Category Archives: Chanel-type jackets

More on Making a Classic French Jacket

What more can be said about the process of making a classic French jacket? Well, actually, quite a lot! These jackets look deceptively simple (and elegant) when finished, but their looks belie the hours involved in their construction.

One of their sneaky little secrets is the sewing of the sleeves onto the body of the jacket. The shoulder seam is one of the few areas of the jacket which requires interior reinforcement. The selvedge edge of the lining fabric can be used for this, but I prefer to use a selvedge edge of silk organza.

The strip of organza is sewn on the seam line by hand.

Once that is in place, the sleeve is ready to be inserted – all by hand! Pinning the sleeve in place accurately is so important, as the grainline of the boucle needs to hang perfectly both vertically and horizontally (and match, too, of course.) The top half of the sleeve is sewn from the outside with small, tight fell stitches. Then the lower half of the sleeve is sewn on the inside with small backstitches, both segments using waxed, double thread. If done correctly, the cap of the sleeve will curve nicely.

Looking at the sleeve head from the back of the jacket

And from the front.

Finishing the sleeve insertion is, for me, the last big hurdle to get over before the really fun part starts. That, of course, is the trim. I deliberated quite a bit over the trim for this jacket. I originally thought I would emphasize the blue in the boucle, using pink as a small accent. When I could not find a “demonstrative, stand-alone” trim I liked, I determined to use an underlay of Petersham ribbon, with a coordinating, narrower trim on top.

For those of you who are not familiar with Petersham ribbon, take a look at this cover from Threads Magazine, May 2016.

In the accompanying article by Susan Khalje, one of her suggestions is to use Petersham ribbon to frame a trim.

I used Petersham ribbon on my last French Jacket, and was really delighted with the effect.

Red Petersham ribbon under the frilly trim gives it more dimension.

The more I looked at the blue, the more I thought it did not give the effect I wanted. I then decided to try Petersham ribbon in a pink hue.

There are actually two pinks in the weave of the boucle, one peachy and one clear pink. Doing the trim this way brings out both hues, which I really like.

The Petersham ribbon is peachy, while the soutache trim has a clear pink intertwined with white and navy blue. The buttons take either hue!

Of course, this application of trims means four times around the perimeter of the jacket by hand to apply first the Petersham and then the double row of soutache trim. I never make things easy. Is it any wonder this jacket isn’t finished yet?

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Filed under Boucle for French style jackets, Chanel-type jackets, couture construction, Uncategorized

Out of the Chaos …

It is not all that unusual for a big sewing projects to begin in some sort of controlled chaos, whether it is unwieldy pattern pieces, or slippery fabric, or complicated instructions – or no instructions! But nothing quite comes up to the chaos that making a classic French jacket creates.

Two main things contribute to the chaos. The first is the nature of boucle fabric, which is the building block of the jacket. Boucle is, by nature, a loosely woven, sometimes wildly variegated fabric. The loose weave is what gives it the ability to be quilted “invisibly” to its lining. But, it is also what makes the fabric fray so easily, demanding careful handling throughout the construction process.

Then there is that quilting process. To say that the construction of this type of jacket is unconventional is an understatement. Once one has her fashion fabric (boucle) pieces thread traced and cut out, the lining is cut to conform to the shape of each individual jacket and sleeve piece. Then, the lining is quilted onto the boucle following  guidelines (selected by you!), but dictated by the boucle.

A ruler and pins help me determine where my quilting lines should be, generally about an inch apart from each other and set in an inch from the side seams.

Quilting with a walking foot.

The ends of the quilting lines stop a couple of inches from the top and bottom of the marked seam lines, and the loose threads are fished into the inside and tied off, each one with three loops to secure the knot.

Although it is difficult to see, here is the tying off of one quilting line in-between the two layers.

How strange is this? Then the edges of the lining are hanging loose while you proceed to sew the seams of the boucle. I pin the edges of the lining back in order to make this process a little more orderly, but it is still kind of a mess.

One of the sleeves, quilted, with its lining pinned back.

