Category Archives: Buttons – choosing the right ones

July 16, 2021 · 1:46 pm

A White Eyelet Blouse

Eyelet is one of those fabrics which can conjure up memories from one’s life.  So often associated with pinafores, eyelet is lovely for little girls’ dresses – and petticoats.  It is often used for lingerie or sleepwear for all ages, as well as dresses and blouses.  It is a summer fabric, with its “built-in” air conditioning – ie. all those little holes surrounded by embroidery.    Often eyelet trim – and sometimes eyelet yard goods – have one or two finished borders.  Such was the case with the eyelet I found earlier this year for the ruffled collars for sundresses for my granddaughters.  

This lace was a 14″ wide double scallop-edged panel, which I cut down the middle to use for the two collars.

It was working on those collars which convinced me I needed to make an eyelet bouse for myself.  I went back to Farmhouse Fabrics, from which I had purchased the double-sided eyelet panel for those collars, to find a suitable eyelet for a blouse.  Farmhouse Fabrics has quite an inventory of lovely eyelets, so it was difficult to decide.  But decide I did, and purchased this all-cotton eyelet made in Spain.  

I liked the meandering motif in this design.

For a pattern I used this vintage Vogue pattern from 1957.

I liked the convertible collar of this pattern, as shown in View B. A convertible collar is one which can be worn open or closed. The collar is sewn directly to the neckline.  I did, however, shorten the sleeves to below elbow-length.  I also chose to make plain, buttoned cuffs without the extra turn-back detail.  

Although the blouse is described on the pattern envelope as “tuck-in,” I liked the gently curved and split hem which would also allow me to wear the blouse as an over-blouse.  The thumbnail detail from the pattern envelope shows the curved hem.  

I lined the main body of the blouse with white cotton batiste, leaving the sleeves unlined.  To reduce bulk, I made the undercollar and the cuff facings from the white batiste.

Buttons are always a favorite component of a blouse for me.  I had a card of vintage Lady Washington Pearls which seemed a lovely complement to the scale of the fabric embroidery.  

One button remaining!

I first wore this blouse on a very warm evening to attend an outdoor concert.  I was amazed at how cool the blouse was. The little breeze there was, did indeed feel like air-conditioning as it wafted through all those embroidered holes!

In my case, this collar is not “convertible” as I did not put a button and buttonhole at the neckline!
I made the cuffs with a bit more width than needed so I can push the sleeves up further if I want.
After I finished the blouse I went back and added two narrow fisheye darts to the back to make the fit a bit more streamlined.
I think this blouse might be a good pairing for the Liberty cotton skirt featured in my last post.

Finding beautiful eyelet fabric is now on my sewing radar.   I would like to make more with this timeless, feminine and versatile type of lace. 

24 Comments

Filed under Blouses, Buttons - choosing the right ones, Eyelet, Lace, Mid-Century style, Sleeves, Uncategorized, vintage buttons, vintage Vogue patterns from the 1950s

Tagged as , , , , ,

April 30, 2021 · 2:20 pm

Too Late – or Too Early?

This sewing out of season is perplexing.  On the one hand, I am happy to have been able to complete this dress.  But on the other hand, the timing of its completion means it is too late in the season to even think about wearing it – or much too early.  Not that it will matter six months from now. 

After my successful use of a new sheath dress pattern earlier this winter, I was anxious to use it again.  And I just happened to have a piece of cashmere herringbone wool tucked away for such an occasion.  I had been on the hunt for a wool to coordinate with the Classic French Jacket shown, and I was quite excited when I found this selection at Farmhouse Fabrics.  The bonus was the fact that it is cashmere, and oh, so soft.  

Wool is quite possibly my favorite fabric on which to sew.  Christian Dior certainly had kind words to say about wool in his Little Dictionary of Fashion.  “Wool shares with silk the kingdom of textiles…  And like silk it has wonderful natural qualities.  Always before you cut woolen material it has to be shrunk to avoid disappointment afterward.” [I always steam wool fabric heavily before I cut into it for just this reason].  Dior continues, “Wool has the great advantage over all other materials in that it can be worked with a hot iron and molded.” (The Little Dictionary of Fashion, by Christian Dior, Abrams, New York, New York, c2007, Page 122.)  

