Category Archives: Linen

September 14, 2021 · 2:36 pm

A Summer Dress

Summer is quickly slipping away, but before it does, I will share one quintessentially summer dress which I made back in July. It ticks off a number of features which make it “Summer Seasonal”: it is sleeveless, it is a bright color, and it is linen.

I found this vintage piece of Moygashel linen a few years ago on eBay. Always a pushover for vintage Moygashel, I purchased it, not quite knowing what shade of green it would be. I was expecting a lime green, but when it arrived it was “lime green meets mint,” a color reminiscent of the early 1960s. Actually, not just reminiscent – an actual survivor from that period of time. The width of the fabric was only 35” which was a dead giveaway that this fabric is from the early part of that decade. Shortly thereafter, Moygashel began to be woven in 45” widths. Fortunately I had three yards, which compensated for the dearth of width.

To keep with the early ‘60’s vibe, I decided to line it in pink. Although I usually line linen with a cotton batiste or cotton/linen lightweight blend, I decided to treat this dress a little bit differently. I do not often use Bemberg for lining, usually preferring silk, but this lovely, time-tested 100% rayon lining just seemed to be the right choice. (Why? I knew the seam allowances of the bright green linen would not show through the tightly woven Bemberg lining, AND it would be a comfortable, lightweight and slinky fabric with which to line a summer dress.) I ordered what I thought would be a medium pink, but when it arrived, it was more of a very deep rose. What to do? I hemmed and hawed, I thought about ordering a different hue of pink, I even thought about abandoning the pink idea and just using a white crepe de chine I had on hand. Why I was agonizing so much over the color of the lining had to do with my thought if the dress turned out well, I would enter it in the County Fair. I knew not everyone would “understand” such a deeply contrasted lining. But not wanting to waste money and fabric – and time! – I finally decided just to go with the dark pink, shown a few pictures below.

I used this sheath dress pattern again, as I am so fond of the double shaping darts in the bodice front and the real kick-pleat.

The sheath dress pattern I like is the one on the right, underneath its matching plaid coat.

Here is the kick-pleat on the inside of the dress.

I underlined the dress in silk organza so that I could eliminate facings and have an invisible application of the lining. (The silk organza underlining gives one a base upon which to tack and secure stitches which do not show on the fashion fabric.)

The neck and armhole edges are stay stitched by machine close to the seam line, then clipped and tacked in place by hand to the silk organza underlining.

Here is one of the side seams, clipped and then also tacked in place by catch-stitches.

A beautiful lining hides all those interior stitches and seams.

I surprisingly found a zipper which was almost a perfect match to the green linen, and I did a hand-picked lapped application.

Once I had the lining fell-stitched in place around the neckline and the armholes, I under-stitched those areas in waxed and ironed white thread. (I used white to quiet down the deep pink!) Using this technique keeps the lining in place. The under-stitching is attached to the silk organza underlining only, not the fashion fabric, as explained above.

I used Hug Snug rayon tape to construct the strap holders.

To complete the early 1960s’ essence of this dress, I can pair it with a vintage ‘60s’ Guillemin scarf, also found on eBay. The pink in the scarf doesn’t match the pink lining, but since the lining does not show, it only matters to me (and now all of you also know this little fact!)

So how did I do with this dress as an entry in the County Fair? It was awarded a Red Ribbon in the Adult Division, which was lovely. The day was “saved” however, when dresses I made for my granddaughters each won Blue Ribbons (and one of them won Best of Division).

(Those of you who follow me on Instagram @fiftydresses have seen this picture already…)

Good Summer memories, all of them.

29 Comments

Filed under couture construction, Linen, Linings, Mid-Century style, Moygashel linen, Scarves, Sheath dresses, Uncategorized, underlinings, Vintage fabric, vintage Vogue patterns from the 1960s

Tagged as 1960s Vogue patterns, couture construction, fashion sewing, Moygashel linen, vintage fashion, vintage Vogue patterns

January 8, 2019 · 5:58 pm

Another Rosy Outlook for the New Year

There is a fine art to planning ahead, and nowhere is this more obvious than in planning a new sewing year. No matter how carefully I think it through, I still end up with some fabrics that never make it out of storage and some newly-purchased fabrics that quickly get moved to the head of the queue. But no matter! I still find it useful to make a list of intended projects, while at the same time reminding myself that being flexible and realistic about my intentions is what is really necessary. (There are, after all, those unexpected special events which can’t be planned for, but which take top priority when the “save the date” card arrives in the mail.)