I have a great advantage in making this jacket, in that I have a muslin pattern which I know fits me well. Knowing this allows me the option of finishing the sleeves before I do the main part of the jacket, and that is what I have done.

I have finished off two of the three sleeve seams here before sewing the final, third seam.

All the sleeve seams are now sewn, and I am about to finish attaching the lining at the cuff ends of the sleeves.

I also decided once again to make slot-seam buttonholes on the sleeves and at the center front.

Here is the extension on the sleeve cuff. Normally cut as one with that section of the sleeve, I make it a separate piece so that I can leave two openings for the buttonholes. If you look closely at this photo, you can see the slots for the buttonholes.

This shows the extensions for the buttonholes.

Two finished sleeves, except for the trim, of course.

Now, here is a diagram of what I do to make the slot-seam buttonholes for the front of the jacket.

It is important to know how much width you need for your trim and buttons before deciding the width of that extra extension piece sewn onto the front. In this case, I determined I needed a piece with a finished (not including seam allowances) width of 1¼“. Then I proceeded to sew the seams together.

The body of the jacket really looks like chaos here!

Gradually the chaos will begin to be tamed as I hand-stitch the edges of the lining in place.

Perhaps the eventual control of such chaos is what helps to make the construction of these types of jackets so appealing. It is a good thing to remember that the creative process can be messy and tedious and very time-consuming. Sometimes, as in life, you just have to see it through to the other side to be able to appreciate the journey.

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Filed under Boucle for French style jackets, Chanel-type jackets, couture construction, Slot-seam buttonholes, Uncategorized

Timeless: The Classic French Jacket

So much has been written and illustrated about Coco Chanel’s classic cardigan jacket, it is difficult to imagine more can be said, but that won’t keep me from trying. Of course, only Chanel is Chanel, and that fashion house rightly owns the claim to the mystique and allure of its trademark design. However, interpretations of that classic French jacket – and those who are making them – have added to the jacket’s lexicon over the years. In many ways, I think the advanced (in skill level, not age) sewing community has been instrumental in adding a whole new dimension to the way we look at the jacket and then personalize it.

Interest by home dressmakers in the classic Chanel jacket has been evident for decades. This Vogue Pattern Book Magazine from October/November 1962 is a prime example. To quote precisely, the caption for the cover says: “the new after-dark dazzle involves a certain amount of alchemy. Take a clean-lined suit design (shades of Chanel) and make it shimmer: a springy white suit wool scored with gold metallic and red braid…”

The June/July 1989 issue of Threads Magazine has one of the most iconic covers ever, described above the masthead as “Inside a Chanel jacket.” The extensive article by Claire Shaeffer covers the history of the jacket, idiosyncrasies of its construction and tips for the home dressmaker wishing to make her own Chanel-inspired jacket.

In more recent years, books and instructions for making the classic French jacket have been joined by classes, most notably on Craftsy and by couture teachers such as Susan Khalje, who, in my opinion, teaches the purest jacket construction interpretation available to the sewing community. If you are unable to attend one of her Classic French Jacket classes, then by all means, subscribe to her video for the next best thing.

There are several reasons, I believe, why the classic French jacket appeals to home dressmakers, particularly to those of us who delight in couture procedures, hand work, and artistic license. It is we who have the ability to chose from such a broad array of beautiful boucles and silk charmeuses, both at select fabric shops and online. Therefore, we are not limited to the fabric selections of a particular fashion house. Furthermore, we can adapt the jacket to our own individual preferences, for example, fitted or boxy, longer or shorter, collarless or not, to mention just a few potential changes. Finally, the finishing components of trim and buttons make it unique and uniquely our own.

This quote from Oscar Wilde is an appropriate summation of how home dressmakers, privileged as we are to know the “recipe” of jacket construction, approach the making of our classic French jackets: “To look at a thing is very different from seeing a thing.” We dressmakers see the jacket from various viewpoints:

1) construction techniques; including, but not limited to, the unique method of marking seamlines, quilting the layers of boucle and lining silk together, and hand-finishing the raw interior seams.

2) as already stated, the privilege of selecting our own fabrics, trims and buttons.