Additionally, I have always loved the herringbone weave.  The chevron pattern in this particular fabric is achieved by the use of two contrasting colors, yellow and pumpkin, which produces the lovely and soft deep persimmon color.  

The two contrasting colors are apparent in this photo.

Making this sheath dress was very straightforward, its details identical to the sheath dress which preceded it:  lapped zipper, underlined with silk organza and lined with crepe de chine, under-stitched neckline and armscyes, and a real kick pleat.  

I chose this delicate crepe de chine for the lining. I purchased it from Emma One Sock, which has a beautiful assortment of silks suitable for linings.
Oh, how I love this kick pleat.

This jacket and skirt will be perfect for Fall – and I am delighted to have a dress to wear with my jacket which I completed two years ago.  

And now for those of you who like to see the sewing I do for my granddaughters, here are two more dresses which were definitely too early (although on time for Spring birthdays.)  Unseasonably cold Spring weather kept these dresses on their hangers apparently, but I do have pictures of them before they went on their journey across many, many miles to their final destination.

I found the fabric at Emma One Sock last Fall.  It looks and feels like Liberty Lawn but is not.  The bordered eyelet which I used for the collars is from Farmhouse Fabrics, as is the pattern, which I have used before.  (This is the last year for this pattern for my girls, as I used the [largest] size 12 for my very tall and slender eight-year-old!) 

This diagram helps to show the details of the pattern. Notice the narrow darts in the bodice, which gives such a nice degree of shaping. This is the type of detail found on well-engineered patterns, of which this is one.

The buttons are vintage Lady Washington Pearls.  The pale pink rickrack is also vintage – and 100% cotton – which makes it lay beautifully flat, molding itself with the cotton fabric.   

 

Beautiful vintage buttons like these are a good match for this timeless pattern.
Such lovely eyelet and just the perfect weight for gathering into a collar.

So quickly these weeks turn into months and then into seasons! Whatever the season from whence you are reading this, I wish you dresses which are just right!  One of these days, mine will be, too.

13 Comments

Filed under Buttons - choosing the right ones, Chanel-type jackets, Christian Dior, classic French jacket, couture construction, Eyelet, Sewing for children, Sheath dresses, Uncategorized, vintage buttons, vintage Vogue patterns from the 1960s, woolens

Tagged as , , ,

February 23, 2021 · 7:04 pm

One for Winter

And Winter it has been!  BRRRR….  Seriously cold weather calls for some seriously warm fabric, and I had just the right piece waiting for such an occasion.  

When I found and purchased this vintage piece of Viyella several years ago, I thought the plaid was of a larger format.  I’m not quite sure what I thought I might make with it, but I tucked it away for another day.  After making so many casual cotton blouses over the past few years, last Fall I had one of those “Aha” moments, and decided this Winter would be good time to make one for cold weather – and what better fabric to use than this small-scaled plaid Viyella?  

It is always reassuring when there is documentation attached to a piece of vintage fabric. Two of these paper labels were attached to the fabric when I purchased it.

I have had direct experience with the warmth that Viyella provides, having made two bathrobes out of this storied fabric.  And unlike some wool (Viyella is a wool/cotton blend), this fabric does not itch against bare skin.  I made the robes pictured below in 2017 and 2019, respectively. I expected the Viyella which is the subject of this post to be of the same scale as these two plaids. Yes, purchasing vintage fabric online can have its surprises!

I’m not sure any single garment I have made has been worn and appreciated more than this robe.
I made my second Viyella robe to keep in our vacation home in Wyoming.

The background of this current fabric “reads” blue, but it turns out gray thread and gray buttons seemed to be the best complement to it.  

Always on the hunt for vintage pearl buttons, I found these gray ones to use for this blouse.

This is the time-tested and altered Simplicity pattern I have used repeatedly – with its yoked back – and shirttail hem.  

Every time I make this pattern, I have to go to the instruction sheet for the yoke construction details, and EVERY time I get confused!  

This may be the first time I have actually made this pattern without having to take out at least one seam in the process of joining the yoke to the back and fronts. 

How difficult can it be to attach a yoke? Somehow I make it difficult every time!