When I look back at what I accomplished in 2018, I happily find that about half my projects used fabrics which I had purchased at least a few years prior. Some had actually been in my collection for more than a few years! Last year’s list was replete with rosy hues and rosy prints, and this year is not too different, especially considering three of my most favorite fabrics from last year are being forwarded onto my plans for 2019. Will this be the year that I finally get this vintage piece of Moygashel linen made into a dress? I’ve only been trying to do this for at least three years now!

A very early 1950s’ linen, petite black flower silhouettes on a pale ecru background.

But for starters, and as with last year, I am first finishing up a project which I began, but did not have time to finish before the holidays took over my sewing room – and my life!

I am bound and determined to finish the Classic French Jacket I started in late 2018. While I am currently working on the body of the jacket, having completed its quilting, I am still undecided about trim. I am auditioning different options, but have yet to find the perfect one.

However, I am anxious to get on with it, as the rest of my list includes:

1) a wool coat

2) 3 cotton shirtwaist blouses

3) 1 boat-neck blouse (silk, maybe, or still undecided)

I love this French blouse-weight silk, so it is a heavy favorite for a boat-neck blouse to be made along with fellow dressmakers enrolled in Susan Khalje’s Couture Sewing Club.

4) 1 linen skirt

5) 2 wool skirts

6) 1 wool, two-piece dress

7) 1 cotton dress

I found this amazing cotton at Mulberry Silks in North Carolina when I was looking for fabric for the Christmas dresses for my granddaughters.

8) 1 linen dress – referenced above

9) 1 silk dress

10) birthday dresses for my two little granddaughters

11) play dresses for granddaughters

12) holiday/Christmas sewing for those same two little girls

and finally

13) some necessary home decorator sewing, which is not my favorite thing to do, until I see it finished and can enjoy living with it!

The wool coat will be my first major project in 2019 once the French jacket is finished. I can’t wait to get started on this vintage Lesur wool from Paris, lined in a pink, gray and white silk purchased from Mendel Goldberg a few years ago.

I will probably make a simple wool skirt before starting the coat, as I know it will be a relatively quick project nestled between the jacket and the coat. I found this wool when Promenade Fabrics was closing their Etsy shop a few months ago. How I love a red and navy tartan. I could not resist it, and I am glad I didn’t.

The hand of this wool is so lovely. I think it will make a beautiful skirt. And I have just the shoes to wear with it!

Life is, of course, filled with all kinds of non-sewing duties, and I have plenty on that list, too. It will be a tricky balancing act to make significant progress in both realms, but my guess is that sewing wins out over cleaning out the attic.

Welcome, 2019, with all your grand opportunities!

10 Comments

Filed under classic French jacket, Coats, Linen, Moygashel linen, Uncategorized, Vintage fabric, woolens

Tagged as Chanel-inspired jackets, fashion sewing, Mendel Goldberg Fabrics, Mulberry Silks and Fine Fabrics, Promenade Fabrics, Susan Khalje Couture, vintage fabric

September 9, 2018 · 6:39 pm

A Definite ‘60’s Vibe

“Unexpected,” “unusual,” “fascinating,” and even “a bit magical” are words used to describe some of the fabrics, prints and designs from the late ’60s/early ’70s (The Editor’s Letter, Vogue Pattern Book International, April/ May 1970.) Although I have no documentation, I am sure that this red and white Moygashel linen is from those last years of the 1960s or early years of the ’70s.

Of course, another clue to the age of this Moygashel linen is its width of 45″. Prior to about 1964, Moygashel was only available in 35 or 36″ width, as best as I can determine.

A quick look through some of my Vogue Pattern Book Magazines from this time period uncovered other fabric designs which have a similar feel to them.

This dress appeared in the April/May 1970 Vogue Pattern Book International, page 16.

This large, irregular leaf print was shown in the February/March 1968 issue of Vogue Pattern Book International, page 11.

Even this sewing machine ad features a dress with an abstract geometric fabric design. Again, this is from the February/March 1968 Vogue Pattern Book International, page 24.

And here is another spectacular Moygashel linen, advertised in the April/May 1970 Vogue Pattern Book International, page XXIV. Cute dresses!

