Category Archives: Buttons – choosing the right ones

February 20, 2019 · 12:12 pm

Classic French Jacket – Number 5

Never did I imagine that when I last wrote about the progress on this jacket, it would be an entire month before I could declare it “finished.”  But such is a fact of life with the construction of one of these jackets.  They always seem to take much longer to complete than ever imagined.  (I should remind myself that during that month, I also made a wool skirt and I was away twice on short trips, but still…)

As this is the fifth one I have made, I can safely say that I have developed my own set of tips for working my way through the lengthy construction process.  Of course, it all has to start with a pattern which is a perfect fit.  Fortunately my muslin pattern is from a Jackets Class I had with Susan Khalje over five years ago. With this pattern, I can go right to my boucle and get started.

While it is often recommended to cut out just the body of the jacket, minus the sleeves (the variegated weave of which is then checked with the constructed jacket body before cutting them out), I have developed enough confidence that I cut out my sleeves along with the body of the jacket.  This allows me to make the sleeves first.  For me there are two advantages to doing this: 1) there is a psychological benefit in knowing that the sleeves are lined, linings are fell-stitched in place, trim is on, and the sleeves are as finished as they can be before setting them into the body of the jacket, and 2) I like to trim the sleeves first, as a way of testing the trim I have chosen.  If I do not like it, I only have trim on one, or two, sleeves which must be removed.  It is also much easier to sew trim on a sleeve which is still separate from the jacket.

Another tip I have learned is to use my walking foot not only for the channel quilting of the lining and fashion fabric (a must), but also for all the seams.  I pin profusely, but the walking foot helps to keep the fabric from slipping, crucial when matching all those lines and plaids prevalent in a typical boucle weave.

I chose this navy and white silk charmeuse from Britex Fabrics for my lining fabric. The boucle is from Mendel Goldberg Fabrics.

I really went round and round with the trim for this jacket.  I knew I wanted to use self-fringe, but I also knew it would need some definition added to it.  After trying several colors of velvet and Petersham ribbon in the trough of the fringe, I realized I would have to go to a bright orange as an underlay for the navy twisted braid I wanted to place on top.

The trim was applied in three steps. Here the fringe is attached as the first step. Not too exciting all by itself.

The next step was to apply this bright orange velvet ribbon, also from Britex. It was really a leap of faith to use this very demonstrative color. It looks fairly garish like this! (I sewed each edge of this ribbon separately, so twice around for this part of the trim.)

But once the navy twisted braid is on, step number three, that bright orange underlay is fine.

One thing I have done with all my jackets – and this is a tip from Susan Khalje – is to add about 1/2 inch in length to the center back of the jacket, curving it up gently to the side seams. I love the effect that this little bit of extra curve gives to the back of the jacket.

I always wax and iron the thread which I use for applying the trim.  It adds strength, but also is easier with which to work.  For this jacket, I also carefully ironed each “level” of trim as I applied it.

A detail of the right pocket. Of course, and this is preaching to the choir, the pockets absolutely cannot be cut out until the body of the jacket is completed. Their placement is a visual determination which really depends upon the fit and appearance of the finished jacket.

I found these vintage buttons in one of my button boxes.  I knew I wanted to use dark blue buttons, and I kind of liked the appearance of these.

The only hesitation I had is that they are plastic!  It seems a bit of a sacrilege to put plastic buttons on one of these jackets, but I actually think they look okay.  If I find other navy blue buttons in my future travels, I might switch them at some point.  But right now, they work.

Because I had only 8 buttons, I was limited to two pockets, and three buttons on each sleeve. I probably would not have put four pockets on this jacket anyway, so that was not really a compromise.

I have enough of the boucle left over to make a simple straight skirt, I think.  However, that will not happen this year!  I am so ready to move on to my next project.  In fact, it may be well over a year before I plunge into another one of these jackets.  I have but one other boucle lurking about in my fabric closet right now, and I am content to let it stay there for a while.

