Category Archives: Bows as design feature

November 14, 2020 · 4:54 pm

Red Letter Day-Dress

Red Letter Day:  “A day that is pleasantly noteworthy or memorable.”  (Cambridge Languages)

Day Dress: “The perfect all-in-one outfit, a day dress is a versatile and fashionable way to look chic and stay comfortable at the same time.”  

Any day I finish a lengthy project (successfully) is definitely a “red letter day.”  This dress just happens to be red, adorned with letters, and “back in the day,” as they say, it would have been considered a “day-dress,” although the apt description above is actually from a current website. (DavidJones.com)  

I found this silk at Britex Fabrics in San francisco.
I used this blouse pattern from 1957 as the basis for the dress, opting for long sleeves and the lower bow. I did not have enough buttons to make French cuffs, so I did plain cuffs.

I go into a little bit of how this dress evolved in my last post.  But of course there were many more decisions to be made along the way.  I had to decide: 

  • Do I underline this crepe de chine? 
  • If I underline it, what do I use for my underlining fabric?
  • Do I also line this dress?
  • If I line it, do I also line the sleeves?
  • The blouse pattern has floating, released darts at the waist.  Do I use that technique for this pattern transformed into a dress?
  • What color and type of buttons will most enhance the fabric?
  • Do I make bound buttonholes or machine-stitched ones?

So, let’s start at the beginning.  Because this was a very soft, fluid, lightweight crepe de chine, I thought it best to underline it.  My normal go-to for underlining – silk organza – would have reduced the fluidity of the silk, so I ruled that out.  Cotton batiste just did not seem the way to go.  When I found a silk batiste on the website for Farmhouse Fabrics, I knew I had my solution.

I believe you can, in this photo, see how lightweight and lovely this silk batiste is.

However, even with the ethereal nature of the silk batiste, I decided not to underline (or line) the sleeves.  I wanted them to retain their uninhibited flow.

I clipped the armscye seam carefully and pressed it to the interior of the dress. Then I fell-stitched the lining to the interior edge.

Once I had the underlining basted to the fashion fabric, I weighed whether or not to line the body of the dress.  I went with my gut feeling about this and decided to line it with a soft and lightweight red silk crepe de chine – almost a perfect match in color, as is evident in the above picture – which I purchased from Emma One Sock Fabrics.  

In doing so, I eliminated the front and neck facings which were replaced with the solid red lining. 

I eliminated the facings and used the red crepe de chine lining fabric to finish the interior of the body of the dress. Here is the right front edge.

I had worked out the floating dart question in my muslin/toile and decided to use them for the dress.  This left above the waist “blousy” and made it more fitted below the waist.  

This shows the released darts on the back of the dress.
Here is a side released dart on the front of the dress.
The released dart on one side of the dress front.

Buttons are always one of my favorite parts of a project.  I simply love looking for buttons – and I really love finding the perfect ones.  In this case, I knew I needed a large quantity – at least 10, depending on the size I found.  I did not think red buttons would do anything to enhance the dress, and I thought white pearl buttons would be too much of a contrast.  But then I found these buttons on eBay:

They are probably from the 1940s, cut glass, made in Czechoslovakia.  The card held 12 buttons, a good quantity for my purpose.  I think of these buttons as “small, but mighty.”  They provide the right contrast, and the faceted surface picks up the shimmer from the slight jacquard weave in the fabric.  I think they are perfect!

I used ten buttons for the front of the dress. These buttons are small so I was able to space them closely together to get the effect I wanted. I always know I have found the right buttons when they look like they “belong” – they do not steal the show nor are they too weak.
The right top neck edge, with a snap to keep things tidy under the tied bow.
The lone button on the sleeve, showing a bit of shimmer to match the shimmer in the fashion fabric.
The importance of the buttons shows off well in this photo, I think.

And finally, bound or machine-made buttonholes?  I did a sample of each.  I have recently started using my automatic buttonholer for my 1951 Singer Featherweight, and I must say, it is an engineering marvel.  It makes such amazing, precise buttonholes.  And although I do love bound buttonholes, I decided in this instance I would be happier with machine-made ones.  

I haven’t even mentioned the belt! I wanted a self belt, so I knew I would have to make it myself. I found a belt-making kit from the 1960s on eBay and used it for the buckle and the belt canvas.

