Category Archives: Buttons – choosing the right ones

May 10, 2024 · 4:47 pm

How Does One Pack for a Trip to Paris in mid-March? Part II

Blouses, sweaters, tops. These three categories gave me plenty to pair with dressier slacks and more casual pants. I took along one solid black, jewel neck embroidered cotton sweater and two cotton cardigan sweaters which I always wear fully buttoned to use as dressy tops. They were perfect for three of the days in Paris. I had two cashmere/cotton blend pullover collared sweaters which were equally perfect for more casual days and a few more versatile pullovers. Then I had blouses. I love blouses. I decided I needed a new silk blouse to take to Paris with me.

I saw this Italian silk twill on the website for Britex Fabrics:

It appealed to my love of geometrics, and additionally I thought it was just so classy looking. So I bought it and proceeded to make a blouse.

For a twill, it frayed a bit more than expected, but the weight was lovely. I tweaked my go-to blouse pattern once again for this blouse. I eliminated the back box pleat below the yoke which I have added in previous makes. I wanted a more streamlined appearance and less bulk to tuck in. To that end I also added very slim front vertical bust darts.

*I cut the back yoke on the bias which I decided would look better than on the straight of grain due to all those squares lining up attractively.*

*Here is one of those narrow vertical darts below the bust.*

I also shortened the hem by one inch and squared it off with slits at the side seams.

What to do for BUTTONS!? I had selected 3 varieties from which to choose – all from my collection assembled over the past umpteen years.

*The one thing in common with these buttons is their squarish shape which I thought would compliment the print.*

Usually, a winner is clear to me, but this time I needed some assistance. So, I asked my sewing friend, Debra, for her input, which was a brilliant move on my part. How wonderful to have confirmation from her trained eye that the buttons I was leaning toward were her choice as well. Her decisiveness was quick and instinctive.

The only problem was they were already on a blouse which I made years ago. No problem, I just took them off that bouse, with a promise to find replacements at some point. The other sweet thing about these black cube buttons – and I digress here – is that I was with my daughter, Susanna, when I purchased them. We have wonderful memories of that day long ago, spent together at a vintage textile show in New England. So from the fields of Massachusetts to the streets of Paris, these vintage Bakelite buttons continue to add layers to their history.

*And here I am wearing my blouse, drinking champagne*, *and enjoying conversation with one of our guest speakers.*

I thought it would be a good idea to have a “fancier” blouse along on the trip. It was already in my closet, having been sewn a number of years ago. It continues to be one of my favorite makes ever, although I do not get the opportunity to wear it very often.

I wasn’t sure when I would wear it, but somehow I knew I would find the perfect day and time. By Friday morning of the trip, I had decided to wear it that evening to our Gala Dinner, with dressy black slacks. I had brought along specific jewelry to pair with it, and I was quite confident I would look well attired for that special night. And then… as luck would have it, one of our stops that day was to a scarf store in Paris. Susan had expressed her great admiration for this store and their goods, so we were all looking forward to our time there.

Truth be told, I could have easily purchased three or four scarves that afternoon. The selection was wide-ranging, both in design and fabric. But there was one scarf I knew would go home with me.

The funny thing is, when I purchased it, I was not thinking about the blouse I planned to wear that evening. But when I got back to my hotel room, I realized what a great duo they would make. As the evening was a bit chilly, and we had a short walk to the restaurant, having this cashmere blend scarf wrapped around my shoulders was the perfect addition.

It was a fun evening, and I felt perfectly attired! Of course, from now on, I shall refer to this scarf as my Paris wrap.

At this point you may be wondering if I actually wore a dress while on my trip. As a matter of fact, yes, I did. Our instructions were to be dressily attired the evening we attended the Ballet at the Palais Garnier. I decided to take along this dress which was ready for another outing.

It is dressy and comfortable, but the best thing about it is – it pairs well with my pink coat, forever a favorite.

I was determined to take this lightweight Spring wool coat to Paris. I made it from vintage Lesur wool made in France and for some reason, I just had my heart set on wearing it in Paris. The weather wasn’t all that cooperative as it was a bit warm for a wool coat. That did not deter me. I donned it anyway, and that’s the end of the story!