It was much too cold for outdoor pictures, so these will have to do!

I like the jacket worn closed …

… or open.

The curve of the back hem is apparent here.

Now it’s time to tiptoe ever so quietly into the lighter shades and fabrics of early Spring, despite the snow that is currently falling. I am so happy to have this jacket in the “finished” column.

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November 2, 2018 · 2:01 pm

A White Blouse

White blouses (or shirts, if you prefer) seem to occupy a niche all to themselves in the annals of fashion.  There is something both unpretentious and elegant about a white blouse.  A white blouse is almost always noticed and admired, and even the most tailored white blouse has an air of femininity to it.

Here is what Christian Dior had to say about the color white when he wrote The Dictionary of Fashion in 1954: “White is pure and simple and matches with everything. For daytime it has to be used with great care because it must always be really white and immaculate…  But nothing gives the impression of good grooming and being well dressed more quickly than spotless white…”  (Published again in 2007 by Abrams, New York, New York; page 120).

What could be a better example of being well dressed than this white blouse featured in the February/March 1955 Vogue Pattern Book Magazine (page 28)?  With its tucks and French cuffs, it is both demure and sophisticated.

Now this is an elegant blouse!

Timeless is another description that could be given to the classic white blouse.  Here is one featured in the August/September 1962 Vogue Pattern Book Magazine, page 49.  “In suburbia, nothing has as much unstudied elegance as a classic neat, white shirt…”

By the 1970s, collars look like they had overtaken the world, but even with its outsized points, the white blouse gives this velvet suit its focal point:

This is an advertisement for Crompton velvet, featuring a Vogue pattern (Yves St. Laurent evening suit), page XVI of the October/November 1971 Vogue Pattern Book Magazine.

The Wall Street Journal had a full-page feature on The White Shirt in the Weekend Section of March 26-27, 2016.  “Always timely and the quickest shortcut to chic,”  says the caption. Part of the feature is shown here:

Although the article fixated on RTW white shirts, a small section was absolutely apropos for those of us who make our white shirts. Finding your Match maintains that there is a certain chemistry involved in finding the perfect shirt for oneself, and it emphasized the importance of choosing the right fabric.  While cotton is usually the preferred fabric, even it is subject to an appropriate quality and weave.  Choosing a pure cotton fabric will necessitate a commitment to laundering and ironing.  Quoted from the article, “You can throw it in the machine, but for a finished look, Ms [Carolina] Herrera (who has made the white shirt her style signature) recommends hand-washing with a splash of starch for a crisp finish.  The white shirt, remember, is about contradictions – it may be easy, but it has good manners.”  (Oh, yes!)

Well, I can’t say I was thinking about chemistry and laundering and manners when I purchased this white cotton shirting fabric from Britex a few years ago.

I just thought it was so lovely with its woven stripe and scalloped detail.  I am happy to say it has been brought to fruition as a classic white blouse.

While the woven stripe IS lovely, it presented some definite considerations when I was laying out my pattern.  For example, what reveal of the stripe did I want to show on the collar and cuffs.  What about the back yoke?   How should the buttons line up on the design on the center front?  The following pictures detail my decisions as I worked through each component.

I chose to use the plain white band as the center portion of the cuffs.

I chose to position the stripe on the collar in the middle.

I decided to interface the yoke, as the cotton is lightweight, and the facing of the yoke would have shown through without it. I always use a woven, sew-in interfacing when I am making blouses. It works beautifully. I evenly balanced the placement of the stripe on the yoke, with just a slight plain reveal noticeable at the lower edge.

And then, what buttons should I use?   It is so easy – and often appropriate – to choose a simple white pearl, two-hole button to accompany this style of shirt. I was prepared to do that until I came across this card of vintage buttons in my collection:

My first thought was, “How perfect!  The incised stripes on the buttons mirror the stripe in the cotton.  And, to seal the deal, they were also the perfect size, at 3/8”.