So that about sums it up.  I had just barely enough fabric to eke out this dress (which seems to be a theme with me!), so I think it was meant to be.  Here’s to Red Letter Days – and the dresses which make them happy.  

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Filed under Blouse patterns from the 1950's, Bows as design feature, Buttons - choosing the right ones, Day dresses, Linings, silk, Uncategorized, underlinings, vintage buttons, vintage Vogue patterns from the 1950s

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December 29, 2019 · 6:43 pm

December Dresses and Delights

Before December bids us farewell (which is very, very soon), it seems only proper to share the “December Dresses” I made for my two little granddaughters.  Actually, I finished them in November, but the intent every year is to have them delivered either by hand or by post to their home in Massachusetts (USA) in time for them to wear them to various December events.

Every year I try to vary the look of the dresses.  While I like to surprise my daughter in addition to my granddaughters with what I make, this year I asked my daughter what she thought the girls would like.  Her response was immediate, telling me that they love the birthday sundresses I made for them last Spring so much, and could I perhaps get the same look in a winter dress?  So I went from this:

To this:

I did it by sizing up the patterns I used for last year’s December dress and substituting the ruffled collar which I adapted from the pattern for the birthday dresses.  Still with me at this point?  I had pattern pieces all over the place!

I found the lovely plaid cotton at Farmhouse Fabrics, as well as the lace and the buttons.  It took a full five yards of 58” wide fabric for the two dresses.  Once again, the dresses sort of evolved as I made them.  I originally was going to use picot edging for the collars, but it did not look right.  That’s when I switched to the lace, and just as a precaution, I ordered enough to edge the hems should I decide to do that.  As it turned out, the lace rimming the hem was the perfect finishing touch.  I had all of two inches of the lace remaining when the dresses were complete.  Whew!  That was cutting it close!

Thank goodness for the quick delivery of the lace from Farmhouse Fabrics!

I put the cuffs on the bias just to add some interest and to pick up on the bias binding at the neckline.

I lined the bodices with soft cotton batiste.

There is something magical about sashes and bows and a buttoned back on little girls’ dresses.

All the time I put into these dresses was well worth it when the girls were so excited to wear them to The Nutcracker, performed by The Pennsylvania Ballet at The Academy of Music in Philadelphia, Pennsylvania (USA), on December 24th at noon.

Aida posing with one of the Sugarplum Fairies.

Carolina, Aida and Susanna during Intermission. We were all spellbound by the performance!

Thanks to my daughter, Susanna, for taking this cute picture!

What a wonderful day that was.  Here’s hoping your December was also filled with magical moments and ruffles and sashes.

And next up – my last make of the year – and of the decade…

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Filed under Bows as design feature, Buttons - choosing the right ones, Sewing for children, Uncategorized

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July 31, 2018 · 12:42 am

Secrets and Tips for Making a Tailored Bow Belt

After adding the final details – specifically, attaching lingerie straps and sewing on a back neckline hook and eye – to my silk polka dot dress, I was feeling quite happy with my accomplishment.  This dress did not seem to take forever to finish, as many dresses do.  But I could not rest on my laurels for more than a few minutes – as I knew I still had to make a tailored bow – and belt – before this project would be really complete.

I started with the belt.  I had already determined that a 1.5” wide belt would be the most attractive.  I remember “back in the day” when belt-making canvas in various widths was readily available.  Now, however, it takes a search on eBay or Etsy to find such a thing (as far as I can tell.)  Fortunately, one of the last times I was in Britex Fabrics in San Francisco (on the opposite side of the country from where I live), I found a product – kind of a buckram – that I knew would work well for belts.  I bought it in two widths – 1.5” and 1.25”.  I used the wider width as the basis for my belt.

A segment of the belt buckram.

1)  I first cut the desired length of belt buckram, leaving a good amount of overlap.

2) Next I cut out the fashion fabric to cover the buckram, which in my case was silk taffeta. I cut it out on the crossgrain as that gave me the color I wanted (the warp and weft of the fabric were in fuchsia and orange.) For a 1.5” belt I cut a width of 2.75” which allowed for a turn-under of 5/8” on either side. The length of this piece of fabric needed to be the entire length of the belt buckram, plus one inch for turning in the ends.

3) I wanted to line the belt with the navy blue crepe de chine I had used for lining the dress. I cut out a piece of the lining fabric identical in size to the long rectangle of the fashion fabric.  I seamed the two pieces together along one long edge. Then I pressed it so that the lining was slightly offset from the fashion fabric.