*Together with two of my tour-mates before the ballet.*

However, there is more to come, as I will share a bit about other parts of the trip next time.

6 Comments

Filed under Bakelite buttons and/or jewelry, Blouses, Buttons - choosing the right ones, Coats, Scarves, silk, Uncategorized, vintage buttons, Vintage fabric

Tagged as Britex Fabrics, Choosing buttons, fashion sewing, sewing

January 14, 2024 · 3:00 pm

A Long Silence

Silence may indeed be “golden” except when one is trying to maintain some regularity in writing a blog. My silence this past Fall and into the end of the year was not intentional. I actually got as far as starting a new post in November on a “Blouse for Fall” only to have its completion thwarted by more pressing priorities. Such is life, as all of us know. So now, in this sparkling new year we have entered, I have the opportunity to play some long overdue catch-up.

It is at this time of year when I like to reflect on my sewing from the year just past. And glaringly, the truth is I was not very productive. Here is what I made:

Short black wool jacket, ostensibly to wear with a wool sheath dress made two years ago.

I suspect this jacket will prove to be more versatile than I have expected. Its jewel neckline will lend itself to scarves, and its solid black color will be a good canvas for brooches or other fabric flowers.

2. A birthday/sundress for each of my two granddaughters.

I generally do not post on my blog about sewing for my granddaughters, due to the limited audience for the subject. The girls requested dresses which they could wear “off the shoulder.” So of course, I obliged!

3. A pink striped casual blouse.

Pale pink is always a good idea.

4. A floral summer dress.

I was happy to use this fabric which had been long in my sewing queue.

5. Fun floral skirts for each of my granddaughters.

I used “kits” from Farmhouse Fabrics for each of these skirts. They garnered blue ribbons and a “Best of Division” at our local county fair this past summer. Full disclosure: there wasn’t much competition!

6. My 50^th Anniversary linen dress made with vintage fabric.

I’m not sure I have ever made a dress which has given me more personal satisfaction than this one. Making this dress was truly a dream come true.

7. A fuchsia-pink silk shirtdress.

I persevered through the tricky construction of this dress made with a slinky silk jacquard charmeuse. I had the opportunity to wear it twice this past Fall. Perhaps the trending, pink “Barbie theme” contributed, but this dress proved to be a magnet for compliments at each wearing. How rewarding after all the trouble it gave me!

8. A blouse for Fall, using some amazing vintage buttons.

I will finally admit I will never get tired of making or wearing cotton blouses.

9. And some miscellaneous (and minor) gift and holiday sewing.

That’s it!

And I’m perfectly fine with it. I did what I could, and three of my projects had high priority (my girls’ birthday dresses, my anniversary dress, and my pink shirtdress). Completing them was very satisfying.

So what about my last make of the year – that blouse for Fall?

It’s very orange. And with the pheasant motif, it is very autumnal. However, with Fall undoubtably being my favorite season, it seemed fitting to have a piece in my blouse wardrobe devoted to that time of year.

I found the fabric on the website of Emma One Sock Fabrics a couple of years ago. It is a beautiful cotton with a very slight stretch to it. The quality is superb, being silky soft and very easy to sew. The Herringbone printed background makes it look like a much heavier fabric than it really is.

I debated on the style bouse to make, thinking a bow blouse would be lovely. However, in order to make this as versatile and wearable as possible, I defaulted to my regular shirt/blouse pattern, which I have altered and tweaked many times.

Here is that blouse pattern I have used over and over.

I also thought this pattern would be the one most likely to show off the buttons I intended to use with the fabric.

I can’t remember what came first – the fabric or the buttons. Somehow I was lucky enough to find these vintage Ultra Kraft buttons with their feather motifs. Just bordering on a bit too big for a blouse, these buttons seemed to balance the large pheasant groupings, making both fabric and buttons a good match. I didn’t realize until I had finished the blouse how much the silver in the buttons picks up the lighter colors in the feathers of the pheasants. There is a little “sparkle” in there!

I was able to wear this blouse a couple of times in season. Now it seems a long time away until its next wearing…

Which begs the question: what will transpire in the ensuing months – between now and then? I will wait and see how and when inspiration hits. What about you?