I used the same 1970s’ Simplicity pattern (with my many alterations to it) that I used for the two gingham blouses I made over the summer.

It is always satisfying to use a fabric which had been purchased – in the past, shall we say? It reinforces my thought that there is a time for all those lovely pieces of silk, wool, cotton and linen still waiting for their destination.   Perhaps it really is about chemistry, after all.

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July 1, 2018 · 1:14 pm

Forever Gingham

Gingham fabric has been around for a long, long time.  Since the early 17thcentury to be exact, although the look of the fabric has changed considerably since those days.  The word “gingham” is from a Malay word “gingang” which means “with space between,” hence, striped.  Yes, originally gingham was a striped fabric.  It appears that it became a checked fabric sometime in the mid 1700s, and of course, that is how we think of it today.

Gingham has a fresh, timeless appeal to it, and the iterations of it are countless.  The size of the checks can be absolutely miniscule or large and prominent.

Each check in this gingham is only a couple of threads wide. I do not have an example of a really large checked gingham, but you can surely visualize it.

There are two types of gingham; the entry in The Fairchild Dictionary of Fashion (Third Edition, by Charlotte Mankey Calasibetta and Phyllis Tortora; Fairchild Publications, Inc., New York, New York, c2003, page 209) explains it beautifully:  “Checked ginghams are two-colored effects made by using two colors, or one color and white, for groups of yarns in both the lengthwise and crosswise.  Plaid ginghams are yarn-dyed designs of several colors.”

And do you know what zephyr ginghams are?  “Zephyr ginghams,” according to Fairchild’s “are made with fine, silky, mercerized yarns.”   Obviously both checked and plaid ginghams can be zephyr ginghams.

And indeed, it was a zephyr plaid gingham which I used for my most recent blouse:

I purchased this fabric at the same time I ordered the fabric for my lavender gingham blouse. I still had the “blouse bug,” so I decided to go for it!  I made a few tweaks to the pattern; specifically I added a tapered half inch to the lower half of the  sleeves, to give me a little more ease in rolling them up.  Of course, this meant I needed to add a half inch to the diameter of the cuffs.  I also increased the length of the sleeve vent by about 1.25 inches. I find these changes just add a bit more finesse to the wearing of this blouse, which is super comfortable anyway.

I kept the center back pleat, as it just makes this blouse so comfortable to wear, especially on a hot summer day.

Now, do you see that double navy blue line at the center front?

That is a mistake. I thought I had calculated the grid of the plaid correctly to have a continuous pattern across the front of the blouse.  About halfway through its construction, I discovered I had calculated incorrectly.  At that point I did not have enough fabric left over to cut out two – or even one – new fronts, so my fate was sealed.  Now I know what I did wrong, and hopefully I won’t make that mistake the next time I make a gingham blouse.  (And there will be a next time, but probably not this year.)

This is a blue jean kind of blouse!

Being a button aficionado, I of course searched again for the right buttons for this blouse. I thought about using these vintage pearl buttons with their square motif. However, at 5/8” wide, they were just too big.

I finally admitted to myself that buttons on a blouse like this should not be the focal point; they should be delicate and discreet – which led me to this card of vintage buttons in my collection:

These buttons are 3/8″ in diameter.

The luminosity of the pearl in these buttons actually picks up the pink in the plaid in a very subtle way – and they are definitely discreet.

I used the spread collar again for this blouse.

I love any excuse to wear pink shoes!

Well, I don’t want to end this post without giving you a few more fun facts on gingham.  Did you know that “gingham” was a colloquial term for an umbrella in the 19thcentury?  Again, according to Fairchild’s Dictionary (page 462), “so called because the less expensive types were made out of gingham fabric.”

And who doesn’t know that Dorothy Gale in The Wizard of Oz wore a blue gingham dress?  Or that Brigitte Bardot wore a pink gingham wedding dress (which led to a shortage of this fabric in France, according to Wikipedia)?