Interestingly enough, these demonstrative and colorful fabric designs were often sewn from the same or similar patterns as their more demure pastel and solid counterparts. I kept that in mind as I contemplated which pattern to use for this “unusual” and “fascinating” linen. Additionally, I wanted to pair it with a red linen belt (which I ordered several years ago when I knew that Pat Mahoney was closing her custom belt and button business. The red linen is some I fortuitously had left over from some of my sewing in the early 1970s.)

Then, after the recent success of my fairly dramatic changes to this pattern – and knowing I had a great muslin from which to work – I went with it again.

Here is the result:

I definitely had some issues with the very uneven grid. I took a lot of pictures of the fabric arranged on my dress form before I started to lay out the pattern. This helped me to visualize the areas which needed some regularity (if you can call it that!) I realized quickly, in order to achieve a semblance of matching in the critical areas, I would have to accept way less than perfect in other areas. Because the entire geometric design is so irregular, I have, I think, made peace with this decision. (I haven’t worn the dress yet, so the proof of this is still to be determined.)

The bodice front seemed to me to be the most critical, and I wanted that three-striped horizontal motif to follow across the upper bustline.

The back proved to be a bit more problematic, as three quarters of it lined up fairly well, with one section off on the left side. Because the side piece wraps around the side (as in no side seam), there was only so much I could do in order to be able to “match” the front. Additionally, I thought it was more important to have the back center seam, rather than the side back seam, positioned correctly, so that’s what I did.

Am I going to have the nerve to wear this dress?

I may end up loving it??

I lined the entire dress with a very lightweight linen cotton blend, eliminated facings for the neck and armholes, and finished those areas with a typical couture treatment.

Because the skirt lining is unattached, I finished off the seams of the linen with Hug Snug rayon tape.

I did not use a silk organza underlining, as I like my linen dresses to be washable. Without that inner layer of organza, I had to be very careful with sewing the hem, to try to make it as unnoticeable as possible.

I doubt I will have a chance to wear this dress yet this Fall. The later it gets, the odder it will look. That’s okay. I’m ready to move on to something more subdued – but hopefully “a bit magical” will still be in the equation.

32 Comments

Filed under couture construction, Linen, Linings, Mid-Century style, Moygashel linen, Uncategorized, Vintage fabric, vintage Vogue Designer patterns

Tagged as couture construction, fashion sewing, Moygashel linen, vintage fabric, vintage fashion, vintage Vogue patterns

August 28, 2018 · 6:23 pm

A Sewing Draught

The weather outside is frightful, as the popular Christmas song goes. It has been too hot and too wet here in eastern Pennsylvania (USA) this summer. Our family travels, however, took us to areas that were both too hot and much too dry. It was exactly those lengthy travels which helped determine the atmospheric conditions in my sewing room during the past weeks. There has been a definite draught in that part of the house. The sewing machines have been huddled under their covers, the fabric has lain folded and fallow, there has not been even a bubble of moisture from the steam iron, nor the slightest snip from the scissors. It has been a place undisturbed and quite barren.

So, finally, it is time to change all that! Now I am faced with the question – Do I try to squeeze in the making of one more summer dress (it certainly still feels like summer) – or do I forge ahead with a project which has a mid-October deadline?

If I go with one more summer dress, it will be one made from this vintage Moygashel linen, which has been in my queue for quite some time – and somehow never made it to the top.

Realistically, it would probably be wiser to focus on that mid-October dress, which is going to be a cocktail dress made from this amazing fabric, a lightweight brocade, embroidered and with with lace appliqués. One of the perks of attending Susan Khalje’s Couture Sewing School in Baltimore (which I did last April) is the opportunity to see and purchase fabric from Mendel Goldberg Fabrics. Alice Wildes, the proprietress, arrives at the beginning of each week-long class with a car full of her gorgeous, carefully selected yard goods, and that is where I purchased this piece.

The embroidered flower stems are a light gray, and the flowers themselves are a pale pink.

Getting this brocade was actually a last minute decision, as I already had one cotton piece selected – and I was trying to be circumspect in buying more fabric (remind me again of why I ever think this will work?) Anyway, I’m so glad I succumbed as I love it and have determined which pattern to use for its construction:

I will be making the shorter dress, without the jacket.

I like the notched neck detail on the shorter dress. I may make below elbow length sleeves – still to be determined.

