Category Archives: Linen

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.

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.

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.

Lovely, crisp, pale blue.

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:

Red/white abstract linen

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

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.

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

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.

Focus on Fabric

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.

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.

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:

focus-on-fabric-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

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:

Flowered Flora

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

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.

Flowered Flora

Flowered Flora

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.

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.

The silk organza added additional stability.

Flowered flora

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

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?

Looks pretty, doesn’t it?

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

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.)

Allure of silk final

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!

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

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.

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:

I am making the short sleeve version - but a little shorter!

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!

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

Blame it on the buttons

 

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!):

Blame it on the buttons

The underside, just in case you are curious!

Although not my favorite dress of all time, I think I’ll get good use out of it, and I do love its pairing with “summer” blue.

Blame it on the buttons

Blame it on the buttons

Blame it on the buttons

Blame it on the buttons

The clutch is a perfect match with the belt – how lucky is that?

Cool linen for a hot summer!

Cool linen for a hot summer!

Best of all, the buttons add just the right, somewhat mysterious, touch.

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Filed under bound buttonholes, Day dresses, kimono sleeves, Linen, Mid-Century style, Moygashel linen, Uncategorized, Vintage fabric, vintage Vogue patterns from the 1950s

One Year at a Time

Let’s start with 2016. Although, truthfully, right now in January 2016, I could probably plan at least three years’ worth of sewing. That is how many patterns and fabrics I have tucked away, waiting for their turn. But it is time to concentrate on the year at hand and get on with it!

Some of the year is shaped by events that I know will be happening – such as weddings and fancy parties. Some of it will be devoted to little granddaughters who are already growing too fast for me to indulge all my sewing fantasies for them.   And some of it will be my own self-determined challenges – coats and dresses I want to make – that right now are looking like small Mt. Everests, waiting to be conquered!

I probably should be sewing right now for Spring and Summer, but I have wools that are too enticing to ignore during these current Winter months:

Wool challis on the left and vintage cashmere on the right.

Wool challis on the left and vintage cashmere on the right.

Navy and white houndstooth.

Navy and white houndstooth.

Some cute and classic cottons for little girls should be able to find themselves tucked in amongst my plans for Springtime.

The buzzy bee fabric is a vintage cotton. The blue gingham is new.

The buzzy bee fabric is a vintage cotton. The blue gingham is new.

Looking towards Spring weddings already on the calendar, I am excited for the opportunity to use this amazing printed silk for a dress and perhaps pairing it with the plain yellow silk taffeta left over from my fancy dress from last Summer.

One year at a time

I have so many vintage linens in my collection, that it is difficult to narrow down my focus, but here are four that just may see the sewing shears this year:

These are all vintage Moygashel linen.

These are all vintage Moygashel linen.

This vintage, authentic Diane von Furstenberg cotton blend knit has been calling my name for quite some time.

One year at a time = DvF

Hopefully this fabric and this pattern will finally find each other this year!

One year at a time - DvF pattern

The sewing year will no doubt end next Fall with a return to wool. The polka dotted wool is similar to the wool in a dress I made in Fall of 2015. It is from Mendel Goldberg Fabrics in NYC.

As one who loves polka dots, I could not pass up this wool/silk blend fabric.

As one who loves polka dots, I could not pass up this wool/silk blend fabric.

When I purchased it, several swatches of boucle were in the package – and I was in a swoon over this blue and pink sample:

How wonderful that Pantone's two "colors of the year" - pink and blue - are the color way for this boucle.

How wonderful that Pantone’s two “colors of the year” – pink and blue – are the colorway for this boucle.

Lucky me to open a box on Christmas morning to find 2 yards of it (thank you to my dear children!) – enough for another Classic French Jacket.

2 full yards of this glorious boucle! What a wonderful gift!

Two full yards of this glorious boucle! What a wonderful gift!

Some of the patterns I might be using this year are all vintage ones that deserve attention. I tidied up the boxes where I keep my pattern collection and these just happened to be some which would NOT go back in silence, so here they are with all their wily temptations!