There is really not too much more to say about this blouse, except perhaps to wonder why it took me so long to decide to make it. 

 

I have a number of Viyella labels in reserve, so I was happy to use one for this blouse.
Staying warm!

Hmmmm.  One for Winter might become Two for Winter… 

27 Comments

Filed under Bathrobes, Blouses, Buttons - choosing the right ones, fabric labels, Uncategorized, vintage buttons, Vintage fabric, woolens

Tagged as , ,

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.  

36 Comments

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

Tagged as , , , , , , ,

September 18, 2020 · 4:03 pm

The Last Dress of Summer

Or is it the first dress of Fall?  It depends on your point of view, apparently.  The Autumnal Equinox, here in the Northern Hemisphere, is September 22nd, officially the first day of (Astronomical) Fall.  Meteorological Fall began on September 1st, marking the point in the year when the temperatures begin to fall (pardon the pun.)  Either way one looks at it, I now have a finished dress which is either late for Summer or just under the wire.  I’m honestly just delighted to have it finished!

Although linen is traditionally thought to be a summertime fabric, I have long thought it is also the perfect fabric for early Fall.  Moygashel linen is especially well suited for this time of year.  Its natural fibers keep it cool for those days which continue to warm up, but its sturdy weave and heft give it a substantial enough look for these days of transition.

I purchased this piece of vintage linen from an Etsy shop years ago.

This particular piece of Moygashel, undoubtably a survivor from the mid-1950s, presented me with a couple of challenges.  First, it was only 35” wide.  And I only had 2½ yards.  Laying out pattern pieces on a single layer of fabric always allows me to maximize their placement, improving my ability to do the impossible – get a dress out of too little fabric.  (Here is another Moygashel linen dress which I was able to squeak out of 1 5/8 yards of 35” fabric.)

This vintage Vogue pattern gave me two sleeve options.  If I had opted for the very short sleeves, I would have had ample yardage.  But, for the seasonal reasons mentioned above, I particularly wanted to make this dress with the below-elbow-length sleeves.  So, I fiddled and figured and made it work by utilizing both the straight of grain and the cross grain for the bodice/sleeve pieces.  I was able to do this because of the allover floral design – ie., no directional limitations.

This pattern is dated 1957.

Interestingly enough, this dress with its cut-on sleeves does not have gussets.  Rather, the underarm seams of the dress sections are curved to add moveability.

This shows where the seams join under the arm close to the top of the side zipper.

I underlined this dress with white cotton batiste (from Farmhouse Fabrics) and I finished the seams with Hug Snug Rayon seam binding.

The buttoned upper back bodice is a real focal point of this pattern.  Being 1957, the pattern calls for “fabric buttonholes” – or bound buttonholes.  So that’s what I did.

When it came to buttons, I wanted to use some sort of faceted black buttons.  After searching online and coming up empty-handed for buttons of the correct size and look, I settled on these carved pearl buttons already in my button collection.

I love these buttons, but I still think black ones would be better …  so I will keep searching and switch them when I’m successful.  That will also allow me to use the “leaf” buttons (I have 6 of them) for something which will show them off to better advantage.

The final construction detail of note is the 10” side zipper.  I used a lapped, hand-picked application which lays inconspicuously below the left sleeve.

It is so inconspicuous, you can barely see it here!

I did not leave an opening on either side at the waist for a belt to slip through.  In fact, I did not have enough fabric to make a self-belt!  However, my intention was always to use a contrasting belt.  I think this fabric will lend itself to using belts of varying colors (red or yellow or pink?) as long as I can coordinate with shoes, handbags and/or jewelry.  That will have to wait until I am home from our Summer location.  Maybe I’ll even find black buttons back home!

I could wear this dress without a belt as well. (But I’m not sure I will…)

One final note about this pattern and dress:  it has to go over the head.  It was much more common for dresses from the 1950s and ‘60s to have side zippers and “over the head access”  only.  This can wreak havoc on hair (and make-up)!  So a little pre-planning is necessary – I will need to finish my primping after I have put on the dress.

And everytime I put this dress on, I shall see the original Moygashel linen label which came with the fabric.