3) stylistic details which enhance the ability of the jacket to flatter ones particular form, such as altering the length of the sleeves, pocket details, front neckline variations, adding bust darts in certain situations, etc.

4) an appreciation for – and knowledge of – the engineering magic of invisibly quilting two fabrics together to produce an entirely new medium.

In my opinion, it is this ability to see – and appreciate firsthand- the complexities of the jacket which makes it such a worthy undertaking.

You may ask at this point why I am thinking so much about classic French jackets. Could there be any other reason than the fact that I have started work on my third, but far from final, one? Using boucle gifted to me by my grown children a little over a year ago, I am intently working through the “process.” Because I am fortunate enough to have a fitted pattern muslin template from my class with Susan Khalje 3½ years ago, my initial progress has been speedier than normal.

Here are my muslin pattern pieces freshly ironed and ready to start.

My muslin pattern arranged on the boucle, ready to double-check and cut out.

Allowing for wide seam allowances…

Pieces cut and thread-traced.  Next step:  the lining fabric.

Stay tuned as I make further posts about my time-consuming progress on this timeless style.

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Filed under Chanel-type jackets, Coco Chanel, couture construction, Mid-Century style, Uncategorized

Does Sewing Make Us Smarter?

Could it be that while we are planning, fitting, pinning, cutting, stitching, (and re-stitching), we are also using skills that can enhance the ability of our brains to process information and solve complex problems?

I have always loved the fact that sewing demands so many different skills and abilities, but I never thought of it as “brain-enhancing” until I read an article with the intriguing title “Which Professions Can Make You Smarter?” (by Sue Shellenbarger of The Wall Street Journal, December 9, 2015: search here.) The author identified five criteria that indicate the activity or job you are doing, can, according to some neuro-scientists, enhance the “elasticity” and cognitive ability of the brain. One by one, as these criteria were listed, I thought of how apropos they are to sewing. See what you think:

1) “You work at tasks that are difficult enough that you make some mistakes.”

As we all know only too well, mistakes are part of sewing. Why else would seam rippers have been invented?  Have you ever sewn a sleeve in backwards or failed to match a plaid? I immediately thought of this blouse which I made a couple of years ago; while sewing the collar/tie to the front of the bodice, I made the same mistake over and over until I finally got it right.

The Necessary Blouse

2) “You have a job [or avocation] that is continually challenging.”

Whether the challenge comes from the pattern you have chosen, the fabric, the fitting issues you are facing, your time constraints, or any other myriad of potential hazards or goals, sewing is inherently challenging. A good example of a sewing challenge is the use of Marfy patterns. With no written instructions, minimal marking on the pattern tissues, and often complex (but very exciting) designs, Marfy patterns are definitely for the dressmaker who relishes a challenge.

Here is a detail from a dress which I made using a Marfy pattern.

Here is a detail from a dress which I made using a Marfy pattern.

3) “Your work lets you progress to higher skill levels, but you are never able to master it.”

I am always amazed at people who, knowing that I have  taken numerous couture-sewing classes, comment to me that I “must know everything there is to know about sewing.”  I find that the more I learn, the more I realize I don’t know. Just take a look at the Table of Contents of this special Designer edition of Threads Magazine from Summer 2014.   So much to learn, and while every piece we finish expands our sewing knowledge – and abilities – we are still humbled by some of the amazing techniques that would take more than a lifetime to master.

Sewing makes us smarter - designer techniques

Click on the image to read the text.

Sewing makes us smarter - designer techniques - 2

4) “Improving your skills is rewarding enough that you want to keep trying to do better.”

I believe this is one of the most important aspects of sewing. The reward of using – and improving – your skills is something you can wear! Although I love a Classic French Jacket, and want more of them because of their wearability, style, and enduring appeal, I have to confess that after making my first one in a class with Susan Khalje, I immediately wanted to make another one to see if I could improve on the first one. Now I have two more in my queue – and yes, it does have at least some small part to do with making each one better than the one before.

I wanted to add working buttons and buttonholes on my second French jacket, so I devised a way to make slot-seam buttonholes. This definitely took some thinking and a bit of nerve, too!