One of my big projects for this year is this coat.

One of my big projects for 2016 is this coat.

I have been wanting to make the dress on the right for quite a while - this may be the year it happens!

I have been wanting to make the dress on the right for quite a while – this may be the year it happens!

I really like this shirtwaist dress (a little shorter, of course) and I envision it made out of a lovely summer linen.

I really like this shirtwaist dress (a little shorter, of course) and I envision it made out of a lovely summer linen.

I think I could make either view of this dress over and over and not get tired of it.

I think I could make either view of this dress over and over and not get tired of it.

One thing I learned a long time ago is the importance of flexibility in planning my sewing year. Sometimes things happen that impede my sewing plans. Sometimes I change my mind. And always, always, I plan too much. And when (not if) that happens, there is always 2017 right around the corner.

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Filed under Boucle for French style jackets, Diane von Furstenberg Vogue patterns, Linen, Moygashel linen, Polka dots, Sewing for children, Uncategorized, Vintage fabric, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s, woolens, Wrap dresses

A Fitting Finish to Summer Sewing

Summer slipped quietly away this week with nary a peep except for the sighs coming from my sewing room. No matter how hard I tried, I could not keep up with the calendar to finish my final Summer project.  However, a few days late on “delivery” doesn’t really upset me, as I can look forward to wearing my Madame Gres-designed coat next Spring.

Vogue Gres coat and dress

DSC_0851

I am not sure I can remember a sewing project which I have enjoyed more. The coat pattern is actually quite a simple design, imaginatively shaped with unusual darts and seams. Perhaps the fact that I made it from vintage Moygashel linen helped make the sewing of it enjoyable, as the linen is so stable. Darts and seams can be crisply sewn and ironed, the grain of the fabric is so easy to see, and the fabric drapes with a fluid sturdiness, if that makes sense.

This shows the side darts which shape the coat and the dart/seam at the front of the kimono sleeve.

This shows the side darts which shape the coat and the dart/seam at the front of the kimono sleeve.

I covered the changes I made to those front darts in an earlier post; those were the only alterations I made to the final design except for lengthening the sleeves by one inch and the length of the coat by 1½ inches. Besides those shaping darts, there is one other feature of this coat which defines it. Do you know what it is?   Yes, it is the bound buttonholes and their buttons. Seven of them, to be precise.

The pattern instruction sheets call for bound buttonholes, as shown here:

I love how these vintage Vogue patterns give such precise instructions; there are various ways to make bound buttonholes, but the method described here is my favorite.

I love how these vintage Vogue patterns give such precise instructions; there are various ways to make bound buttonholes, but the method described here is my favorite.

I have made a lot of bound buttonholes in my sewing life, but seven of them lined up as the focal point of the front of my coat is still a little intimidating. First of all, I had to find buttons that were “perfect.” I found some lavender buttons on the Britex website, and although they looked like a good match in color and appearance, ordering something like that online is always imprecise. However, when they arrived, they were, indeed, “perfect!” With buttons in hand, I made a sample buttonhole, as I always do.

DSC_0819

I think this photo shows the "monkey's knot" design in the buttons, which compliments the linen weave, I think.

This photo shows the “monkey’s knot” design in the buttons, which compliments the linen weave, I think.

Then it was on to a marathon buttonhole session one afternoon.

The most important ingredient in making successful bound buttonholes is precise marking.

The most important ingredient in making successful bound buttonholes is precise marking.

I finished the underside (on the facing) of the buttonholes using organza patches, which makes a beautiful, sturdy finish.

I finished the underside (on the facing) of the buttonholes using organza patches, which makes a beautiful, sturdy finish.

Here is the underside of the buttonholes before I finished the edges.

Here is the underside of the buttonholes before I finished the edges.

And here is the facing side, finished.

And here is the facing side, finished.