44 Comments

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

Tagged as Choosing buttons, diy, dress, Emma One Sock Fabrics, Farmhouse Fabrics, fashion, fashion sewing, handmade, sewing

October 16, 2023 · 5:06 pm

A Fussy-to-Make, Fuchsia-Pink Silk Dress

Sometimes extra incentive is needed to push through a project which turns out to be more difficult than anticipated. Such was the case with this pink silk jacquard dress.

I had purchased this fabric quite a few years ago online from Britex Fabrics. I knew it was a dressy fabric, and unsure of what form this dress would take, I made the decision to purchase four yards of this 58” wide silk. That gave me some latitude in my selection of pattern.

Finally last Spring I made a decision about what I wanted this dress to be. That was precipitated by the arrival of a beautiful invitation to a very special event this Fall, and of course (!) I needed a new dress to wear to it. The fabric is a dressy, shimmery silk jacquard, so by its very nature it would make up into a dress which had a certain glamour to it.

I decided to use a go-to pattern I have used a few times already and make a classic shirtdress. That may seem like a strange choice, but I envisioned it as very dressy and flowing, and quite appropriate for the fabric.

While this idea was percolating, I happened to attend a luncheon/presentation by a wonderful organization called the Ibu Movement. (Pronounced ebu, with a long “e,” this is an Indonesian word meaning “a woman of respect.”)

The pop-up shop accompanying this event was filled with gorgeous clothing, accessories, even shoes. When I saw this envelope clutch, I knew it would match my silk fabric perfectly and would be the perfect addition to my as-of-yet-to-be-sewn pink dress. Little did I know at that time it would be the catalyst to make sure I finished the dress!

My first clue as to the fussiness of the fabric was as soon as I pressed it and laid it out for the placement of my muslin pattern. Here is what I noticed:

The fabric had a slightly loose weave to it, making it almost stretchy, certainly very slinky. Keeping it properly aligned on the straight of grain was going to be a challenge.
The fabric frayed easily.
It also was prone to shedding silk fibers. I decided I needed to handle it as little as possible to mitigate this situation.
The jacquard weave in it had a definite horizontal and vertical pattern to it, meaning I would have to match the design horizontally and vertically across seams. Although I am used to matching plaids and prints, this was a little different as the woven design was of irregular form.

*The irregular nature of the weave is apparent in this photo.*

I decided to underline the dress (except for the sleeves) with a very lightweight silk batiste, which I hoped would give it some substance, but still preserve the flowing nature of the fabric. I made the conscious decision not to add an additional lining to the dress.

Although I rarely use fusible interfacing, I realized very early on that sewn-in interfacing was going to shift around and cause all kinds of problems. Luckily, I had been introduced to a very finely woven, fusible German interfacing available from Farmhouse Fabrics. I had some on hand and found it to be the perfect stabilizing foundation for the cuffs, the front facing, the collar, the collar stand, and the hem.

So, that solved one big problem for me. I was still concerned about being able to get the hem even. I had good reason to be concerned! It took two tries to avoid having either a bubble appear or uneven dips around the perimeter.

The final quandary I had was the buttonholes. Because the fabric shed silk fibers so easily, I was really worried that my buttonhole attachment might grab onto those fibers and make a mess. I did some sample buttonholes, which confirmed my suspicions. So – I used wax paper between the foot of the attachment and the fabric, cutting little windows in the wax paper where the buttonholes would be sewn. It worked like a dream.

*I found vintage pearl buttons with a slight iridescence to them which I thought worked well with the fabric.*

*And here is that handbag with the dress!*

This was not a particularly fun dress to sew, but that “perfect” handbag kept me focused. And I am glad it did, as the dress was a success in the end. And it always feels like an accomplishment to use fabric which has been lying in wait for so long.

29 Comments

Filed under Buttons - choosing the right ones, Cocktail dresses, Linings, sewing in silk, silk, Uncategorized, underlinings, vintage buttons, Vogue patterns

Tagged as Britex Fabrics, Choosing buttons, Farmhouse Fabrics, fashion sewing, Ibu Movement, sewing, Shirtwaist dresses, silk

July 19, 2023 · 6:00 pm

The Many Uses of a Pink and White Striped Cotton

There are now a few scrapes remaining of this fabric:

Before the scraps there was this blouse:

Before the blouse there were two Springtime dresses for my granddaughters:

And before the two dresses, there were two Valentine’s Day aprons for my granddaughters:

Sometimes a fabric is just so versatile, it pays to use it over and over. Such has been the case with this pink and white striped cotton I originally purchased from Farmhouse Fabrics back in late January. It all started with my decision to make aprons for my granddaughters for Valentine’s Day. I found a cute pink and red heart print for the base of the aprons. (I sized down this apron pattern for my then-7-and-9-year-old girls.) Then I needed a coordinating fabric for the ties and pockets on the aprons. That’s when this striped cotton came into my life.

