filed under Uncategorized, underlinings, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

Sometimes It’s All About the Shoes

Well, maybe it’s not entirely about the shoes, although they do promise to share a starring role with my just-completed yellow and blue linen dress.

All about the shoes

I first spied these lovelies on the Simply Soles website last winter, as part of the offerings for Spring/Summer shoes. Although I loved everything about them (the combination of colors, the fabric, the asymmetrical bow, the kitten heel, the brand – knowing from experience that Butter shoes are extremely comfortable), I decided not to purchase them. At that point in time, I had not yet bought the bittersweet yellow linen, so I had no reason to buy shoes with such a limited color palette. By the time I had a good reason to buy them, they were no longer available in my size.

All about the shoes However, the Simply Soles website allows one to request an email advice should the correctly sized shoe become available. Weeks went by, Summer arrived, and by then I had paired the recently purchased deep yellow linen with the pottery blue linen. Goodness, I could not stop thinking about those shoes and how perfect they would be with my envisioned dress. And then – they were suddenly available – in my size – and on sale!

All about the shoes

By this time I was already immersed in making my second linen dress of the Summer, so I planned for the blue and yellow linen to be number “3”. In the meantime, I happened upon more documentation of Moygashel linen, this one for the “yellow” piece. Those of you who follow this blog know how much I love to make these connections!

"... pure enchantment for sun places ... a forsythia linen dress ..."  and the source information in the back of this Vogue Pattern Book Magazine from February/March, 1968 credits Moygashel as the brand of linen.

“… pure enchantment for sun places … a forsythia linen dress …” and the source information in the back of this Vogue Pattern Book Magazine from February/March, 1968 credits Moygashel as the brand of linen.

Seeing an entire dress made out of the forsythia linen helped me to feel confident about having such a bright color as the bodice part of my planned dress.  As I stated in my last post, I decided to use the bodice from this early ‘60s’ Vogue pattern, pairing it with a slim skirt and a belt.

The neckline dips down to a slightly curved V, with a center seam.

The neckline dips down to a slightly curved V, with a center seam.

As this would be a dressier type of frock, and because I know how foolproof couture construction is (with silk organza underlining and crepe de chine lining), I proceeded using those techniques. The facings on the V-shape of the bodice front and back were cut as part of the pattern, instead of being separate pieces. I followed the instructions to reinforce the edges of the fold with ¼” twill tape.

I basted the twill tape just to the outside of the fold line on the "all-in-one" facing.

I basted the twill tape just to the outside of the fold line on the “all-in-one” facing.  This is the back bodice.

And this is the front bodice, showing the deep V and the center seam.

And this is the front bodice, showing the deep V and the center seam.

Normally, couture construction does not use facings, but in this application, they were indispensible. Then the rest of the dress proceeded without a hitch.

Here is the dress turned inside out.  I used a forsythia-yellow zipper as i thought it more important to match the bodice than the skirt of the dress.

Here is the dress turned inside out. I used a forsythia-yellow zipper as I thought it more important to match the bodice than the skirt of the dress.

Here is the shoulder with the crepe de chine fell-stitched and understitched in place around the shouilder.  Note the lingerie stay made with a folded piece of Hug Snug Rayon woven tape.

Here is an inside look at the crepe de chine fell-stitched and understitched in place around the shouilder. Note the lingerie stay made with a folded piece of Hug Snug rayon woven tape.

About halfway through the construction of the dress, I got the idea to have decorative buttons made – to compliment the front V of the neckline.

I sent scraps of my fabric off to Pat Mahoney in California to have these buttons made.  Sadly, Pat is retiring from her business at the end of August...

I sent scraps of my fabric off to Pat Mahoney in California to have these buttons made. Sadly, Pat is retiring from her business at the end of August…

I actually was not sure I was going to use them until I had finished the dress, but I think they add just the right amount of detail.

Here is the dress without the buttons . . .

Here is the dress without the buttons . . .

. . . and here is the dress with the buttons.  What do you think?  With or without?

. . . and here is the dress with the buttons. What do you think? With or without?

Another detail I was happy to add was the Moygashel linen label which had been attached to the forsythia yellow linen yardgoods.

I attached the label inside the back neckline.

I attached the label inside the back neckline.

The belt is also a Pat Mahoney product, made from a silk dupioni.

The belt is also a Pat Mahoney product, made from a silk dupioni.

All about the shoes

All about the shoes

I like the V-ed back!

I like the V-ed back!

Love those shoes!

Love those shoes!

To me, this dress is reminiscent of a 1950s’ “wiggle dress” – although I added a back slit so that I can walk easily, which I guess would have been “cheating” in the 1950s! I was delighted to make another 1950s’ connection when I saw this pair of Roger Vivier shoes for Christian Dior on Pinterest:

All about the shoes - Pinterest pin

The similarities with my shoes are remarkable! Now that I have one dress perfectly suited for my Christian Dior-inspired shoes, I will be looking for other “perfect pairings”. Who knows what fabric treasures will present themselves next Spring or Summer for just such an undertaking?

 

 

 

 

 

 

 

 

 

 

 

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Filed under Buttons - choosing the right ones, couture construction, hand-sewn zippers, Linen, Moygashel linen, Shoes to make an outfit complete, The Conde Nast Publications, Uncategorized, underlinings, Vintage fabric, vintage Vogue patterns from the 1960s