I suspect this dress will go right into the cedar closet for the months to come, as I switch out the wool skirts and dresses and coats and sweaters.  But hopefully, in March, at the Spring Equinox, it will creep out from its dark and quiet spot and maybe even actually be worn!

18 Comments

Filed under bound buttonholes, Buttons - choosing the right ones, Day dresses, Moygashel linen, side-placed zippers, Uncategorized, vintage buttons, Vintage fabric, vintage Vogue patterns from the 1950s, Vogue patterns

Tagged as , , , , , ,

July 23, 2020 · 6:04 pm

“You Can’t Have Too Many Blouses”

My sentiments, exactly!  Whenever I start to question if I really need another blouse for casual wear, I remember this feature in the February/March 1954 Vogue Pattern Book Magazine. 

 

 

 

 

 

 

 

 

 

And while both casual and dressy blouses are shown in this 2-page spread, it just gives me more reason to love making blouses.  One of the aspects of a crisp cotton blouse which really appeals to me is how tidy they look, even when slightly wrinkled.  Knit tops, while comfortable and easy to wear (no ironing!) can, over time, sag and pull and cling.  Not so with fine quality cotton wovens.  They keep their shape, and they wear and wear and wear without looking worn out.  So is it any wonder I have added two more classic blouses to my summer wardrobe?

It always seems the process of making one of these blouses begins with Farmhouse Fabrics.  I see a fabric on their website I can’t live without, or one which is so classic, it begs my attention.  I know the quality will be superb, as that is what Farmhouse does.  So – two fabrics, which produced two very different looks from the same (old) pattern I have been using for quite a while.

The uneven plaid of the green and blue fabric posed some layout questions for me.  I even thought, briefly, of using the cross grain in order to balance that strong blue stripe, but once I saw a photo of it, I went back to the straight of grain.

Taking a photo of something always helps me make decisions. Those bold blue stripes on the horizontal made the fabric look completely different. The photo helped me determine which orientation would be best.

At that point it seemed logical to use that bold blue stripe for the center front and center back.

I used a spread collar for this blouse. I positioned the collar so the green blocks of the fabric would “point” to the green stripes to the right and left of center front.

The only way for the back yoke to look good was to place it on the bias.  I interfaced it so its stability would be intact.  I think this was a good solution for a situation where it would have been impossible to match plaids.

I will confess I had been looking for a narrow candy stripe, cotton shirting fabric (to pair, one day, with another fabric waiting its time!)  Peppermint stripe is another description often used for red stripes on white.  Both names tell you exactly what they are – red and white stripes of some variety.  There are a lot of wide candy stripes, or candy stripes with alternating widths of the red lines, but I had some difficulty finding a narrow-striped cotton.  So I grabbed it when I found it.

This blouse was very straightforward.  The only change I made from most of the previous blouses I have made from this old, altered pattern was to revert back to a pointed collar.

Here is the pattern which I have altered and used so many times.

I used 3/8” vintage pearl buttons for both blouses.  One really can’t go wrong with those.  And I used woven, non-fusible interfacing in the collars, cuffs, front facings and yokes.

I love this small 1950s silk neck scarf paired with this blouse.

Now I am thinking it is time to move on to another style of blouse and retire this pattern for a while.  Although I doubt I will ever have too many of these “men’s style” blouses, there are other ways of looking tidy and neat in a casual way.  Think I can do it?

15 Comments

Filed under Blouses, Buttons - choosing the right ones, Uncategorized

Tagged as , ,

April 29, 2020 · 6:11 pm

Give Me Liberty – Again

It was not planned this way.  Not much so far this year has been planned in the way it is going, truth be told. Which makes my most recent make both tinged with nostalgia and hopeful.  Mostly hopeful, I think.

For over thirty years I have had this length of Liberty Lawn surface time and again from its storage basket in my fabric closet.  I never had the right pattern for it, not when I purchased it on the island of Bermuda back in the 1980s, nor over the ensuing years – that is, until this year.  After making my wool challis shirtdress earlier in the year, I realized that same pattern was how I had subconsciously – for years – envisioned this fabric being used.