I interfaced the fashion fabric with silk organza.

The lining sewn onto one side of the fashion fabric.

4) I placed the belt buckram securely inside against that sewn edge, with the seam allowances towards the back of the belt.  I carefully secured the loose edge of the fashion fabric to the buckram using Dritz Wash Away Wonder Tape.  Then I folded under the raw edge of the lining, pinned it in place and hand-stitched it in place, leaving another slight offset along the second edge.

The underneath side of the belt with the lining attached, one side by machine, the other side by hand.

One end of the covered belt.

Next up was the tailored bow.

1)  I decided the bow should be the width of the front panel of the bodice of the dress, which was 7”.  For a finished bow, I needed to double that length, plus two ½” seam allowances, plus 1 inch for each tapered end of the bow.  7+ 7 + 1 + 1 + 1 = 17” length.   The width needed to be twice the width of the belt (1.5” x 2) plus 2 seam allowances of ½” each.  Total width needed to be 4”  – thus I cut out a piece of fashion fabric 17” x 4”, making sure I cut it out on the crossgrain to match the belt.

2) I interfaced my bow with silk organza, trimming it close to the seam line.

3) I then stitched the strip along its length only (not the ends), leaving about two inches open in the center.

4) I centered that seam along the length on the “inside” side.  I found inserting a metal ruler in the fabric tube helped me position that seam along the inside center.  I then pressed that seam, being careful not to press a crease in the outside edges.

Inserting the metal ruler into the tube of fabric made centering its seam so much easier.

5) I wanted double-peaked bow ends rather than a single angle.  I marked my sewing lines with a fine chalk marker and stitched, starting at the center and stitching to the edge.  I tied off the threads by hand rather than back-tacking. Then I trimmed and clipped the ends.

6) I turned the fabric “tube” to the right side and stitched the opening together by hand. (A hemostat is a huge help in turning narrow tubes of fabric like this.)

7) I don’t believe there is any magic formula for determining the spread of the bow – it is a visual determination, and I experimented until I had it looking well proportioned. I stitched across the width of the fabric tube at that spot.

The stitching is visible between the 13 and 14 inch markers.

This drawing explains the seam a little better.

Then I centered the loops and carefully pressed across the seam I had just sewn.   Basting by hand across this center point secured the position of the loops.

The loops of the bow are held in place by the center stitching line.

8) The bow was now ready for its “knot.”  I had to determine how wide I wanted my knot to be.  I chose to make it one half the width of the belt, or ¾” for the finished width.

9) The strip I cut needed to wrap around the width of the belt, front and back, with ample seam allowance to tuck in.  Twice around the width of the belt equaled 3” plus seam allowance of 1”.  So my strip of fabric needed to be 4 inches long. Its width was twice my chosen width of ¾” (1.5”), plus seam allowance of 1”.  Thus the knot would be made out of a piece of fashion fabric 4” x 2.5”.

10) I sewed the long edge of that piece together.  I again used a metal ruler (a smaller one this time) to position its seam along the center back of the piece.  I pressed it carefully along that center seam and then turned it right side out.

The inside seam on the knot.

The length for the knot turned right side out.

11) I centered this finished tube around the center of my bow, tucked in the raw edges on back, secured by small stitches, and slip-stitched it to the back of my bow.

This diagram shows the back of the bow with the knot being set in place.

12) I hand-stitched the finished bow to one end of the belt, added fasteners, and my belt was finished.

If you are still reading by now – and are still awake (good for you if you are!) – you will realize how much common sense techniques help make such a belt successful.  And in this instance, the success of my completed dress was largely dependent on the right belt – with its classic tailored bow.

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Filed under Bows as design feature, sewing in silk, Uncategorized

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July 23, 2018 · 5:55 pm

Wearing Dots

From this …


To this…


How did that happen?

After my purchase of that pattern a couple of years ago, I definitely had second thoughts.  While I loved it when it was first available back in the 1970s – and at that time I was of the age when I probably could have actually worn it – I immediately realized it would not be appropriate for a 60-something-year-old! I tucked it away in my pattern file where I knew I would come across it occasionally and indulge a long-ago dream.  Little did I know it would play a major roll in the realization of this polka-dotted dress.