If you have not recently read the classic poem by Eugene Field (1850-1895), “The Gingham Dog and the Calico Cat,” it might be time to reacquaint yourself.  Here is how it starts:  “The gingham dog and the calico cat, side by side on the table sat.” Just the mention of the fabrics creates a mental picture of what is to ensue between these two!

There are few fashion references to gingham that are noteworthy, save for this one from interior designer Kelly Wearstler,  “The best thing I ever bought is a vintage Oscar de la Renta short gingham dress that I wore to my rehearsal dinner the night before my wedding.”

And finally, this from Christian Dior on “checks”  (The Little Dictionary of Fashion, by Christian Dior, Harry N. Abrams, New York, New York, 2007, page 21): “I love checks. They can be fancy and simple; elegant and easy; young and always right….  They are always in fashion …  and there are so many styles of checks to choose that there will be one to suit every age and figure.”

Feeling happy about this blouse despite that center front mistake.

From “always right” cotton gingham, I now head to another “always right,” forever, classic motif: polka dots  – in silk!  New month, new project.  Happy July, everyone!

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June 23, 2018 · 6:20 pm

Happy Hippos and Dotted Daisies

Sewing for children is a specialized category, one which is certainly not of interest to everyone. For that reason, I sometimes skip doing a post on some of the clothes I make for my two little granddaughters. However, these two dresses turned out so cute that I thought I would share them.

I had not really intended to make more summer dresses for my two little ladies, but this hippo fabric made me do it!

This fabric is by Hoffman California.

I have had this piece stored on my fabric shelves for well over twenty years.  I really do not remember why I ever purchased it.  I always thought it was cute and cheerful.  As luck will have it, my older granddaughter’s favorite animal is a hippo! Little Miss Aida has a stuffed hippo who is well loved (almost to the point of being bedraggled!) and definitely a member of the family.  There really could be no better time to use this fabric to make her a dress, especially as, at age 5, she is still happy to wear a cute print like this. (By age six, maybe not?)

As I only had enough fabric for one dress, I needed to make the dress for her 3-year-old sister from another selection.  This navy, pink, and white fabric I have only had for a couple of years (no time at all in the realm of my sewing room!), purchased specifically with my two girls in mind.

I found this fabric at JoAnn’s. It is one of their premium cottons, and really quite a lovely quality.

Over those two years, however, I have slowly been using sections of it to line a number of “baby bags” which I often make for gifts, leaving me with only enough yardage for one dress, not two.  So voila!  This worked out perfectly – and the cheerful daisy print suits little Miss Carolina’s personality quite well.

I have made so many of these bags and they always seem to be a welcome baby gift. These are made from a Noodlehead pattern.

Showing the daisy lining.

For the dresses, I used the Children’s Corner “Louise” pattern again, this time without a separate band on the skirt.

However, to add interest, I made the collars out of coordinating fabrics, and I added pockets to the skirts.  Luckily, in my fabric collection, I found dotted cottons which worked perfectly for the collars and pockets.  Then rickrack provided the finishing touch.

When I am sewing long-distance for these two little girls, I am usually in a quandary over the length of the hems, especially as they are always, always growing and growing so fast.  This time, they were here for a visit, so I saved the completion of the hems until they arrived.  No guessing this time!

The bodices are lined with a white, lightweight, and very soft linen.

I used aqua colored buttons on the hippo dress and pink buttons on the daisy dress.

This was a very satisfying project – the girls love their new dresses, and I felt very virtuous using two fabrics that have been folded away in my sewing room closet, waiting for their new lives to begin.  Hippos and daisies turned out to be a winning combination.