It has been satisfying to use this fabric, finally, as it deserves to be used.  Liberty is one of the world’s famous manufacturers of cotton.  Did you know it has its own entry in Fairchild’s Dictionary of Fashion?   Actually two entries – one under Liberty and another under Liberty Print.  Here is the latter entry: “Trademark of Liberty, London, for wide range of printed fabrics.  The best known are small multicolored floral designs.” (The Fairchild Dictionary of Fashion, by Charlotte Mankey Calasibetta and Phyllis Tortora, Third Edition, Fairchild Publications, Inc, New York, New York, c2003.) I wrote about Liberty cotton way back in 2012 when I was still pondering the use of this red and green floral print.  But voila!  Now I have used it!

Enough of the blah, blah, blah, here are the details:  I underlined the fabric with a very lightweight white cotton batiste, purchased from Farmhouse Fabrics.  Then I finished the raw edges of the seams with Hug Snug rayon seam binding.  I love this finish for garments which are underlined, but not lined.

Here is a detail of the cuff. I did not underline the sleeves.

As I mentioned in my post on the wool challis shirtdress, I added shoulder darts to the back of the bodice, and instead of using an eased-in sleeve, I converted the necessary fullness into a dart at the very top of the sleeve.  The button placement guide for this pattern indicates using 8 buttons.  I think next time I make this pattern (and I’m sure there will be a next time), I am going to increase that number to nine.  I think the distance between buttons on the bodice is just a bit too much, now that I have it finished.

Speaking of buttons, I found white pearl, metal shank buttons in my collection, and they seemed just perfect for this fabric, which has such a fresh appearance.  The only substitution I made was the button on the collar band, where I used a button which was 3/8” rather than 1/2”.  Fortunately I had a card of 4 buttons in this size which mimics the appearance of the other buttons.

A detail of one button on the bodice.

For the belt/sash, I got my inspiration from RTW which I detailed back in January.  My first thought was to use a red grosgrain ribbon sash.  But it just didn’t look right.  Fortuitously, in looking in Promenade Fabrics Etsy store for ribbons that might work, I came across a white Seersucker-look 2 ½” wide light weight ribbon which I thought looked wonderful.  I ordered three yards, and it was just as wonderful as it looked online.  However, in holding it up to my fabric, there was enough “show-through” to be problematic.

The ribbon was not opaque enough to cover sufficiently the print of the fashion fabric.

To remedy this, I used a fusible interfacing for the middle section of the sash which would be the initial circling of my waist.  (I rarely use fusible interfacings, although I keep some on hand for some of the sewing I do for my granddaughters, but this time it came in handy.)  This did the trick and also added just a bit of stiffness to that section of the sash.  Then the un-faced end sections of the sash are still soft and flowing.

This shows the sash with fusible interfacing applied to the mid-section of the length of the sash, but not to the top layer nor bow. It adds just enough coverage to minimize the appearance of the fashion fabric beneath it.

After I took photos, I got the idea to fold the interfaced part of the sash in half lengthwise to make it narrower and maybe a bit more flattering.  Here it is on my dress form:

One of our few warm, sunny days allowed me to get these following photos.


While I was making this dress, I could not help but remember the fun trip my husband and I took to Bermuda when I purchased this Liberty cotton.  I still remember trying to decide which piece of Liberty print to purchase (so many from which to choose), how many yards to get (it was still manufactured in 35” width at that point), and being delighted to get a label with it.  Those were the times when one dressed for dinner, had breakfast served in one’s room , and tea in the afternoon.  Yes, I could not help but be nostalgic.  But then I had so much fun bringing this fabric to life, I could not help but feel hopeful.  It was a lovely way to spend the hours in my sewing room. And how fitting to sew with fabric which perfectly expresses my sentiments right now.  Please, give me Liberty!

 

20 Comments

Filed under Buttons - choosing the right ones, Liberty cotton, Uncategorized, underlinings, vintage buttons, Vintage fabric, Vogue patterns

Tagged as , , ,

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…

17 Comments

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

Tagged as ,

December 12, 2019 · 1:20 pm

Making a Parisian Jacket, Part 2 – and on to the Finish

Oh, lets’s just skip Part 2 and go right to the finish!  To be honest, a separate Part 2 was somehow lost in the midst of a flurry of sewing while I concentrated on “December Dresses” for my two granddaughters.  More on those another time.