It took almost eight years for me to come up with a plan for this polka dot silk fabric.  I kept envisioning a waisted, sleeveless dress with a “flowy” skirt, but I could not find a pattern I liked, either vintage or new.  I wanted to avoid darts as much as possible (that’s a story in itself for someday), which meant I needed a princess style bodice.  Many princess line bodices have side seams, but I wanted one without side seams, and with princess line seaming on the bodice back as well.  Pondering all this, I again came across my Belinda Bellville pattern above and thought maybe it would work, with a few changes. But then I noticed that the bodice was supposed to be cut on the bias. 

This pattern detailing from the instruction sheet shows the thee bodice pieces at the top of the picture. The bias is clearly marked.

After not having any success in finding any other suitable pattern, I gave it another look.  Why not cut it on the straight of goods?  It was at least worth a try in muslin, so that’s what I did.  The changes I made to it included; 1) lowering the bust line, 2) eliminating the short-waisted front of the dress and restoring it to waist level, 3) placing the front center part of the bodice on the fold, eliminating the center seam, 4) lowering the neckline just a little, 5) making the waist larger, and 6) adding some ease across the back and shoulders.  With all those changes, I had a bodice I really liked.

But then I needed to make a skirt to complement the bodice.  When I looked at the skirt pattern, I knew I needed to divide it in thirds (for one half of the width of the skirt) and match the seam lines to the seams in the bodice.  Here is what I came up with:

On the left is the one-piece tissue pattern for the skirt. Using the dart lines on that pattern helped me determine the angles I needed for my skirt.

It was about this time I got the idea to make this dress in a longer skirt rather than knee-length, which is where I usually wear my dresses.  The only question I had was – did I have enough fabric to do this?  My silk was 45” wide, and I only had two yards.  I spent at least an hour laying out and eyeballing my muslin pieces on the silk, on the floor, just to see if I could possibly accomplish this task.  I found one combination that would allow this, and took a photo so I could remember how to do it!

It literally took an entire week to work out the pattern and perfect the muslin, but then the sewing began!

As soon as I completed the construction of the bodice, including its silk organza underlining, its catch-stitched raw seam edges, with the seam allowances around the neckline and armholes appropriately tacked in place, I knew I had a bodice which was just what I had envisioned.

Somehow the skirt seams all matched up perfectly with the bodice seams and the center front inverted box pleat, which I added, looked wonderful, I thought.  I made the lining out of navy blue crepe de chine, purchased from Emma One Sock Fabrics.

When it came to under-stitching the neckline and armholes, I decided to do it in white.  It mimics the white polka dots in the fashion fabric and also was much easier to see while doing all that handwork.

Instead of a box pleat in the lining, I did two side pleats to reduce bulk in that critical tummy region!

Fortunately, for the belt, I had silk taffeta left over from two previous projects, which turned out to be a perfect match.  I did not want the belt to take away visually from the rest of the dress, so I made it a modest 1.5 inches wide.  I think it is enough to complete the look, but not overpower it. And OF COURSE I wanted to finish it off with a tailored bow.  (I am planning a post on making this tailored bow belt, so I will not go into the details of it right now.)

 

An oyster-colored clutch helps to complete the look.

This is a very comfortable dress to wear!

No attempt was made to match any dots, as the pattern was completely random. This is the hand-picked zipper. I love the fact that the navy thread shows up on the white and coral dots.

And should I need a dress coat, this one matches the belt!

While this dress was firmly in my queue for summer sewing, at the time I did my planning I was not making it for any special occasion.  However, as good fortune would have it, two unforeseen occasions are now approaching in late summer for which this dress will be perfect.  I am definitely looking forward to wearing these dots!

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Filed under Bows as design feature, Cocktail dresses, couture construction, Linings, Mid-Century style, Polka dots, sewing in silk, silk, Silk taffeta, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1970s

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March 1, 2018 · 2:26 pm

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.

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

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January 21, 2018 · 5:00 pm

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!

 

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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

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December 2, 2017 · 8:31 am

Two Holiday Dresses

Sewing for my granddaughters, ages 4½ and 2½, generally means I am sewing two of everything. As they get older, I suspect this will not always be the case, but right now, it seems safe to go with identical sister dresses. They live in a part of the country which can get very cold winters, and the specific part of their state where they live tends towards a casual lifestyle. Keeping those parameters in mind, I decided to look for warm flannel when planning for dresses which could see them through the holidays and into the winter months. I wanted the dresses to be festive but not too fussy. When I found this red brushed flannel check, I bought five yards – the details for adding “festive” to the dresses would come to me, of that I was sure!

