Category Archives: Love of sewing

My Sewing Fairy Godmother

Time away from home – as in a vacation and/or a trip with a specific purpose – can hold many possibilities and promises, including treasured time with family and friends, new adventures, a change in routine, and, of course, exposure to new and different places, people, and history. For me, and for many of you, it also means a forced hiatus from sewing, which is a change in routine that is not always welcome.

Thus, after returning earlier this week from 30 days away, I felt a great sense of calm and happiness when I went into my sewing room after such a long absence. It took a few days to start a new project, but now I am cranking away at Fall fashion sewing, littering the floor with scraps and threads and pins. My room, which I had left neat and tidy and clean is now scattered with patterns and muslin and fabrics – in other words, it is back to normal.

I have come to know, however, that references to, and examples of, sewing and fashion seem to show up in the most unusual places – even on vacation (or “work” trips) when you least expect it. It is like my “Sewing Fairy Godmother” is looking after me with these charming and fascinating bits of whimsy to keep my focus sharp and my sewing homesickness at bay.

Consider that these two charming dress forms, both size 4, adorned one of the rooms in the spacious and lovely house located high (very high) in the massive and stunning peaks of Colorado (USA) where we just spent the past month.

One form was set in each corner of the room.

 

To make this even more meaningful for me, the forms were the perfect size for our 4-year-old granddaughter who was with us for part of our stay. Wouldn’t one of these be a nice addition to my sewing room!

 

Other fashion vignettes were found throughout the house, such as these glove forms tucked into a corner cupboard.

Do you see the needle and thread hanging on the hand at the right?

And among the art books on display was this volume which I read cover-to-cover, only wishing there had been more photos of my favorite best-dressed women throughout the ages (such as Babe Paley, Grace Kelly, Jackie Kennedy Onassis, Coco Chanel, Mona von Bismarck) – and where was Bunny Mellon? Despite its shortcomings, I found it a fascinating synopsis of fashion and its leading ladies from 1940- 2002.

“The Best of the Best Dressed List” is the focus of this book, with a foreword by Eleanor Lambert who started the International Best Dressed List in 1940.

So when else has my Sewing Fairy Godmother been looking out for me? She must be tenacious, as it took almost two years for her to prove her existence to me. It all started over two years ago, when in a weak moment I agreed, after much consideration, to be President of my Garden Club from June of 2015 – June of 2017. My biggest concern was that my duties in this role would greatly impact, negatively, the hours I could devote to my sewing. And, this turned out to be correct. I had many frustrating hours when I was in meetings, planning for meetings, hosting meetings, running meetings, doing all sorts of unimaginable things for the Club, all of which meant I was not sewing for big chunks of time. However, I persevered, tried to keep a positive attitude about it all, and do a good job.

Then – I had a Eureka moment when I was on a “business” trip for the club early this past May, attending the Annual Meeting of the Garden Club of America. Among the perks of this Annual Meeting is a wonderful multi-vendor boutique, which is set up in the host hotel. One of the vendors specialized in French fashion jewelry. Although her jewelry was lovely, it was one of her props that caught my eye – a wooden sign, with the phrase “COUTURE MODE” spelled out in stylized block letters.

When I approached her about it, she told me she had purchased it in Paris several years ago and it was “not really for sale” – but she would think about it. She gave me her card and told me to stay in touch. Well, did I ever! By the beginning of June, she had agreed to sell me the sign. It now hangs in my sewing room, where I enjoy it daily.

A focal point of my sewing room – I love this sign!

If not for being Garden Club President, I never would have been at that meeting, and I never would have found this sign. So, thank you Sewing Fairy Godmother, for knowing better than I, that opportunities and inspiration are sometimes long in the making or found in unexpected places.

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Filed under Dressmaker forms, Fashion commentary, Love of sewing, Uncategorized

Life Throws a Curveball

Knowing that all of us who sew and love to do so, often have so many interruptions in our lives that keep us from our fabric and thread, our patterns and plans, I have always hestitated to whine too much about that usurped time.  After all, none of us is immune from laundry, cooking, housekeeping, vacations, births, deaths of family and friends, the flu, a broken sewing machine, holidays, weddings, trips, family illness – the list goes on and on.  But one thing I never expected has made its way into my life here in Autumn, my favorite of all the seasons.