When I returned to my Parisian Jacket, I was almost ready to tackle the gussets.  Sewing the bottom curved seam of the gussets was easy to do on the machine.  But when it came to the other two seams, working in such tight angles, I did not even try to sew them on my machine.  I went right to hand sewing them, using a small tight backstitch, and I ended up with good results.

Having the gussets finished meant that the basic body of the jacket was together.  Then it was on to the collar and the front facings.  Following Susan Khalje’s video instructions, I was able to get a very precise finish to the collar.

I had to be careful to match the weave of the fabric, up and down and across.

There are two bound buttonholes in the right front of the jacket, and this is where I deviated slightly from the order of construction that Susan was following.  Instead of partially sewing on the right front facing and then making the buttonholes, I did my buttonholes before I attached any part of the facing.  I felt like I had more control doing it this way.

The finish of the buttonhole on the ifacing.

The finish of the buttonhole on the facing. (Please pardon the cat fur!)

Whenever I have made a Classic French Jacket, I have added a slight curve to the back hem, and I find this to be very pleasing.  I decided to do the same with this jacket.  At the center back I marked the hemline at 5/8” below the marked hem, and then I gradually curved it up to the side point of the jacket.  It is quite subtle, but I think a nice addition.

I went round and round with buttons for this jacket.  Ideally I would have loved to find some pink ones, but the pink of this vintage Linton fabric is really not a clear pink.  It is a bit “dusty” and finding buttons to match proved too big a task.  So I opted for these vintage mother-of-pearl gray buttons, which happen to have pink overtones to them.

I expect to wear this jacket with gray quite a bit, so the gray buttons make sense to me.  I actually really like them now that they are on.

I chose a pink silk charmeuse from Emma One Sock Fabrics for my lining.  I would have loved to use a flowered silk, but the ‘see-through’ factor of the light pink wool prohibited that.  And actually the pink lining seems to add some vibrancy to the fashion fabric.  It makes a very pretty “inside”.

I sewed the lining in entirely by hand, which was an option. The front seams of the lining could also be machine stitched.

This was a very time-consuming project, even without making granddaughter dresses in the midst of it.  The video series is 13 parts long and Susan is extremely complete in her instructions.  I attribute my success with this jacket to three main facts:

  • I basted every seam before machine sewing them, even the seams in the lining.
  • Except for the bound buttonholes, I carefully followed Susan’s order of construction as she laid them out in her videos.
  • I viewed each lesson over and over to make sure I wasn’t missing anything.

There were many couture tips shared by Susan during the making of this jacket, but these four are ones I will use again and again:

  • Sew the sides of the pocket bags in by hand with a small fell-stitch rather than sewing them by machine. What a great finish this made.
  • Catch-stitch the upper curve of the pocket bags to the underlining of the jacket. This keeps them in place and prevents sagging of the bag inside the garment.
  • Use straight-of-grain silk organza strips to stabilize the on-bias cuffs of the bias sleeves. This keeps the lower edge of the sleeve from “growing” as bias is wont to do.
  • To add a center back pleat to the lining, which is necessary of course, place the back jacket pattern piece on the fold of your lining silk, set back from the edge by about one inch. (You will not have a center back seam in your lining with this method.)  The extra inch makes a natural pleat which can be secured at the neckline and at the waist or slightly below.

It may be a little difficult to see the center back pleat, as everything is so pink, but it is in the center of the photo.

I am already looking forward to making this jacket again.  I can visualize it in a vintage Moygashel linen – it would be beautiful for Spring and Summer and Fall.  I think this jacket may become as addictive to sew as a Classic French Jacket!

 

24 Comments

Filed under bound buttonholes, Buttons - choosing the right ones, couture construction, Gussets, Linings, Uncategorized, vintage buttons, Vintage fabric, woolens

Tagged as , , , , , ,

November 11, 2019 · 1:27 pm

Making a Parisian Jacket, Part 1

Another title for this post could be “Sewing with Professional Instruction – the Parisian Jacket.”  One of the advantages of having a subscription to Susan Khalje’s online Couture Sewing Club is exclusive access to videos which take the viewer, step-by-step, through the process of making one of these jackets.  