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May 22, 2018 · 6:35 pm

Gingham and Pearls

Way back at the beginning of our just-past long winter, I was on the hunt for fresh cotton gingham to pair with some Liberty cottons for dresses for my granddaughters’ birthdays. Always having been a fan of gingham, I couldn’t help but notice the offerings of shirting gingham in the Etsy shop where I was making purchases.  Of course, I ordered two pieces.  (Why wouldn’t I?!)  One piece in lavender has been tugging at me and I knew it would be next to make after finishing my purple boucle coat.

What I did not realize when I purchased this fabric is that it is a printed, rather than woven, gingham. However, the quality is lovely and silky soft.

In the meantime, I came across this spread in the April (2018) issue of Harper’s Bazaar:

There in the lower left hand corner is – yes – a lavender gingham blouse.

Now at this point in my life, I do not sew to save money, although I am always happy to have that as an added bonus.  But in this instance, once I looked at the listed price of that blouse ($375!!!) I felt quite pleased with myself, knowing I could make this  knock-off, for well less than 10% of the cost of that shirt:

The feature I really liked about the “$375 blouse” was the spread collar.  A spread collar, of course, has a wide division between the points in front, as opposed to longer pointed ends.  I determined to alter my pattern to make my shirt look like the one in the magazine.

I used a Simplicity pattern from 1972, which somehow survived all my now-regrettable purges of sewing patterns over the last 40-some years.  I had to make several alterations to it in addition to the shape of the collar, but its basic lines – with a yoked back, single button cuffs, slightly fitted body, and a long shirttail – lent itself to my vision.

The pattern art here is so dated! I actually used this pattern once before for a silk blouse.

To me, buttons are always an important component of any style requiring them.  I went through my button collection to see what I could find, knowing that what I really wanted would be simple mother-of-pearl, two-hole buttons.  When I came across this card of “Lucky Day” buttons, I knew they would be perfect.

These buttons date from the 1940s!

These 2/3″ buttons are in good proportion to the 1/4″ gingham.

What is it about gingham that makes it so fresh and happy – and timeless, as the tag line in Harper’s Bazaar, states?

I added an inverted pleat to the center back below the yoke. I may eliminate that the next time I make this pattern.

Because the fabric is a printed gingham, when I roll up the sleeves, as I am wont to do, the reverse white of the fabric shows. This doesn’t bother me as much as I thought it might.

Well, I am quite certain my “Gingham Style” looks just as good as the much more expensive “Gingham Style” detailed above.  All the more reason to wear it with pearls!

 

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May 13, 2018 · 6:20 pm

A Coat For Many Reasons

When I started planning this coat, I could not then have known the many reasons why I am now so happy to have made it.

The journey – and yes, it has been a journey – started with the fabric, offered for sale to me by a reader several years ago.  Simply the provenance of the fabric  – a piece of stamped Ernest Einiger wool, from one of the great mid-century American wool manufacturers, now sadly long gone – was reason enough to give it some extra thought.  I knew I had to wait for the right time to put pattern and scissors to it. When the Pantone Color of 2018 – “Ultraviolet” – an orchid shade of purple – was announced, I knew the time had arrived!

In the meantime, I had given it much thought and the more I looked at it, the more I thought I would be wise to get some construction advice on it.  Happily I was able to go to Baltimore in mid-April for one of Susan Khalje’s week-long Couture Sewing Schools, during which everyone works on their own project.  Usually one is expected to arrive with a pattern selected, and a marked muslin (toile) of her project ready for fitting.  This time was no different, which meant that all my thinking about the best pattern to use for this coat was ready to come to fruition.

Because the fabric is a very heavy coat-weight boucle, I originally looked for a pattern which either did not include buttons and buttonholes (traditionally more difficult to do well on a fabric of this weight), or had slot-seam buttonholes. I thought I had the perfect pattern in this Vogue from 1962. However, when I actually opened out the pattern pieces, I realized it was not going to work.  The kimono sleeves would surely produce drag lines in this heavy fabric, and a double layer of the wool in the shawl collar could be quite bulky.