I went back to a pattern I have been using over and over, adjusting the sizing as the girls have grown, and adding my own varying design aspects to make the dresses look new and different from one season to another. The contrasting collars and cuffs add interest to the dresses, through the use of various trims.

I have used View C of this pattern for birthday dresses, including the Strawberry-print dresses from last Spring.

Finally I did not want these dresses to look so Christmas-y that the girls would not be able to use them beyond the holiday season. I knew that if I made solid holly green the sole accent color, it would limit their versatility. That’s when I got the idea to look for some multi-color wide ribbon, preferably vintage, which could be used not only for sashes, but also for piping for the collars and cuffs. I found some of the most gorgeous plaid ribbons online, especially at Promenade Fine Fabrics. They have a bricks-and-mortar store in New Orleans and a website, but they also have an Etsy Store, and that is where I found this ribbon:

The ribbon is vintage French, of course (!) – 3 1/2″ wide.

Somehow I knew instinctively that the orderly flannel gingham check and the more random plaid of the ribbon would work together. (I have since found the term for this phenomenon, as clearly stated on page 84 of the wonderful little book, 101 Things I Learned in Fashion School by Alfredo Cabrera with Matthew Frederick: “Combining visual patterns – The most effective tool for the harmonious mixing of visual patterns is counterpoint. Scale counterpoint means grouping patterns of dissimilar scales, i.e. a larger pattern with a smaller pattern… If similar patterns are used together [in this case, two plaids], their scales need to be very different. …”) I also knew that making piping out of the ribbon to accent the collars and cuffs would tie the entire look together.

Normally with piping, I try to avoid too many seams, but the ribbon is lightweight and such lovely quality that I was able to piece together bias strips of it easily, and the seams are really imperceptible on the finished dresses.

This gives you an idea of how much piecing I had to do to make the bias strips for piping!

However, the plaid gave me very specific sewing lines when joining the bias pieces.

I made the collars and cuffs out of a creamy white linen and cotton blend, which matched the “white” in the flannel well. I also lined the bodices with that same fabric.

I couldn’t help myself – I put the zippers in by hand.

The buttons are vintage ones that I have had in my button box for decades, just waiting for the right application.

I originally thought I would place each button within a square of the gingham plaid, but it looks so much better to have the buttons straddle the squares.

I added sash carriers to the side seams, and the ribbon just gets tied in a big bow.

The longer sleeves will help keep the girls warm.

And here are Aida and Carolina, after visiting Santa, candy cane included!

This is very satisfying sewing, made especially so by two little girls who seem to love dresses! My daughter tells me they will be wearing them when they go to see a special performance of the Nutcracker Ballet. They may just steal the show!

 

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November 25, 2017 · 11:01 am

A Three Piece Outfit for the Holidays, Part 3: The Sash

The sash started it all. After finishing this silk taffeta coat last year, I was left with about 1 and ½ yards of that luscious coral fabric.

I just could not stand the thought of having that yardage sitting in my fabric closet, unused, as I found it so delightful to sew and to wear. That is when I got the idea to combine this fabric with the Guipure lace, also sharing space in that closet of wonders. However, my first thought was to make a blouse from the fabric and also use it as the fashion fabric for a lace skirt, knowing I would need at least one more yard to accomplish this plan. I contacted Britex Fabrics, from whence the fabric came, and to my dismay, they were sold out, with no more available to special order. Undeterred, I then came up with the idea of coordinating fabrics for the blouse and skirt, and using the coral silk to tie it all together. After receiving swatches of several silks from Britex, I settled on the bronzy brown and the apricot colored fabrics for the skirt and blouse, respectively.

A sash should really be straightforward, right? Well, yes; however, I thought it would be good if the sash had a slight curve to it to follow the curvature over the upper hip. That’s when I went to my closet and pulled out a silk sash that I purchased from J. Crew years ago. I had remembered correctly that it had a slight curve to it:

I often think of the tip in the book 101 Things I Learned in Fashion School, page 86: “When in doubt, look in your closet.” Looking at something that is “Ready to Wear” will often help you with construction methods or design ideas.