When this pattern was released a few months ago, I was immediately interested in making one.  There are several details in this jacket which I find especially appealing.  The first – and salient one – is the cut-on sleeve, also called an all-in-one sleeve. This is a design feature which was prevalent in the 1950s, but no longer often seen.   Usually sewn with an underarm gusset to enhance moveability, this sleeve forms its own crease lines below the shoulder at the front and back.  You can see that detail in the diagram on the pattern envelope above.  Take a look at this magazine cover from November 1956.  You can see both the crease line and the coat’s gusset.  

I suspect at least one of the reasons this particular type of sleeve fell out of favor is that the pattern pieces do take a sizeable amount of fabric to accommodate the width of the attached sleeve.  I also suspect sewing in those gussets demanded a certain expertise to be finished successfully, adding time to both home sewing and to ready-to-wear.  But I love the look of the cut-on sleeve.  It really is a classic style, and one which I am happy to have the opportunity to incorporate into my sewing.  It is worth mentioning here that this sleeve is similar to a “kimono” sleeve, but it is not cut as full under the arm.  (This seems like a good time to show the pattern piece for the jacket’s gusset.  Rather than diamond shaped, it is a triangle with a curved top edge.  Pretty clever!)

Another design feature of the jacket which appeals to me is the prominence of the buttons.  The jacket is shown with just two buttons, although certainly a third one could be added.  However, with two larger ones, it is really possible to use showcase buttons, if desired.  And if you follow my blog, you already know that vintage buttons – and unique new ones – are one of my weaknesses.  I am always looking for opportunities to use beautiful buttons.

A third construction detail I find appealing is the center back seam.  This allows the opportunity for lovely shaping and more precise fitting than if the back piece were cut without a seam. 

With all this in mind, I was anxious to get started on this project.  As I already had several lovely woolens waiting for their turn, I decided to use one of them rather than buy new fabric.  And my attention kept coming back to this vintage piece of Linton wool which I purchased from an Etsy shop about a year ago.  

It is entirely coincidental that the jacket Susan is making in her instructional videos is also pink!  Of course, I love pink.  I would describe this particular hue of pink as a “Winter pink.”  It has a bit of a dusty appearance to it, making it ideal for a November project.  The best thing is that I have enough fabric to make a matching sheath dress to go with my jacket.  (Although I feel sure that particular project will have to wait until after the new year.) 

Well, back to Susan’s video instruction…  She is very thorough in what she includes, so much so, that those of us who have taken classes from her already, are able to whiz through the early lessons for the most part.  However, one suggestion she made was to use pins rather than machine sewing to fit the muslin together.  Here is what I mean by that:

The seam lines are pinned together horizontally throughout, and then the muslin is ready to try on. No stabbing occurred during the process!

I found this method far superior to putting the muslin together by machine.  It was much easier to make changes and alterations, and I felt like the “seams” laid flatter, enabling me to ascertain the fit, on me, more precisely.  

Once I had my muslin perfected (as much as possible), I transferred all the markings onto white silk organza, to be used as my underlining and also as the pattern pieces from which to cut the fashion fabric.  I had to move to my dining room table to accommodate the expanse of the wool. 

It is easy to see here the amount of fabric needed for the cut-on sleeves. (I use my candlesticks as weights to keep the fabric from slipping.)

Once I started assembling some of the jacket pieces, I realized I had not perfectly matched the facings.  Although the wool is solid pink, there is that very distinct weave in it which needs to be matched.  Fortunately, because I had left such wide seam allowances, I did not need to cut a new facing.  I just needed to readjust the organza on the one facing which was a bit askew.  

You can see the organza adjusted on the righthand facing, before I had re-basted it.

I still have a long way to go on this jacket, but here are two “work-in-progress” shots, with the seams sewn but nothing trimmed, ironed or catch-stitched yet.  It is fun to see it taking shape, however.  

I have a pink button pinned onto the front to see how it looks, but I have already decided against it.

Two more things need to take shape very soon – namely Holiday dresses for my granddaughters.  Somehow, I think they will be finished before my jacket!  

21 Comments

Filed under Buttons - choosing the right ones, Sleeves, woolens

Tagged as , , , , , ,