Although this dress appears to be a simple silhouette, I have plans to change it up a bit, which will add to its complexity, so it certainly cannot be rushed.

With any luck, the weather will start to change for the better no matter which project I embark on. The only question is – which one will get the nod?

13 Comments

Filed under Cocktail dresses, Formal or fancy dresses, Lace, Linen, Moygashel linen, Uncategorized, Vintage fabric, vintage Vogue patterns from the 1960s

Tagged as Cocktail Dresses, fashion sewing, Mendel Goldberg Fabrics, Mid-Century style, Susan Khalje Couture, vintage fabric, vintage Vogue patterns

January 4, 2018 · 1:06 pm

A Rosy Sewing Year

It seems that every new sewing year – at least for me – does not start right on time, as I am always finishing up a project from the month of December. Such is the case in this early January of 2018. However, that does not keep me from planning and dreaming about the coats and jackets, dresses and blouses to come. I can’t help but think of the new year at hand as a “rosy sewing year,” because the fabrics that are in my queue right now share a common theme – so many are predominantly red or pink or peach or floral, a bouquet of colors and textures.

First up is this red and black “hounds tooth” boucle which I found at Mendel Goldberg. Yes, it will be a Classic French jacket, with a sheath dress to match.

I am planning some variations in detail and trim for this jacket and dress, about which I am excited. It is a big project, so I hope January gives me lots of sewing time! No doubt this will spill over into February…

As I mentioned in one of my December posts, I hope to make a coat from this vintage purple boucle I am so fortunate to own.

A few years ago I found this silk charmeuse (also at Mendel Goldberg) which I intend to use for a coordinating dress with the coat.

Other silks I would love to concentrate on this year are purchases made several years ago from Britex Fabrics in San Francisco:

This is a French crepe de chine.

This silk helps satisfy my penchant for polka dots.

Then there are two linens I never got to in 2017, one a geometric red and the other a ecru and black floral. I assume they are waiting patiently for me. Add to all this my determination to sew for my two little granddaughters and – there’s the year! (And can I possibly finish another classic French jacket next Fall? We will see.)

But let me complete 2017 first. Whatever made me think I should start (and could possibly finish) another dress for myself in December I will never know. But that’s exactly what went through my head. I had plans to make taffeta “Cinderella” dresses for my granddaughters for Christmas presents, but thought I would sneak in some personal sewing time before I started on that project. Perhaps it was the pattern that made me do it? Or was it the fabric?

When I purchased this pattern at the end of last summer, I really had no idea when I would be using it; I just did not want to miss the opportunity to own it, knowing that I would surely use it someday. Little did I know that someday would be just a couple of months later.

Now it just so happened that I had draped this fabric, below, over my dress form so I could admire it while I worked on other things. I purchased this silk charmeuse from Mendel Goldberg fabrics in 2016 as an end cut, three yards in length.

I knew with three yards I would be able to use a dress pattern which called for more than normal yardage, and I had found a pattern in my collection which I thought I would use:

My idea was to lengthen the sleeves to three-quarter length.

But something just did not seem right. I could not get excited about that pattern in that fabric, even with three-quarter sleeves. Well, I had one of those proverbial light bulb moments when it occurred to me to use the Guy Larouche pattern for the champagne-colored, floral silk. It seems to be a perfect match. The bodice of the pattern is cut on the diagonal, and the meandering flower and vine motif in the fabric lends itself to both straight of grain and diagonal placement. I made my muslin (with quite a few alterations) and was really quite excited about the draped back, shown here in muslin:

And here is the front, minus one sleeve. The front neckline is a bit unusual and I think it will be flattering.

I got as far as transferring the markings onto the silk organza underlining, cutting out the fashion fabric, and basting the two layers together, all ready to start sewing. Then reality hit like a sledgehammer! I had to get those dresses for my granddaughters finished in time for Christmas (which I did, after some frantic sewing – and they love them, which made it all worthwhile!)

Just in case anyone would like to see these dresses, here they are. Big bows in back, and the sleeves are adorned with little bows. Very girly!

So that’s how I am now at this point, finishing up 2017, with the hope of starting the new sewing year one of these days – with my Guy Laroche dress perched in my closet, awaiting its debut. May the New Year be rosy and kind to all of us, and may it end with many sewing dreams fulfilled!