Another charm of this pattern is the coat collar, which is seamed in the center back on the bias, causing it to “turn” beautifully. I under-stitched the undercollar to help keep the perimeter seam properly in line (this is a trick I learned from one of Susan Khalje’s classes):

This is the undercover, showing center back seam and the under-stitching I used to secure the perimeter seam.

This is the undercollar, showing center back seam and the under-stitching I used to secure the perimeter seam.

When it came to the lining, I knew I wanted to use silk crepe de chine. I ordered some swatches from Emma One Sock fabrics:

A Fitting finish swatches

Fortunately my sister was visiting and so I could get her opinion on which one to order. I was a bit smitten with the idea of a bright pink lining, but she wisely asked if I hoped to wear this Spring coat with dresses other than the pink flowered one which had inspired it. Well, yes, I do want that flexibility! That made the decision easy – I chose the pale lavender silk, which is just about a perfect match. I added a bias, flat piped edge to the lining, which is now something I always do with coats and jackets I make. It is so easy and adds so much!

Fitting finish

Some of you may recall that I had to piece one of the facings because I was just a little short of the fabric I needed. Here is the seam on the left facing. I really don't think anyone will ever see it! (Except all of you, of course!)

Some of you may recall that I had to piece one of the facings because I was just a little short of  fabric. Here is the seam on the left facing. I really don’t think anyone will ever see it (except all of you, of course!)

DSC_0844

This is a good look at the bound buttonholes and what they add to the overall look of the coat. If you visualize machine made buttonholes in their place, you will get an idea of how vital the bound ones are to the design of the coat.

Another thing that will add to the total look of my 2016 Spring ensemble is this Kate Spade handbag which my grown children gave to me:

Fitting finish

DSC_0855

Fitting Finish

Fitting finish

Fitting finish

DSC_0837

Now all I need are lavender pumps…

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Filed under bound buttonholes, Buttons - choosing the right ones, Coats, couture construction, kimono sleeves, Linen, Love of sewing, Moygashel linen, Uncategorized, Vintage fabric, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

“Do What You Can…”

“Do what you can, with what you have, where you are.” – Teddy Roosevelt

I had never seen nor read this quote before three weeks ago, seeing it for first time carved into the slats of this rustic bench:

DSC_0652

There is a lot of wisdom in those few words, especially meaningful to many people in many different walks of life, I am sure, but especially pertinent to those of us who sew. Why so, do you ask?

Do you, as I do, plan sewing projects which are transportable when you travel? Can you quite imagine being without needle and thread – or at the least, a book or magazine on sewing or fashion? What do you do when you can’t (gasp!) bring along your sewing machine when traveling far from home? Well, you do what you can, with what you have, where you are….

What I knew I could do before we left our home in Pennsylvania three weeks ago for a month in Wyoming – was plan to do hand-sewing on two or three projects. What I had for a “first-project-to-finish” before I departed home (sans sewing machine) – was the unfinished pink-flowered linen dress, started what seems like a lifetime ago.

Big, bright daisies with lavender centers.

Big, bright daisies with lavender centers.

And where I was going to be – had possibility and promise and “best plans” written all over it. The possibility and promise have come in bucketfuls, with days and weeks of family fun: hiking; wildlife-sightings; story times with little granddaughters; diaper changing and laundry; shopping a la Western style; cocktail hour every evening; magnificent mountain peaks, valleys, lakes and rivers; grocery shopping and more grocery shopping; and the list goes on and on. I realized a week into our stay that all my planning for some strategic hand-sewing tucked into these busy days was, well, quite simply, not going to happen – at least not while grown children and little grandchildren took loving precedence!

And then suddenly, all too soon, the house was much too quiet, the toys were put away, and while hiking and wildlife sightings are happily still commonplace, my sewing – and my pink linen “not-quite-a-dress-yet” dress – came out to give me a different type of focus.