I wanted to add working buttons and buttonholes to my second French jacket, so I devised a way to make slot-seam buttonholes. This definitely took some thinking and a bit of nerve, too!

5) “You have to pay attention to details while solving more complex problems.”

The details in sewing are legend! The darts, the seams, the proper alignment of your fabric, using the correct thread, choosing buttons, marking – well, the list goes on and on and on. We do all of this as a matter of course in our sewing, but we also know that if one of these details is not done well, it can affect the outcome of the entire garment. So, for example, while I am working my way through some complex instructions such as the sheet below, I have to be completing each detail, no matter how simple, with mindfulness and skill.

This is from one of the more complex patterns I have in my collection. It is a Jo Mattli Vogue Designer pattern for a coat and dress.

This is from one of the more complex patterns I have in my collection. It is a Jo Mattli Vogue Designer pattern for a coat and dress.

One of the sewing quotes I love so much is from the great American writer, Nathaniel Hawthorne:

“It is a token of healthy and gentle characteristics, when women of high thoughts and accomplishments love to sew; especially as they are never more at home with their hearts than while so occupied.”

It seems we are also at home with our minds while stitching away the hours.

 

 

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Filed under Chanel-type jackets, Love of sewing, Marfy patterns, Quotes about sewing, Slot-seam buttonholes, Uncategorized

The Necessary Blouse

Fashion sewing is an interesting combination of inspiration, aspiration, indulgence and necessity, manifested singly or collectively.  My newly completed bow blouse is an example of a bit of all of these motivations rolled into one.  This is the blouse I made to go with my No. 2 Chanel-inspired jacket, made from the same red and navy blue geometric print silk with which I lined the jacket.

The Necessary Blouse Inspiration came from several sources.  I was mostly inspired by the pattern, which is copyright 1957 by The Conde Nast Publications, Inc. (Vogue Patterns) – so much so, that I purchased it in a size larger than I usually wear, as that was what was available – and with vintage patterns, one is never sure to find a favorite one again soon – or ever.

Looking at blouses 1957

Some of the aspects of the pattern which appealed to me are: 1) the “dropped” bow shown in views A and B; 2) the various sleeve lengths; 3) the shaping in the body of the blouse – soft and understated, but very feminine.  Just for fun, I looked through a few of my Vogue Pattern Book Magazines from 1957 and 1958, to see if I could find examples of this blouse pattern.  That was easy!  Here is one sketch and one photograph of Vogue 9227:

The blouse was featured in the December/January 1957-58 issue.

The blouse was featured in the December/January 1957-58 issue.

Part of a feature entitled "A new era for the soft BLOUSE."  In the August/September, 1957 issue of VPB.

Part of a feature entitled “A new era for the soft BLOUSE.” In the August/September, 1957 issue of VPB. 

After making a sheath dress to coordinate with my Chanel-inspired jacket No. 1, I aspired to pair my Jacket No. 2 with a suitable companion, too.  A bow blouse seemed to be a versatile and useful solution.  And then it became a necessity!   I decided my Jacket No. 2 would not be complete until I finished this blouse.

Back view

Back view

Step number one was to make a muslin (of course), knowing that I would need to alter the pattern to fit me correctly.  Sure enough, I needed to take out the bagginess in the bust and body of the blouse, and I needed to shorten the sleeves.  I went to my favorite book on making alterations which guided me through the correct changes:

I highly recommend this book.

I highly recommend this book.

My muslin showed me that the sleeves were also a little too full for me and for current 2014 styles, so I removed some girth from them as well.  I was skeptical of the bow (cut on the diagonal) when I looked at the pattern and then the muslin.  Would it be too full?  Made up in muslin it seemed a little overwhelming.  But, my silk was so lightweight and fine, that I decided it might just be okay, using the original dimensions.

Here is the bow/collar ready to be attached to the body of the blouse.

Here is the bow/collar ready to be attached to the body of the blouse.

This blouse went together quite as planned, although I worked on one side where the bow/collar joins the corner at the front facing for hours, until I had it inserted correctly.  I kept making the same mistake over and over, which was a little irritating.  I also added some extra hand-sewing, understitching the facing by hand and hand-stitching the hem.