25 Comments

Filed under Boucle for French style jackets, Chanel-type jackets, Coats, Linen, Moygashel linen, Polka dots, Sewing for children, silk, Uncategorized, vintage Vogue patterns from the 1960s

Tagged as Boucle, Britex Fabrics, fashion sewing, Mendel Goldberg Fabrics, sewing for children, vintage Vogue patterns

September 14, 2017 · 6:03 pm

Linen for Fall

Although Fall is undoubtedly my favorite season, I find it the most difficult one for which to dress. Bright Summer colors look out of place, it’s not chilly enough for wool yet, and the days can be very variable. And although linen is usually thought of as a Summer fabric, I believe there are some linens which lend themselves beautifully to this time of year. These are, of course, not lightweight, or handkerchief linens. These are linens with some heft to them, which can be cool to the skin if needed and add some warmth as the sun goes down (sweaters help, too!).

I was fortunate to find a length of Moygashel linen on eBay several years ago, which seemed to fit this bill, especially in its color combination. What could be more Fall-ish than burnt orange, chestnut brown and deep navy, all set on an ecru background?

Moygashel dress linen was produced in a few different weights. The pink dress I made in early Summer was fairly lightweight; this linen is heavier, but still dress-weight. It was 35” wide, which tells me it was produced not any later than about 1962 or 1963. (About that time, Moygashel seems to have switched to wider looms, thereafter producing 45” wide yard goods.) That “daisy” design also is a clue to its age of production, although it certainly does not scream 1960s. I had 2¼ yards so I had to find a pattern that would accommodate narrow fabric width and limited yardage. That pretty much eliminated the idea of sleeves! However, knowing how warm some of these Fall days can be, I was fine with a sleeveless dress. And I am an avid cardigan sweater-wearer, so I knew this fabric would lend itself to a pairing with a deep navy sweater.

With that in mind, I went searching through my pattern collection for a sheath dress with something more to it – and here is the winner:

This pattern is also from the early 1960s.

I really liked the half-belt, and the seaming detail of the bodice.

So I was off and running after making quite a few adjustments to the pattern for fit. I prefer to work with a 32” bust/34” hip pattern, but this was what I had. (I think if I make this pattern again, I will take it in just a bit more, especially in the bust.)

I considered adding some self-piping to the front seaming detail and around the perimeter of the belt, but I decided against it as I felt that would add too much bulk. So instead, I decided to top-stitch those areas.

Here is the front center seam detail. I used a light brown thread for the top-stitching.

I had this one lovely pearl button which seemed perfect for the belt with its concentric circle design. I did a bound buttonhole, just what the pattern instructions called for!

The belt follow the lines of the front bodice.

I did a lapped, hand-picked zipper, and I also lowered the neckline just a bit in the front.

And note those neat shoulder darts. Why don’t new patterns have such necessary details?

I lined the dress with a very lightweight linen/cotton blend. I eliminated the facings and brought the lining up to the neck and armscye edges, as in customary couture sewing. Although I did not underline this dress (I have found that linen usually does not benefit from underlining in silk organza. Also, machine washing is easier without an underlining), it is still possible to tack the lining around those areas to insure the edges stay put!

I know I am always going on and on about Moygashel linen (which is no longer being produced), but it really is such a delight to sew – and to wear!

Nice with a sweater…

So there you have it – my first dress made specifically for Fall! However the story does not end here. With any luck this dress will have a starring role in a more complete outfit, which is going to have to wait until next Fall before I can get to it. Do you have any idea what I might be planning?

47 Comments

Filed under bound buttonholes, Buttons - choosing the right ones, couture construction, hand-sewn zippers, Linen, Linings, Mid-Century style, Moygashel linen, Uncategorized, vintage buttons, Vintage fabric, vintage Vogue patterns from the 1960s

Tagged as Choosing buttons, fashion sewing, Mid-Century style, Moygashel linen, sheath dress, vintage fashion, vintage Vogue patterns

June 6, 2017 · 6:07 pm

Jacket AND Dress!

One of the aspects of fashion sewing that appeals to me so much is how projects seem to take on a life of their own. By the time I have it finished, a piece rarely ends up being exactly how I thought it might be when I started it. Most of the time, that’s a good thing. (There are those flops, which are bad things, but thankfully this post is not about a flop.)