The J. Crew sash is 72 inches long. A trial tying of the bow proved to me that I needed to add more length to the sash if I wanted to tie a full bow at the waist, which was my intent. I determined that adding 12 inches would do the trick. Then I used that sash as a template to make a pattern, not quite knowing how sewing that long, slow curve was going to work (the sash has one long seam on the concave side of the curve, meaning that some give would need to be worked into that seam.) As it turned out, ironing was the trick to get it to behave correctly, as is so often the case!

84″ proved to be the perfect length to tie a complete bow.

I had to piece the sash in the center back, but I knew that ahead of time and it really does not bother me.

After trying on this completed outfit for the photos, I know that I need to somehow tighten up the interior waist of the skirt (you many recall from my last post, that I added what turned out to be unnecessary width to the circumference of the waist.) My blouse is not going to stay tucked in if I don’t, and the skirt feels like it is drooping on me. I am going to try adding interior waist elastic to straddle the side seams and see if that might do the trick. I am not about to take the skirt apart and remake it! And the sash should help conceal any bobbles in the waistline.

The “concealed zipper.”

It was cold and blustery when I took these photos! I could not wait to get back inside for a cup of hot tea!

Sewing for the holidays is such an anticipatory activity, and one that I love to do. There is already a festive feeling in the air here in late November, and so much more to sew…

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October 24, 2017 · 6:14 pm

A Passel of Patterns

“Just when I thought I had seen it all…” That was my reaction when not one, not two, not three, but four “new-to-me” vintage Vogue patterns came up for sale in the span of just a couple of weeks. Although I am always on the lookout for any pattern which might expand my collection in a meaningful way, I am, nevertheless, quite particular when it comes to buying new ones. I only want to add patterns which I think I will use at some point, even if it is just one detail which I might combine with another pattern. But I admit to having certain proclivities which seem to guide (no, sabotage) my pattern collecting – such as coats. I am complete mush in the face of a beautiful coat pattern! Another weakness is cocktail dresses and ensembles, especially ones with little jackets. Oh, I do love a classy cocktail dress! So, is it any wonder, that when these four patterns came “on the market,” I put considerable effort into trying to make them mine? And I hope that, even if you would never see yourself using a vintage pattern, you might still find much to admire in these beauties.

If you follow me on Instagram (@fiftydresses), you have already had a sneak peek at the first pattern.

The description reads: “Slim dress has flange with front draping. Narrow shoulder straps. Short jacket with below elbow length kimono sleeves has crossed over fronts. Left shoulder scarf is joined to front shoulder.”

Lots of pattern pieces as you can see in the diagram.

The front draping and the left shoulder scarf, adding back interest, put this ensemble on a notch well above ordinary.

This Vogue Couturier Design by Ronald Paterson was next to come on the market, at which time I happened to be traveling. Of course, that did not discourage me from keeping at the important business at hand, i.e. pattern collecting.  I felt very fortunate to have the winning bid, tucked in between airline flights!

This coat is a perfect example of what is known as a “dressmaker coat.”

I was initially drawn to the blouse pattern, which has such a demure, ladylike feel to it, but, of course, the coat with its lovely collar and flattering seaming completely won me over.

The description reads: “Narrow, semi-fitted coat has curved seaming at back of waistline. Small, shaped collar; long sleeves, four fake welt pockets [I can live with that, or perhaps eliminate them…] Fly-front, tuck-in blouse has kimono sleeves in front, set-in at back. Trim-stitching on shaped neckline and sleeve bands. Slim skirt.”

The long darts in the coat sleeves are an unusual detail, and notice the four neck darts on both the coat and the blouse.  These vintage patterns give so much useful information on the backs of their envelopes.

No sooner had the last pattern appeared than another one from the same decade came to my attention. From the House of Dior, this classic dress and coat have some notable stylistic details, such as the Dior darts in the bodice of the dress and the shoulder line extensions on both the dress and the coat.

The description reads: “Sleeveless, semi-fitted dress has back shoulder line extension and high round neckline. Ribbon belt. Slender coat has padded [YES! Padded!] band edging at side closing, around neckline and on long sleeves.”

If I make the dress, I will be cutting in the shoulders by a few inches and probably slightly reshaping the neckline. Also, the ribbon belt looks a bit too wide, but that will take some more thought. I think the coat is gorgeous.