Hand understitching looks just so much nicer than machine stitching!

Hand understitching looks just so much nicer than machine stitching!

When I started the blouse, I had not yet picked out buttons, thinking I would use some that I have in my vintage collection.  But then I was on Waechter’s website and found these buttons, which seemed just about perfect:

The Necessary Blouse - button

These buttons measure 5/8″. 

(Sadly, Waechter’s is closing their business in Asheville, N. C., to my great dismay.  This makes me even more grateful for Britex Fabrics in San Francisco, from which I purchased all the fabric for this blouse and my Jacket No. 2.)

Sewing with vintage patterns is such a pleasure in so many ways.  For example, the sleeve vents had their own separate pattern piece:

The instruction sheet from the pattern . . . .

The instruction sheet from the pattern . . . .

The vent sewn on . . . .

The vent sewn on . . . .

. . . . and the finished vent.

. . . . and the finished vent.

Another classic vintage aspect is the proscribed use of snaps  – in this pattern, at the waist and below, which takes bulk away from the “tuck-in” part of the blouse.

And that bow?  Once I had it made up, was it too much?

I think the bow is just about perfect.

I think the bow is just about perfect.

I am very glad I didn't tinker with the size of the bow!

I am very glad I didn’t tinker with the size of the bow!

Shown with the jacket.  I really like how the collar on the blouse shows a bit when i have the jacket on.

Shown with the jacket. I really like how the collar on the blouse shows a bit when I have the jacket on.

The Necessary Blouse

A comfortable fit.

The Necessary Blouse

Would be nice with a navy skirt as well …

The Necessary Blouse

Whew!  Blouse and jacket turned out as I had hoped!

Whew! Blouse and jacket turned out as I had hoped!

I am feeling quite good about indulging in the extra fabric and extra time needed to make this blouse.  Now that my No. 2 Jacket is complete, I can indulge in my other current project – my color-blocked coat –  which might add a new word to the vocabulary of fashion sewing – obsession!

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Filed under Blouse patterns from the 1950's, Blouses, Buttons - choosing the right ones, Chanel-type jackets, sewing in silk, The Conde Nast Publications, Uncategorized, vintage Vogue patterns from the 1950s, Vogue patterns

The Second Time Around

Coco Chanel reopened her House of Chanel in 1954, and by the early ‘60s, her suit with its narrow skirt and boxy cardigan jacket, famously made from beautiful boucles, was a dominant fashion look.  I could not help but think of another product of the early ‘60s as I was working on my Chanel-inspired Jacket No. 2:  the song, written by Sammy Cahn and set to music by Jimmy Van Heusen, entitled “The Second Time Around”.  I wondered if making my No. 2 would be “lovelier the second time around”?  And you know what?  It was!  I give so much credit to Susan Khalje, from whom I took the Classic French Jacket Class, whose tips and teachings gave me much confidence as I tackled No. 2 on my own.

There were a couple of additions and subtractions I decided to try with my second jacket.  The easy one was deciding to have just two pockets rather than four.  The more involved one was deciding to add buttonholes to the front edge, the sleeve plackets, and the pockets.  However, I remembered Susan’s statements about making buttonholes in one of these jackets – and the reason she advocates in her class the use of “hook and eye” fasteners at the abutted front edges.  It is very difficult to make acceptable hand-done buttonholes in this loosely woven fabric, unless one is extremely skilled in this procedure.  Since the only hand-done buttonholes I am used to doing are bound buttonholes – not acceptable in this application, due to the type of fabric – I knew I had to figure out another way to get buttonholes in my No. 2.

Fortunately, I have an issue of Threads Magazine from June/July 1989 in which Chanel jackets are featured.  This picture gave me the idea for seam-slot buttonholes.

You can tell the buttonholes in this jacket are vertical, nestled between two trims.

You can tell the buttonholes in this jacket are vertical, nestled between two trims.  Pictured in Threads Magazine, June/July 1989, page 28.