Because the apron ties were cut on the bias, it was necessary to buy over a yard of the 60” wide fabric, leaving me a sizable section of fabric after the completion of that project. I put the leftover fabric in my storage closet and didn’t think any more about it. Until….

A few weeks later I geared up to make matching dresses for the girls’ Springtime birthdays. I got some direction from my daughter on the style of dress the girls decided they wanted – off-the-shoulder ruffle dresses. I luckily found a new Liberty of London cotton print, purchasing it quickly before it sold out.

Once I had it in hand, I decided it would look a lot cuter with a contrasting collar and sash rather than the entire dresses out of the same fabric. That’s when I thought of the pink and white stripe I had stored away.

Well, the rest is history, except that to complete the dresses, I needed to purchase more of the striped fabric. Fortunately, it was still available from Farmhouse Fabrics. This time, however, I decided to purchase enough additional of it to make myself a blouse. Why not?

Now, I have made a lot of blouses, many using this pattern:

*Here is the blouse pattern I have used over and over.*

They are not the most exciting apparel in the world, but I do wear them, a lot. So lately, I have been trying to mix up the details of the pattern when I make a new blouse to make it more interesting. Here is what I did to this one:

The most obvious change I opted for are three-quarter length sleeves, slightly poofy, gathered into a continuous cuff.

2. I decided to cut the cuffs on the bias and repeated that choice for the back yoke and the collar band.

*I also gathered the back vent instead of making a pleat. It looks off center here, but that is an optical illusion!*

3. I used the collar variation I had originally cut for this blouse, and in addition I took one inch off the length of the blouse.

Again I went to my button collection and found vintage buttons which pick up the striped motif of the fabric.

I think I am now finished with pink and white stripes, but I am holding on to the scrapes just in case….

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Filed under aprons, Blouses, Buttons - choosing the right ones, Liberty cotton, Uncategorized

Tagged as Blouses, Choosing buttons, Farmhouse Fabrics, fashion sewing, sewing, sewing for children

October 25, 2022 · 5:36 pm

Not Just an Everyday Blouse

Some blouses are worn A LOT. Those are everyday blouses, and I have quite a few of those (with more to come, I am sure!) And some blouses are worn infrequently, but equally loved for their unique properties. These would include exceptional fabric, refined or formal appearance, limited wearing opportunity, or their ability to make a statement. The blouse I most recently completed has all those properties.

This deep pink silk charmeuse Jacquard has been in my fabric closet for over ten years, having been purchased at Britex Fabrics when I started sewing for myself again, way back when. Its color, and the polka dot woven motif, both personal favorites, drew me to it. A couple of years ago, after purchasing another piece of silk – a printed silk twill – I paired the two fabrics together and added them both to my sewing queue. The skirt may have to wait until next year, but the blouse earned a spot in 2022’s sewing agenda.

I used a blouse pattern which I have made once before. From 1957, this pattern is timeless with its elegant collar (which looks good lying flat or propped up around the neck), petite French cuffs and feminine three-quarter length sleeves. I suppose in 1957, this style blouse may have been considered a casual piece, which the illustrations on the pattern envelope suggest. I saw this blouse as dressy, however, and that is how I have interpreted it.

*The collar on this blouse is beautifully engineered.*

*Here is the first blouse, in silk dupioni, I made from this pattern.*

One of the details which make this blouse so flattering to wear is the waistline open-ended darts, easily visible above. They minimize the bulk when the blouse is tucked inside its skirt and add a lovely billow effect above the waist. I made these darts a bit shallower than the pattern indicated. When making these darts, I secured their upper edges by pulling the thread tail on one side to the other side so that I had the ability to knot those threads with three tight loops. For those of you who have made a classic French jacket, this is the same method used to secure the quilting stitches at the end of the columns. The photo below helps to show this.