When I did the planning and started the construction of my recent Classic French Jacket, I really thought I would be making a pale blue linen sheath to wear with it, using fabric already in my collection. But somehow that pink accent in the weave of the boucle, the trim I selected, and the buttons, all conspired together and changed my mind for me.

Fortunately, I also had a piece of pale pink linen in my fabric collection (at this point, I might ask myself, what color linen do I not have in my collection? But let’s not go there….) By this time I had already decided I needed to figure out a way to show that gorgeous lining silk in my jacket, rather than having it solely hidden inside. Having seen accent scarves paired with Chanel jackets on Pinterest gave me the idea to make a scarf. Then I thought it might be fun to “attach” the scarf to the pink (planned) dress in some fashion.

I came up with buttoned shoulder tabs as a possibility. I had purchased eight small buttons for my jacket – three for each sleeve and one for each pocket, long before I had this idea. You might recall in my last post, that I decided to make the sleeve vents for two buttons instead of three? That’s where I found/got the two buttons I needed for shoulder tabs.

I ended up liking my two button vents!

The first tabs I made just did not look right. First of all, they did not turn well, with a pleasing curve And when I placed them at the neckline of my dress, all I saw were the seams.

I even finished the bound buttonholes before deciding I didn’t like these.

I had to think through lots of possible solutions and finally had a eureka moment when I thought of piping the edges.

Piping makes the sewn curve much easier to turn well.

So much better!

I placed the tabs slightly forward rather than exactly on top of the shoulder seam.

The rest of the dress was very straightforward, as sheath dresses tend to be. It is lined with a lightweight, cotton/linen blend, but I did not underline it, as I like to preserve the washability of most of my linen garments (easier without an underlining.) It is also cooler without an underlining.

Being a lover of pink, I already had pink pumps that match the dress exactly – and a handbag which brings out the peachy part of the pink in the boucle.

The tabs on this dress give it kind of a ’60s vibe. Unintended, but kind of a nice touch to go with the jacket.

Because these two pieces – and this look – came together from so many sources, I think it is a good idea to give credit where credit is due:

Boucle: Mendel Goldberg Fabrics , NYC, gift from my grown children.

Soutache Braid and Buttons: M & J Trimming, NYC

Pink Petersham Ribbon: Britex Fabrics, San Francisco

Lining and Scarf silk: Britex Fabrics, San Francisco

Pink Linen: vintage Moygashel, 35” wide, purchased on Etsy

Cotton/linen lining for the dress: JoAnn’s Fabrics, purchased in bulk a couple of years ago

Shoes: Ferragamo, old!

Handbag: Kate Spade, also old.

I do love pink!

So that’s it! One major project now residing in my closet rather than in my sewing room. Time to start something new…

33 Comments

Filed under Boucle for French style jackets, bound buttonholes, Buttons - choosing the right ones, Chanel-type jackets, Linen, Linings, Mid-Century style, Moygashel linen, piping, Scarves, Shoes to make an outfit complete, Uncategorized, Vintage fabric

Tagged as Boucle, Britex Fabrics, Chanel-inspired jackets, Choosing buttons, fashion sewing, Mendel Goldberg Fabrics, Mid-Century style, Moygashel linen, scarves, vintage fabric

January 20, 2017 · 6:27 pm

Focus on Fabric for 2017

Every new sewing year seems to have its own personality. Some of that depends on significant events that may be happening during the year, for which certain outfits must be sewn. Other influences might be travel, or the need to add some “basics” to your wardrobe, or, better yet, sewing classes, requiring planning/ muslin-making/special purchases. For me, this new year of 2017 – it is still new, isn’t it? – is going to have a focus on fabrics. I wish I could say I am resolved not to purchase new fabrics until I use some of what I already have, but I have already made that an impossibility, and the year is a scant three-weeks-old. (Thank you, Mendel Goldberg Fabrics, for tempting me beyond any recognition of reasonable doubt!) However, back to my premise – sometimes I have patterns which are just keeping me awake at night until I use them. Not so much of that this year; it is rather some of the gorgeous fabrics in my collection which are doing their best to disrupt my sleep.

Here are some of them, starting with Winter sewing.

I purchased this fabric from Mendel Goldberg in New York City. It is a wool/silk blend, and it is my current project.

My current bathrobe is in desperate need of replacement. This is the fabric I want to use for this new addition to my cozy home attire.