I would just have to add on a separate piece for the right front, make each pocket in two pieces, and make the plackets on the sleeves separate pieces, sewn on with openings in the seams to make the buttonholes.  Here is an example of what I did.

The extension is sewn on separately, leaving three openings, evenly spaced for buttonholes in the seam.

The extension is sewn on separately, leaving three openings, evenly spaced for buttonholes in the seam.

Of course doing these extra pieces meant I had to apply separate linings to each extension.

Here is the separate lining piece being applied to the placket.

Here is the separate lining piece being applied to the placket.

The entire time I was quilting the jacket, working on the seams, and figuring out these buttonholes, I was pondering the trim.  Some of you may recall (if you read my blog regularly) that I could not decide between two different trims.

Here are the two trims I had chosen.

Here are the two trims I had chosen.  I really liked the fact that the spacing on the multi-color trim matched exactly the spacing of the red rows on my fabric.

Because of the lining fabric I had chosen (and from which I am making a blouse), I was leaning towards the red, white and blue trim, but I thought it looked a little “weak”.  What to do?  I started looking at as many pictures of Chanel jackets as I could find, but the one that made the light bulb go off was one from that same issue of Threads Magazine:

The Second Time Around - grosgrain ex

Click on the picture to see the underlying grosgrain ribbon.

If I could find a Petersham grosgrain ribbon in the right color, I thought it would be the perfect backing for either trim.  Once again, Britex Fabrics  (from which I had already purchased the boucle, the lining fabric, the buttons, and the two trims) came to the rescue:  I ordered 5/8 inch Tomato Red ribbon – and then paired it with each trim.

I thought the grosgrain ribbon made both trims look better, but especially the multi-color one.

The grosgrain ribbon made both trims look better, but especially the multi-color one.  Click on the photo for a close-up view.

I thought it added just the right amount of depth to the multi-color trim, and my decision was confidently made.

I sewed the Petersham ribbon on before I did the finish work on the inside lining seams.  Then the ribbon provided a wonderful surface on which to attach the trim.

The Petersham ribbon attached.  If you look closely, you can see the sea-slot buttonholes.

The Petersham ribbon attached. If you look closely, you can see the seam-slot buttonholes.

 I took this picture to show the contrast between the trims.  I think the multi-color trim adds more interest to the jacket.

I took this picture to show the contrast between an all red  trim and the multi-color one. I think the multi-color trim adds more interest to the jacket.

So – here’s the jacket (shown on my dress form for now.  Once I get the matching blouse finished, I’ll “model” it for you.)

No 2

Back view, obviously!

Back view, obviously!

No 2

Details, details!

Details, details!  Can you tell that I added a little length to the back of the jacket?  It makes for a more graceful appearance when worn.

Here is the bottom buttonhole on the front of the jacket - and notice the chain!

Here is the bottom buttonhole on the front of the jacket – and notice the chain!

There is no way to make this jacket quickly.  The extra steps I added (buttonholes and 2 layers of trim) added to the length of the process as well.  But – it was incredibly satisfying to see it turn out as well as it did.  I am grateful that I made this No. 2 shortly (well, within 6 months) after my first jacket, as it reinforced my knowledge of the process.  For my next one I’d like to add a “mandarin” type collar, as shown in these examples:

The Second Time Around - mandarin collar ex 1

This example is from Threads Magazine June/July 1989, page 28

I love this suit in houndstooth wool.  This is pictured in Threads Magazine, January 2014, page 44.

I love this suit in houndstooth wool. This is pictured in Threads Magazine, January 2014, page 44.

So when will No. 3 commence?  I don’t see it on the horizon yet, but perhaps when it does, the third time around will be … “the charm”.

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Filed under Boucle for French style jackets, Chanel-type jackets, Coco Chanel, couture construction, Uncategorized, woolens

Happy New Sewing Year

“Dresses for breakfasts, and dinners, and balls;

Dresses to sit in, and stand in, and walk in;

Dresses to dance in, and flirt in, and talk in;

Dresses in which to do nothing at all;

Dresses for Winter, Spring, Summer and Fall”

William Allen Butler (1825-1902) may have thought “Nothing to Wear”, from which these lines are taken, was a satirical poem, but he obviously did not know 21st century fashion sewers.  Isn’t January just the perfect time to plan for the creation of “dresses for Winter, Spring, Summer, and Fall”?  Yes, thank you for agreeing with me.