*The darts are secured by knots done by hand both top and bottom.*

*Those open-ended darts are featured on the back of the bodice, too.*

Buttons are such fun to select for a blouse like this. I have had these vintage white pearl buttons for some time, and no doubt they were waiting for this project. When the skirt is made at some point, the three-lobed profile will play off the designs in the silk twill. But, more than that, I needed something to act as a foil for the polka-dotted field. More “round” would have been fine, but not exciting. Additionally, these buttons are a bit bigger which helps them hold their own on that deep, rich, pink silk.

*The French cuffs are secured by buttons both front and back.*

Being the ‘statement” blouse that it is, I doubt I will be wearing this blouse casually. But I’m betting/hoping I will find good reason to wear it not infrequently to one or another tony event.

25 Comments

Filed under Blouse patterns from the 1950's, Blouses, Buttons - choosing the right ones, Mid-Century style, Polka dots, sewing in silk, Uncategorized, vintage buttons, vintage Vogue patterns from the 1950s

Tagged as 1950's Vogue patterns, Blouses, Britex Fabrics, Choosing buttons, fashion sewing, sewing, vintage fashion, vintage Vogue patterns

September 10, 2022 · 7:12 pm

The Last Pink (and Blue and White) of Summer

Sometimes the smallest thing can be the deciding factor in the trajectory of a sewing project. In the case of this dress – my last dress of summer sewing – the buttons told me how to proceed. There was some serendipity involved as well, which is often the case with my sewing, it seems.

I purchased the very light and airy white and blue fabric from Britex Fabrics two or three years ago. When it arrived, I tucked it away to think about it. Somewhere along the line, I purchased the buttons you see here, but not for this fabric. (I rarely let deep pink vintage buttons get away from me if I can help it.) Somehow the two – the buttons and the fabric – found each other and became best friends. That was all well and good, except for the fact those six little buttons needed some help to bring out the fuchsia and orange dots sprinkled amongst the blue flowers on the white background. Enter deep pink Petersham ribbon left over from holiday dresses I made for my granddaughters last Fall. Somehow, although this ribbon was not a match to either the fuchsia or the orange, it worked! I had my palette….

*The interesting thing about the color of the pink ribbon is it seems to be the shade if one mixed the fuchsia and orange dots together. And yes, the buttons are very old!*

I had decided to use this pattern again, but a longer version, with different sleeves.

However – and doesn’t it seem there is always an “however” to muddle the plans – I only had six of those petite little buttons. And theoretically I needed at least eight. So – I had to get creative.

I decided I could eliminate two buttons on the bodice if I reconfigured the front opening and collar. Here is what I did:

I angled the front opening: starting at about 6 inches down from the neckline seam, I drew a line from the fold line to the center front line, ending at the neckline.
This allowed me to shorten the collar stand (so it was flush with the front edge of the collar), thus eliminating the need for a button on it.
I redrew the collar so that it would be most attractive either standing up or lying flat.
The original pattern had a self-facing for the bodice (as you can see below), so I had to make a separate, applied facing to accommodate the angle.
The angled opening also allowed for the first button to be 6 inches down – meaning I could get away with two buttons on the bodice – if I used snaps at the waist (which isn’t a bad idea anyway.)

*On the right above is my muslin pattern made from the original design. On the left is my reconfigured bodice pattern showing the angle detailed above. (My separate facing piece is not shown.*)

Here is what the reconfigured collar and collar stand look like up close:

Two buttons on the bodice allowed me 4 buttons for the skirt, which was adequate. I actually added a small snap 3+ inches below the lowermost button to hold the skirt together indiscreetly.

Moving on with more changes: the flowing nature of the fabric dictated a change in the tailored sleeves of the pattern. I knew I wanted below elbow length with a little bit of fullness, but not too much. A narrow sleeve band seemed appropriate. And then there was the decision where to apply the narrow Petersham ribbon on the sleeve bands. Next to the seamline with the gathered line of the body of the sleeve looked best to my eye, so that’s what I did.

I was fortunate enough to have enough of the narrow Petersham ribbon to put two rows of it at the lower part of the skirt. These two rows of trim are absolutely essential for this dress to look balanced.