This boucle bridges the gap between Winter and Spring. Given to me for Christmas of 2015, it is a blend of wool, cotton and silk, tightly woven and lightweight. I will be trying to devote most of March to making this into a Classic French Jacket. I will be able to wear it well into Spring and then, of course, it will be perfect for next Fall and Winter, too.

2 full yards of this glorious boucle! I purchased a variety of trims to coordinate with this fabric this past summer in NYC and in San Francisco. Now I just have to decide which one(s) to use.

2 full yards of this glorious boucle! This past summer, I purchased a variety of trims to coordinate with this fabric. Now I just have to decide which one(s) to use.

Spring and Summer sewing always poses the most difficult decisions for me. That is because I have so many gorgeous pieces of vintage linen, and trying to determine which ones to use is a frustrating exercise for me. I would love to make a simple sheath out of this baby blue Moygashel linen, as it would look so lovely with that jacket mentioned above.

Crisp, pale blue linen from the 1950s.

Then there is this amazing abstract design in red and white – also Moygashel – which somehow just has to wiggle its way into the sewing queue:

This fabric is from the mid to late 1960s, and it arrived with the label intact.

On the other extreme is this demure flower print, an early 1950s’ Moygashel linen. I have been wanting to make a dress from this for several years. Perhaps this will be the year I get it done.

Petite black flower silhouettes on a pale ecru background.

Another piece of vintage linen is this duo with lengths of plain and embroidered panels. Originally intended for an A-line shift, I envision it as a dress-length tunic, accented with the grass-green linen shown here. That would be one way I could honor the Pantone Color of the Year, Greenery, as well as make a unique and versatile dress.

How I will ever find the time to make a blouse out of this white dotted cotton, I don’t know, but hope springs eternal for this, too:

I backed this fabric with a piece of orange paper so that the polka dot design shows. The dots are woven into this fine cotton from Britex Fabrics.

With weeks of travel planned for parts of the final five months of the year, it will be folly to plan too much, but I do hope to make one more linen dress which will have wearing power into the Fall.

Navy, rust and brown – perfect for early Fall.

And can I possibly get one more Classic French Jacket completed before Thanksgiving? If so, it will be made from this boucle:

Sprinkled among all these projects will be sewing for my two little granddaughters, too. As usual, I have much more planned than I ever can hope to accomplish, but it is fun to think of the infinite possibilities that dwell in my fabric closet – and in my head.

PS – One fashion observation for 2017: DRESS GLOVES ARE BACK!

20 Comments

Filed under Boucle for French style jackets, Linen, Moygashel linen, Uncategorized, Vintage fabric

Tagged as Britex Fabrics, Chanel-inspired jackets, fashion sewing, Mendel Goldberg Fabrics, Moygashel linen, Pantone, vintage fabric

July 12, 2016 · 2:18 pm

From Flora to Flop

In sewing there are various degrees of success. At one end of the spectrum is something which not only fits well, but is flattering, a perfect combination of pattern and fabric, a piece destined to become a staple in one’s wardrobe. At the other end is – a complete flop. Flops are painful, aren’t they? I didn’t realize this project was going to be a flop until I was almost finished with it, although I was beginning to have my doubts about halfway through it.

I started out with this really lovely linen blend from Mood Fabrics, which I’ve had for a few years. Here it is draped on my dress form:

The fabric looks like – and is – a somewhat loosely woven linen, but it is surprisingly stable.

I had purchased the By Hand London “Flora” pattern (a departure for me to buy a “new” pattern!), as it reminded me of a Cristobal Balenciaga dress which I have long admired.

Evening dress in flocked shantung in blue and black, 1957

Both images are from: Balenciaga: Cristobal Balenciaga Museoa; Fundazion Cristobal Balenciaga Fundazioa, Editorial NEREA; English Edition 2011; distributed in the USA by Thames & Hudson Inc., NY, NY, page 260.

I had not intended to use the Flora pattern for this fabric, but somehow I got the notion that it would be really pretty. In addition the fabric was 60” wide, a requirement for the Flora dress, and for once, I had enough yardage. I made a muslin, and liked the way it looked – and I did a fairly good job of perfecting the fit of the bodice. The pattern lends itself to using couture construction techniques, as there are no facings, so that fit right in with how I like to sew. I underlined it all with silk organza. I catch-stitched all the seams. I used a silk crepe de chine lining, and hand sewed it into the bodice. I backstitched all the edges to secure the lining.