I was scrambling before I left home to get it to the point where I had only the hand-sewn finishing to complete. The first challenge I had was with the layout of the sheath dress pattern on that large floral print. The linen is a piece of vintage Moygashel, dating to the late 1960s. By this date, Moygashel was being produced in 45” width, rather than 35”. I have found that it is not uncommon to find center crease lines in the linen from this era, where decades of storage have caused the fabric dye to rub off enough to leave a faint pale line.

The fold line - and subsequent faint white line showing dye loss is visible in this photograph.

The fold line – and subsequent faint white line showing dye loss is visible in this photograph.

This left me with only one option: I had to place the dress front and the two side backs on either side of the center line of fabric, to avoid that pale line. But I also had to think about the placement of those large daisies. I wanted to try to match the fabric design as much as possible along the center back seam. To accomplish both these goals, I had to line up the front of the dress and one of the side backs, one above the other. (I forgot to take a photo.)  It turned out I was a couple of inches short of the length I needed to do this. So – I knew I would need to face the hem.

I was fairly successful in matching the flower design along the back seam . . .

I was fairly successful in matching the flower design along the back seam . . .

Then on to the machine sewing of darts, seams, seam finishings. With those completed, I turned my attention to the lavender piping I wanted to put around the neck edge. I used the same cotton kitchen string I had used on my “ghost dress” to use as the filler for the piping. The heavier weight of the linen made the piping more substantial, which is exactly what I wanted.

I added piping only to the neck edge.

I added piping only to the neck edge.

With the piping sewn in place, I could proceed to the zipper. Even though I would be hand-picking the zipper, I wanted to complete it, to double-check the fit before I left on our journey. Then I realized that I had purchased the wrong length zipper! I had picked up a 20” zipper, forgetting that I was adding a V to the back neck. I needed a 16” zipper and had no time to make the trip to JoAnn’s to get a new one. In desperation I searched through my notions drawers and found every color and length of zipper under the sun except a 16” white one. (I’m exaggerating, of course.) Then I looked through a bag of zippers I had gotten from my mother, and lo and behold, there was a 16” white metal zipper, still in its original wrapper. Well, why not? A vintage metal zipper would be perfect for vintage linen. Crisis averted.

As it turns out, I found this ad for metal versus nylon coil zippers in a 1964 Vogue Pattern Book Magazine. If you read the copy, they recommend using metal zippers for fabrics like cotton and linen which require a hot iron. The quality of nylon coil zippers is now such that they can be used for these fabrics without a worry.

As it turns out, I found this ad for metal versus nylon coil zippers in a 1964 Vogue Pattern Book Magazine. If you read the copy (click on the photo for easier reading), they recommend using metal zippers for fabrics like cotton and linen which require a hot iron. The quality of nylon coil zippers is now such that they can be used for these fabrics without a worry.

Before I turned my attention to making the lining for the dress, I wanted to address that faced hem. With no time to think about making a facing from the lining fabric, I went back to my notions drawer. Once again, sewing hand-me-downs from my mother came to the rescue! I found this package of white cotton hem facing, which would be perfect for my needs.

Look at the price on this! Also, now I am quite sure the hem facing would be a cotton blend rather than 100% cotton.

Look at the price on this! Also, now I am quite sure purchased hem facing would be a cotton blend rather than 100% cotton.

The faced hem, plus a view of the seams which I finished with Hug Snug seam binding.

The faced hem, plus a view of the seams which I finished with Hug Snug seam binding.

Once the lining was sewn, I gathered all the tools and notions I would need to finish the dress by hand. Off it all flew to Wyoming, where finally I finished this flower-powered dress under the expansive Western skies.

The front of the dress. No time to get photos of me in it yet, unfortunately!

The front of the dress. No time to get photos of me in it yet, unfortunately!

This full photo of the back of the dress shows some more of the pattern matching.

This full photo of the back of the dress shows some more of the pattern matching.

I did what I could, with what I had, where I was.

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Filed under Linen, Moygashel linen, piping, Uncategorized, Vintage fabric

The Domino Effect

Being totally smitten with this bold floral linen, purchased within the past year, I have had my heart set on making it into a day dress this Summer.