*Unfortunately I didn’t have my preferred blue shoes with me for these photos.*

I should mention I underlined the entire dress, with the exception of the sleeves, with very lightweight cotton batiste. I finished all the seams with Hug Snug seam binding.

I like the bodice “angled” neckline and the reconfigured collar so much, I will probably use these alterations again sometime, even if I am not compromised by too few buttons!

Without those little rosy-pink buttons – and without leftover trim from my granddaughters’ dresses – the white and blue flowered fabric would probably still be sitting in my fabric cupboard. Instead, I was able to finish my summer sewing not only with more pink, but with a dress I really like!

28 Comments

Filed under Buttons - choosing the right ones, Sleeves, Uncategorized, vintage buttons, Vogue patterns

Tagged as Britex Fabrics, fashion sewing, Petersham ribbon, sewing, shirt dresses

July 24, 2022 · 6:05 pm

Life Isn’t Perfect…

…but Your Outfit Can Be. I took a picture last summer of this sign at a Western wear store in Pinedale, Wyoming (Cowboy Shop). I loved the saying, but little did I know how often I would reflect on it this summer, which has had its difficulties.

And even when my outfit, like Life, is far from perfect, which has been often, I know there is always Hope, and yes, that is hope with a capital H.

*******

What a long hiatus it has been between my last musings about Trench coats and Dressmaker coats and pink gingham. The final, finishing stitch in my pink checked coat was in mid-June, and at this point I can hardly remember what I wanted to say about it.

I purchased the pink silk gingham from Farmhouse Fabrics several years ago.

It does seem appropriate to start with the changes I made to the pattern, of which there were two major ones. The first change was to the size of the collar. In the 1970s long pointed collars were a trend. Although I like a pointed collar, one with a more petite profile seemed to be a little more flattering and classic. To achieve this desired look, I shortened the collar’s points by about an inch on either side.

For comparison purposes, here is a good look at the original collar.

When I made this coat in 1974, I remember being a bit disappointed with the volume of the back of the coat. I was using a cotton twill, so it was a heavier fabric than the silk taffeta in my new version, making the volume seem even more pronounced. But even so, I thought I would be happier with a less full back. I experimented around with my muslin/toile until I got the desired girth. It turned out I eliminated a total of three inches from the back pattern pieces, 1 ½” from each side back panel.

Again, the image of the 1974 pattern illustrates the volume of the gathering in the original design.

In addition to these alterations, I had a slight construction change. The instructions for the gathering of the lining at the back waistline called for using elastic thread. First of all, I didn’t have any elastic thread, nor did I think it would give the look I wanted even though it would not be very apparent on a lining. Instead, I had some elastic cord, and I attached it by hand, using embroidery floss in a criss-cross stitch enclosing it the width of the back. Worked like a charm, and I like the effect it made.

This is the wrong side of the lining, showing the criss cross I achieved with embroidery floss.

And here is what it looks like on the right side of the lining. The lining gathers beautifully with this thread channel for the elastic cord, as is apparent in the image below.

Once I had the coat partially assembled, I decided I would have liked it to be a bit longer than I planned with the muslin. I was very tight with fabric, so I really could not have cut it longer and still been able to get the coat out of the fabric I had. So, to gain another inch and a half, I decided to face the hem right to the point where the lining would be attached. It certainly took extra effort, but I’m glad I did it as I much prefer the slightly longer length.

The one thing I would change should I ever make this coat again (which I doubt) would be to add about an inch or so to the diameter of the cuffs. I would like to keep them buttoned and be able to slip my hands through them. As they are, they are too tight to do that. This was something I could have determined had I made a muslin/toile with completed sleeves, which I did not. All I did was check the length. A good reminder to me to be more thorough in situations like this.

When I was planning this coat, I intended to use this vintage silk fabric for the lining.

However, even though I underlined the fashion fabric with white cotton batiste, I felt there was a slight “see-through” of the black details in the print of the intended fabric. In the meantime, I had ordered a piece of polished cotton in “Paris Pink” from Emma One Sock Fabrics. Although not an exact match, the two fabrics – the pink checked taffeta and the polished cotton – made a pretty pair so I changed course, and the rest is history.