The silk organza added additional stability.

I chose a pretty orange crepe de chine for the lining.

The skirt is voluminous and that is where my problems began. It seemed okay made up in muslin, but once I had it constructed in the fashion fabric, I looked like I was a dumpling wearing a flowered parachute. The funny thing was that when I had it on my dress form, I thought it was rather attractive. I was fooled into thinking that if I just got it all put together, I’d be happy with it.

Looks pretty, doesn’t it?

I thought the orange lining would be lovely peeking out from the dipped back hem…

I have been trying to figure out what went wrong. I think perhaps the pattern is just too “youthful” looking for me. I think it is such a pretty dress, but perhaps my days of wearing voluminous skirts are over (… although the skirt on my silk dress from last summer looks fine. It is, however, simply a gored skirt with no additional pleats or fullness.)

The skirt is full, but hangs with no bulk.

Now I am left with trying to salvage something from this project. I like the fabric too much to just abandon it, and I have too much time and effort and money invested in it all, as well. Right now, however, I am very sick of the whole thing, so it might be a while until I come back to it. But when I do, I am going to separate the bodice from the skirt first.

Now I wish I had left the bodice just as you see it here!

Then I think I may cut a new slim skirt (no pleats, no gathers, just a nice, slim, matronly skirt!) to attach to the bodice, and perhaps make a self-belt with a tailored bow for the closure.

How does that sound?

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Filed under couture construction, Linen, Uncategorized

Tagged as By Hand London Flora pattern, couture construction, fashion sewing

July 6, 2016 · 1:57 pm

Blame It on the Buttons

It can be a little overwhelming to look at my (growing) collection of beautiful summer linens, and then try to make a decision on which piece to select for my next project.

Fortunately, a random purchase of buttons helped me make up my mind this time around. I found these buttons at Britex Fabrics in San Francisco last year, and purchased them on a whim, not knowing when or how I would use them. I also don’t know what possessed me to purchase 6 of them, but that’s what I did.

Yes, those are interlocking “a la Chanel” Cs.

When I got them home, I realized they were a perfect match with a length of vintage, pale yellow, Moygashel linen in my possession. I tucked the fabric and the buttons away together, confident that the perfect pattern would also be found amongst my many vintage Vogue patterns.

It was a bit of a trick finding a pattern that needed 6 (or fewer) ¾” buttons. This one kept surfacing as the most ideal candidate:

Ideal, except for the yardage needed, that is. Many of you know by now that being a “little shy” of the prescribed fabric usually does not keep me from my desired goal! After making a fitting muslin and making the necessary adjustments, I cut out my underlining (light weight linen/cotton blend) and used that as my pattern. It was immediately evident that I did not have enough of that 35” width linen.

Or did I? I figured if I eliminated the center back box pleat and replaced it with just a slit in the back center seam, I’d save a bit of yardage requirements. I could make the sleeve hem facings out of the underlining, saving a bit more. And if I cut the collar on the horizontal straight of grain rather then the vertical, I could just fit the pattern pieces onto my yardage. It was a good thing I had already decided to eliminate the chest pockets (a little too 1950s.) And a self-belt? Out of the question!

A belt turned out to be a perplexing question. I had been fortunate enough for a few years to have my belts and covered buttons custom made by Pat Mahoney, but since her retirement last year, I have found no replacement for her services. I was dreading the prospect of making my own belt. The only good thing was I knew I had a piece of vintage Moygashel linen in a medium navy blue (see the button photo above) which would be a good contrasting color for the yellow dress. I decided I would think about actually making the belt after I had the dress itself finished.

For a simple shirtwaist dress, there were a number of time-consuming details, like the gussets I covered in my last post. There were also six bound buttonholes to work.

It always amazes me how long these buttonholes take to make!

There were separate front bodice facings, and a front skirt placket with separate facings. There were sleeve hem facings (as mentioned above), and lots of trimming, clipping, and grading of seams! And then the dress was done. Except for the belt, of course.

After giving myself a pep talk, I took out one of Pat’s belts and studied it, vowing to duplicate as closely as possible her techniques and precision. Fortunately I had a belt buckle from long ago, which I had saved. It was for a 1.25” width belt, which is exactly what I wanted. I plunged ahead and this what I made, working the eyelets by hand (which fortunately don’t show much on the dark linen!):