Last year I took a rather theoretical approach to the new sewing year, but this year I am focusing on more specific plans.  Let me start with Winter.

I have three things that I want to complete while the snow is still flying (which gives me until the end of March, more or less):

1)  My Chanel-inspired classic French jacket is my current project, and I am happy to report that I am making slow but steady progress on it.

2) I won’t consider the jacket really complete until I have made the bow blouse that will match its lining.

3) I am excited to say that I am going to be joining one of Susan Khalje’s Couture Sewing Classes in February, and my intended project is — ta-daa — this jacket which I have wanted to make ever since Vogue Patterns first issued it in the 1970s!

I will definitely be doing the color blocked version when I make this coat.

I will definitely be doing the color blocked version when I make this coat.

With any luck (or maybe lots of it will be needed), it may still be Winter when I start this project intended for an event in late April event:

I have an authentic Pucci silk from which to make the dress and line the jacket.

I have an authentic Pucci silk from which to make the dress and line the jacket.

In addition, Spring will not be complete for me until I make a dress for my granddaughter who will be 1-year-old in March.  I purchased this fabric last Fall when I was at the Eric Carle Museum in Amherst, Massachusetts.  You can imagine my excitement when I saw that the gift shop included yardage of soft, quality cotton featuring designs from his books.  I envision these little ducks embellished with yellow rick-rack.

Happy New Sewing Year - carle fabric Before Spring bids us adieu, I may divert from dresses to make another pair of slim pants in this vintage 1950s’ linen:

I only have 1 5/8 yards of this 35" wide fabric, so it remains to be seen if i can squeeze pants out of it.

I only have one and 5/8 yards of this 35″ wide fabric, so it remains to be seen if I can squeeze pants out of it.

If Summer of 2014 is as hot as last Summer (or even if it is not), I’ll be making at least two more cool, linen dresses, one sheath-style and one belted.  More on these linen fabric finds in a future post…

And a bathrobe!!  I am dying to make a swishy bathrobe!

Ah, and then comes Fall (already??), probably my favorite season of all.  I have two projects envisioned:

1) I found this stretch silk charmeuse at Mendel Goldberg Fabrics on a quick day trip to NYC in early Fall.

Another gorgeous Italian silk!

Another gorgeous Italian silk!

I bought it thinking I may use it for the lining for my No. 2 French jacket, but shortly after that I found this pattern on eBay and promptly decided it would be perfect made up in this dress (which requires a stretch fabric.  Well, it says “ knit fabrics only” but I say stretch fabric will do just fine).

This os one of the few patterns from the 1980s which I really like.  However, i will not be duplicating the hairstyle.

This is one of the few patterns from the 1980s which I really like. However, I will not be duplicating the hairstyle.

2) I’ve had this buttery soft cashmere wool for a couple of years now.  I originally thought I’d make a suit, but now I’m thinking long-sleeved dress instead.  I’m still sorting this one out in my head so I’m very glad I have until next Fall.

A subtle windowpane check in navy with deep red and ivory intersecting lines.

A subtle windowpane check in navy with deep red and ivory intersecting lines.

Sprinkled among these plans for Winter, Spring, Summer and Fall will surely be more little dresses for granddaughter Aida.  I fully intend for her to have some of the cutest frocks in all of New England.

Finally, if 2013 taught me anything, it is that the unexpected is waiting around every corner.

Lots of corners lurking in this Liberty cotton!

Lots of corners lurking in this Liberty cotton!

Life can take sudden turns and twists that are not always sewing-friendly, so I plan to be kind to myself if that happens.  But wouldn’t it be nice for all of us to have the kind of year when we have the extra time to make a dress in which to do “nothing at all”?

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Filed under 1980's dress patterns, Boucle for French style jackets, Chanel-type jackets, Coats, Liberty cotton, Linen, Polka dots, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1970s, Vogue patterns, woolens