No report on this coat would be complete without mention of the buttons. Again, I went with vintage mother-of-pearl buttons. These have a carved detail in them, which I thought would pair nicely with the gingham.

I chose to do machine buttonholes on this silk coat.

This was an involved, lengthy project. I was rather in awe of my 24-year-old self for attempting it “back in the day.” But making it again brought back hidden memories (good ones) and new appreciation for all that I have learned over the ensuing years. Wearing my new version of this Trench-inspired coat will, I believe, fall into the “nearly perfect“ category.

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Filed under Buttons - choosing the right ones, Christian Dior, Coats, couture construction, Dressmaker coats, Linings, Mid-Century style, Silk taffeta, Uncategorized, vintage buttons, vintage Vogue Designer patterns, vintage Vogue patterns from the 1970s

Tagged as Choosing buttons, couture construction, fashion sewing, sewing, silk, vintage fashion, vintage Vogue patterns

March 15, 2022 · 1:41 pm

A Very Pink Coat, Part 3

Added Value…. There is a significant little entry in 101 Things I learned in Fashion School (Alfredo Cabrera with Matthew Frederick, Grand Central Publishing, New York, New York, 2010, page 40). Although aimed at Ready-To-Wear customers and the designers who cater to them, it certainly is meaningful to those of us who sew our own fashions: “Fashion customers often need to be convinced to buy a new garment that, in effect, they already own. … Value added details [my emphasis] are those that are inherently necessary to a garment but are executed in a novel or interesting way…” thus making them attractive to potential customers.

Well, not that I really need convincing to make another coat for myself, but I will freely admit it is the unique little details in a pattern (and gorgeous fabric, of course) which convince me I MUST make THIS coat, even though I might not really NEED it. Such was the case with my very pink coat, which is now finished.

Those details included 1) the three welt pockets with flaps, 2) the concealed front closure, 3) the arrowhead detail accompanying the minimal top-stitching, 4) the sleeve tabs (okay, not really a necessary detail, but a very nice one!), and 5) the opportunity to add a little flash to the lining with edge-piping.

I’ll cover the sleeve tabs first since they were the detail in question in my last post.

As you can observe, I decided to leave them with the buttons facing forward. Several comments left by readers (thank you – you know who you are and I am very appreciative!) got me thinking anew about the orientation of the tabs. Then I had an aha moment when I realized that the one button which is visible on the front of the coat, at the neckline, might look a bit disconnected without its counterparts showing on the sleeves. Decision made, with confidence! However, I doubt I will ever look at a sleeve tab in quite the same way again.

The three welt pockets with flaps are quite likely my favorite detail on this coat. First of all, I like making them. There is a certain feeling of empowerment, although slightly nerve-wracking, to cut those big slashes into the front of the coat and be confident it will all be okay. And this type of pocket is just so pretty when they are done. In addition, while they are utilitarian, they also suggest refinement, elevating a simple car coat to a coat with some sophistication and flair.

Here is the underside of one of those pockets, with the slash” clearly visible.

As you can see, I used lining fabric (Bemberg from Emma One Sock Fabrics) for the facing on the flaps. And here’s a fun fact – that small pocket on the right side is called a “ticket pocket,” small and shallow, perfect for a printed ticket. As printed tickets go the way of the dinosaurs, this little pocket may become obsolete – but I sincerely hope not. It adds so much to the visual pleasure of this coat and other similar garments.

A good view of the small “ticket pocket.”

I must have a certain penchant for concealed coat fronts. This is the third one I have made and I can let you know there may be more to come (but not soon.) As I mentioned in my last post, I was able to reduce the bulk of the closure by using my lining fabric for one layer of the buttonhole side of the front flap.

I made three machine buttonholes for this part of the flap, which made everything lay flat and neat.

The gray buttons – 6 of them, which is what I needed – were in my collection, so that was a happy find. They are 1950s’ vintage gray pearl, very appropriate indeed for this 1957 pattern.