When the final “new-to-me” pattern came up for sale, I was still traveling! I was getting proficient at keeping up with multiple bids, but the auction for this one was ending when I was going to be landing at our home city, so I resolved myself to losing this one. How lovely when I found out a few hours later I had, indeed, had the winning bid.

I have found that vintage Guy Laroche patterns often have a bit of “drama” to them. Certainly that is the case with this dress with its draped back.   That detail and the perfectly placed, half-looped bow at the shoulder make this design a winner in my opinion.

This pattern is copyright 1960, making it the earliest of these four patterns.

The description reads: “Slim skirt in two lengths joins the bloused bodice at waistline. Loose draped back section below shaped neckline. Three quarter length fitted sleeves and sleeveless. “ I quite like the options available: long, short, three-quarter sleeves, sleeveless. This dress could be quite fancy or understated, depending on the fabric and how it is made.

Once these patterns started arriving in the mail, I was, happily, not disappointed.  However, since I’ve been home, I have been trying to tow the line on any more pattern purchases after my flurry of activity! I have, instead, been trying to concentrate on a flurry of sewing. It’s great, finally, to be back in the sewing room. Dare I say (without jinxing myself) that I am excited to show you – soon – what I am working on?

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Filed under Bows as design feature, Coats, Cocktail dresses, Dior darts, Dressmaker coats, kimono sleeves, Mid-Century style, The Conde Nast Publications, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

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October 19, 2015 · 3:51 pm

Shopping in My (Cedar) Closet – Again!

Some dresses – and patterns – just keep giving and giving. As the date approached for a “black tie/ masquerade” ball which my husband and I planned to attend, I decided I had better start to think about what I was going to wear. I reluctantly admitted that the fancy dress I made this past Summer was really too summery to wear to a mid-October event, so I went into my cedar closet in search of another party dress. Still looking like the day I made it 22 years ago was this dress, made from a Butterick pattern:

DSC_0904

And here is the pattern.

Here is the pattern.

The thumbnail drawings shoe the process lines in the bodice. The description explains the construction of the skirt. I made it in the ankle length version.

The thumbnail drawings show the princess lines in the bodice. The description explains the construction of the skirt. I made it in the ankle length version. And yes – it has a side zipper.

Although I have actually made just one dress from this pattern, I have used the bow pattern (or some “sized-up” or “sized-down” variation of it) again and again. My most recent use of it was for the waist bow on my Summer dress:

I enlarged the pattern a bit to make this bow.

I enlarged the pattern a bit to make this bow.

With a black velvet bodice, the dress from my cedar closet is definitely more suitable for cooler weather, and I didn’t think it looked too dated to wear.

GD Ball 3

I like the dropped front waistline – a detail not often seen in current patterns – at least to my knowledge.

Black and pink fancy dress

The pink fabric is polyester, although it certainly resembles silk. I never forgot the “name” of this fabric – it was called “Eyelash”! It has a crinkled effect to it, but is soft and wrinkle resistant.

This is a view of the back of the dress.

And, as luck would have it, several years ago I made a mask to wear to some other event, the purpose of which now is lost to the ages! Fortunately I had used some left over fabric from my “cedar closet” dress – so it matched perfectly.

Mask Pink

I love a mask on a stick – it doesn’t muss one’s hair! I added that vintage flower to give it extra allure. The stick is just that – a skinny dowel which I covered with ribbon.

Those are sequins around the eyes!

Those are sequins around the eyes!

When I made the dress back in the 1990s, I found this evening bag to use with it, so, of course, I wanted to use it again. How times do change! I tried every which way to fit my smartphone in it, and no amount of “schmushing” or angling allowed me to do so. Fortunately, my husband’s tux has lots of pockets, so he toted my phone for me!

Black and pink fancy dress

The final touch to my outfit was long black velvet gloves. I adore long gloves; they are elegant, fetching and … warm! I did not see another pair of formal gloves the entire evening, which to me is a little sad. Accessories like that add so much to our attire and to our “presentation” and unfortunately are one of those fashion niceties being lost in an increasingly casual world.

GD Ball 1

Click on the photo for a closer look…

GD Ball 2

Some of the people in attendance at the Ball were in costume, but I loved the fact that I could get one more wearing out of a formal dress made so long ago. Back into the cedar closet it has gone – sharing space with other out-of-season or “too sentimental-to-give-away” pieces. It is anybody’s guess whether I will ever have another opportunity to wear it. But those gloves? I am keeping those handy!

 

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