Big, bright daisies with lavender centers.

Big, bright daisies with lavender centers.

Not long after I purchased it, this small article on “Signs of Spring 2015 On New York Runways” appeared in the September 10, 2014 Wall Street Journal.

"Memorable moments included bold floral daytime dresses from Carolina Herrara..."

“Memorable moments included bold floral daytime dresses from Carolina Herrera…”

And then in November of 2014, more of Carolina Herrera’s Spring/Resort collection for 2015 was featured in Town & Country magazine.

Perennial daises on two lovely Carolina Herrera dresses.

Perennial daises on two lovely Carolina Herrera dresses.

It seems this vintage Moygashel linen from the late 1960s, with its bold daisy design is very much in vogue currently, both for its size and its floral motif. (The bodice of my recent fancy dress also featured a “daisy” motif in the silk embroidered organza):

The Allure of silk, pt 1

Although I am of the mind that daisies are always in vogue, nevertheless, this seems like the perfect year to fashion a dress from this linen. Such a demonstrative print begs for a simply-styled dress, such as – you guessed it – a sheath dress.   The fabric will make this dress, not the pattern. How could I, I wondered, do something a little different and still keep it simple? The answer to that question began to take shape when I found a length of pale lavender Moygashel linen this past Spring. Suddenly I envisioned a V-back to a sheath dress with a rounded neck, detailed with piping made from this lavender linen.

Then it began to get complicated. With just a few inches over 3 yards of the 35” wide lavender fabric, I knew I would have to calculate carefully when I cut bias strips for the piping, if I wanted to fashion another garment out of the lavender. And of course, I do! Actually, when I looked at the lavender fabric, and paired it with any number of my other fabrics and/or dresses, it seemed the only thing to use it for was a “Spring” coat. But would I have enough fabric for both a coat and bias strips for piping?

Obviously, I would have to find a coat pattern and lay it out leaving enough space for bias strips, to see if I could manage this minor miracle. Of all my coat patterns, this Madame Gres design is the one I decided had the best chance of working, both for my limited yardage and for the pattern’s simple, uncluttered lines:

The short version of the coat is on the left.

The short version of the coat is on the left.

The fact that it is featured with below elbow length sleeves and in a shorter version – perfect for pairing with coordinating dresses – worked in my favor. The entire coat has only 5 pattern pieces: front, back, collar, undercollar, and front facing. First I positioned the tissue pattern pieces on my fabric, strewn out on the floor selvedge to selvedge. I was heartened enough by this exercise to go ahead and make a muslin, so I could have a “real” pattern to work from. All this time, the pink flowered daisy linen lay folded, awaiting her turn.

One of the most unusual features of the coat design is the front dart, which serves both as a bust dart and as a side-shaping dart. As is so often the case with these vintage patterns, the dart sewn as indicated on the pattern was too high for me. In addition, it pulled and stretched the kimono shoulder in all the wrong ways. I lowered the apex of the dart and re-sewed it, trying to preserve its curve, and suddenly it fit like a charm.

The newly drawn dart is in orange, while its original position is in red.

The newly drawn dart is in orange, while its original position is in red.

Now that I had a workable pattern, I knew I could just eke out the coat if I “pieced” the left front facing. I could live with that! And, just as important, I would have enough of the fabric to cut bias strips for piping for my daisy sheath. Whew!

This see-through ruler helped me find a corner from which to cut the bias strips for the piping.

This see-through ruler helped me find a corner from which to cut the bias strips for the piping.

So now, the pieces for the coat, with their silk organza underlinings pinned in place, are taking their turn waiting for further attention. One project started another and now both are lined up like a circle of dominoes, ready to go down in an orderly fashion, albeit in slo-o-o-w motion.

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Filed under kimono sleeves, Linen, Moygashel linen, piping, Uncategorized, Vintage fabric, vintage Vogue Designer patterns