Although this coat pattern called for some topstitching, it was minimal. Just the sleeve tabs, the pocket flaps and the collar, plus the front detail on the right side. I was unhappy with the machine topstitching I did at the front closure. There was enough bulk from the wool and the facing and the fly front, that it interfered with the smoothness of the topstitching. So I took it out. Initially I was going to do without topstitching and the arrowhead detail, but it looked a bit plain and unfinished. So I did my fallback to what I know works – topstitching by hand. Because of the hand-worked arrowhead detail, I felt hand topstitching would not look out of place. Of course, I had never done an embroidery arrowhead before, so I had to practice, practice practice so it hopefully does not look amateurish.

I purchased matching embroidery floss for the arrowhead detail and the hand top-stitching.

Finally, coat linings lend themselves so beautifully to that extra little treatment – a narrow edge piping.

I deviated from my Vogue pattern to add this dressmaker detail, but I am sure they would have approved. My Avoca wool scarf which is such a perfect complement to this coat inspired me to choose checked piping. I “robbed” a small corner from some pink silk gingham (intended for a Spring coat, as mentioned previously here) to make my flat piping.

I purchased the pink cashmere wool for this coat from Farmhouse Fabrics.

Well, there you have it. My first major project of 2022 finished. I am happy I chose pink for my theme this year as it has brightened up many a dark day in this troubled world of ours.

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Filed under Buttons - choosing the right ones, car coats, Coats, couture construction, Dressmaker details, Mid-Century style, piping, Scarves, Uncategorized, vintage buttons, vintage Vogue patterns from the 1950s, woolens

Tagged as 1950's Vogue patterns, coats, couture construction, Emma One Sock Fabrics, Farmhouse Fabrics, fashion sewing, sewing, vintage fashion, vintage Vogue patterns

August 30, 2021 · 2:05 pm

Tuesday is for Ironing

One might get the idea I love to iron should they take stock of how many cotton blouses I have made over the past few years. Now I do love a crisp cotton blouse, and I find them to be imminently wearable, neat and tidy, and versatile. So I keep making them. But do I love to iron? Not really, although it is not my most dreaded household chore. (I think that might be grocery shopping – or more precisely, lugging everything home and putting it all away. I don’t like that.)

Even wearing a pretty blouse, like this – my most recent make, to the grocery store doesn’t make that chore more bearable!

One advantage to having lots and lots of cotton blouses is that the ironing can pile up, yet I will still have blouses to go to in my closet, so there’s that. I think – no, I know – another reason I keep making casual cotton blouses is that I love to sew with beautiful quality cotton (of course Liberty comes to mind!) The selection of quality cotton prints, checks, plaids, stripes, and solids available online is astoundingly diverse, making the temptation great to make “just one more blouse.”

And then there are the buttons. If you follow my sewing life through this blog, you know my fascination with and pursuit of vintage buttons to use on my blouses and other projects. Yes, a white plastic button can perform the same function, but a beautiful pearl button adds a touch of class to a simple blouse like no other detail can.

A simple pearl button, circa 1960, BGE Originals, “First in Fashions”

It also helps that I have a set of blouse patterns which fit well due to many alterations and tweaking over several years’ use. It is a lovely feeling to start a new project, knowing I don’t have to fit the pattern and make a muslin before I can get started on the fashion fabric.

Three of my favorite blouse patterns, for which I have fitted muslins.

And one which I feel sure will become a favorite once I make and fit a muslin for it! View A is a classic look and the sleeves are so elegant.

I had been eyeing this Liberty cotton lawn on the Farmhouse Fabrics website for quite a while when I decided last Spring to go ahead and indulge. Having a floral among my blouse selections is something just a bit different for me, as I already have numerous ginghams, plaids, and stripes.

Liberty Lawn is lovely to sew and lovely to wear.

So – is Tuesday really for ironing? There used to be a proscribed schedule for all those household chores – and it went like this:

Monday: Wash Day

Tuesday: Ironing Day

Wednesday: Sewing Day

Thursday: Market Day

Friday: Cleaning Day

Saturday: Baking Day

Sunday: Day of Rest

Well, times have changed. Now, every day is Sewing Day.

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Filed under Blouse patterns from the 1950's, Blouses, Buttons - choosing the right ones, Liberty cotton, Mid-Century style, Uncategorized, vintage buttons, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1970s, Vogue patterns

Tagged as Blouses, Choosing buttons, Farmhouse Fabrics, fashion sewing, Liberty cottons, vintage Vogue patterns

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.

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!