Then I pulled out two more patterns which I thought were possibilities:

The single slot-seam buttonhole in the Mattli pattern was ideal, but all the intersecting seams could be a problem to do well, so I eliminated that one.  The simple lines of the Christian Dior design were lovely, but then there were more buttons, in addition to my evolving thought that this fabric would work well with a pattern which did not have such a narrow silhouette. It was then that I went to a pattern which I had already used:

View A with the longer sleeve for this coat, although I originally made it with the shorter sleeve here.

I love the simple lines of this coat and its well-turned collar, and I especially love my addition of a half belt to the silk coat I made.  I still wasn’t sure what I would/could do about buttons and buttonholes.  Advice from Susan would be very valuable!  As it turned out, she helped me determine that I could do bound buttonholes even on this very substantial wool.  Another fortuitous finding was that this pattern lent itself to showing off the interesting windowpane weave of the boucle, which became much more apparent the further away from it we got.

Other of Susan’s recommendations included:

1) Making the coat dress length rather than coat length.  The intensity of the color, used with this pattern, looks better in a shorter length.

2) Cutting the belt on the bias.  This was brilliant and gives a nice subtle focus to the back of the coat.  She also recommended that I line the belt with the silk charmeuse lining fabric rather than using the boucle .  It reduces bulk and makes the belt lay much more nicely.  I sewed one side of the belt by machine and then hand-stitched the other side, making for a nice crisp turn of the charmeuse to the underside.

My addition of a belt to this pattern is an excellent example of what is known as a “dressmaker detail.”

Here the bias cut of the belt is quite apparent.

The entire coat is underlined in silk organza, including the belt, shown here with one side sewn by machine.

And here is the silk charmeuse belt lining almost ready to be applied by hand.

3) Underlining the collar with charmeuse (again to reduce bulk) and then under-stitching the underside, to make it turn beautifully.

The collar on this pattern is beautifully designed to sit perfectly on the neck.

4) Clipping the long back center seam, even though it is on the straight of grain.  Clipping it reduces strain on that seam and allows a much more fluid movement of the back of the coat.  (I’m sorry I forgot to take a picture of this, but it is certainly not rocket science, just common sense.)

5) Tips for matching the woven windowpane design in the wool, the weave of which was difficult to see close-up.  Forked pins and a walking foot  helped to keep the layers – even basted ones – from shifting.

Other procedures I used to help “tame” this fabric were:  lots of judicious trimming of seams and corners; clipping, clipping and more clipping; lots of steam and pressing; lots of basting of seams.

I even trimmed the edges of the bound buttonholes to reduce bulk down the front of the coat. I am not completely happy with the buttonholes (which were difficult to do on this fabric), but once I finished them, they looked better than I thought they would.

I found these buttons in an Etsy store. From the 1960s, they are a nice fit with the fabric and the pattern. And I like their wobbly edges!

By the time I returned home from my class, I had the coat about half finished, but I felt completely confident in my ability to finish it competently.   Here are a few more details:

The sleeves feature a turned- back vent which is secured by a button through all layers.

I used the pockets for this version of the coat (which I had eliminated for my silk version.)

The belt is attached to the side seams just about an inch below the armhole. This placement allows it to fall right at the center back waist.

It is always rewarding to get to the point in the construction of a coat when you are ready to put the lining in.  And to make it just a little more fun, I added flat silk piping on the inside front facings – which will match one of the dresses (still to be made) I intend to wear with this coat:

I ended the piping at the shoulder seam on either side. (I see a basting thread which is peeking out from the piping!)

So my “coat for many reasons” allowed me 1) to use treasured fabric which had been in my collection for a few years; 2) to take advantage of the focus of this beautiful purple color during the year of  “Ultraviolet;” 3) to use a coat pattern which I really wanted to use again after making it once; and 4) to have experience in working – successfully – with such a heavyweight wool.

But the most important reason?  I need another coat. I always need another coat.

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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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