I have broken my left hand.  A terrible fall, outside here at my home on Sunday, October 9th, caused injury to four of my fingers – and a broken rib, too.  One of the fingers was severely dislocated, one was chipped at the center joint, and two were broken and required surgery to repair the breaks.

I’m incredibly grateful that this did not happen to my dominant hand!  I’m also so grateful for excellent medical care, a talented, caring surgeon, and family and friends who are attentive and so helpful.  I have so much for which to be thankful.

However, of course, there is much I am unable to do while I recover, including sewing. All the projects and plans in my queue are now put on hold.  But only on hold. . . so please do not give up on me!  I’ll be back at my fashion sewing and writing about it on Fifty Dresses just as soon as I am able.  In the meantime, I am missing both.  Wishing all of you, my readers, a crisp, colorful and creative Fall!

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Filed under Love of sewing, Uncategorized

Pondering Some of Sewing’s Mysteries and Curious Happenstances

The act of sewing and dressmaking gives one ample time to think, and sometimes when I am squirreled away in my sewing room, I reflect on some of these questions to which there seem to be no exacting answers – such as:

Is it really necessary to buy an extra button? I find that the buttons I sew on rarely come off. It is just the buttons on RTW* that seem to go missing. So – is that extra button really necessary just for the sake of insurance? Is that how so many random single buttons have found their home in one of my button boxes? What does one do with an extra button that is not needed?  *Ready-to-Wear , for my non-American readers!

Why is beautiful fabric so addictive? Why do I suddenly decide I need another cocktail or elegant dress just because I find a gorgeous silk that I can’t resist?

I just could not resist this silk charmeuse on Mendel Goldberg's website. I immediately decided I needed it for a new dress to wear to fancy parties. However, it will have to wait patiently until I can get to it.

I just could not resist this silk charmeuse on Mendel Goldberg’s website. I immediately decided I needed it for a new dress to wear to fancy parties. However, it will have to wait patiently until I can get to it.

What does one do with all those little scraps left over from a sewing project? Should I save them or throw them away? Somehow it seems sacrilegious to get rid of even small pieces of beautiful, fine fabric, but really, how many of these little bundles can I keep on storing?

Here is a little pile left over from my recently completed dress and cocktail jacket. Not much remains - what should I do with it?

Here is a little pile left over from my recently completed dress and cocktail jacket. Not much remains – what should I do with it?

Why is one spool of thread never enough? It seems I am forever going to the local JoAnn’s to pick up one more spool of the Gutermann’s thread I love.

Why don’t manufacturers of fabric advertise in pattern magazines anymore? Today we rarely buy fabric “by brand” whereas “back in the day” one looked for specific brands to buy, based on their reputation for quality. (Pendleton Wool still sells by name, but I rarely see their “fabrics-on-the-bolt” advertised.)

Why does the bobbin always run out of thread at the most inopportune time?

Why does time go so fast when I am sewing?

Where do all those pins go? Those ones that drop on the floor and somehow never get found? (Perhaps they are pinning up all those socks – those ones that go missing in the laundry – onto some invisible lost and found board somewhere?)

How much information should I offer when someone compliments me on what I am wearing? I am always flattered to receive a compliment – and receive it graciously, I think – but usually I do not offer the fact that I have made what I am wearing unless I am asked where I purchased it. What do you do when faced with this situation?

Why do I always misjudge how long something will take to complete? I am an experienced dressmaker at this point, and I NEVER estimate correctly! I should have a better sense of time, don’t you think? I suspect I am unconsciously and deliberately fooling myself, for if I really knew how many hours would be involved in a new project, I might not want to start it.

How many coat patterns does one really need? Oh, this is no mystery – one can never have too many patterns – or coats!

this is my "newest cant pattern, which happens to look a lot like several of my other coat patterns. I wonder how that happened?

This is my “newest” coat pattern, which happens to look a lot like several of my other coat patterns. I wonder how that happened?

What are your sewing mysteries and curiosities? What perplexing questions does your sewing present to you?  What have I forgotten?

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Filed under Coats, Love of sewing, Uncategorized, vintage Vogue patterns from the 1960s

The ABCs of D-R-E-S-S-M-A-K-I-N-G, Part II

One of the most intriguing aspects of couture dressmaking is that the techniques and the sewing procedures have really not changed much in over 60 years, perhaps even longer. There seem to be very few short cuts when it comes to MAKING a quality garment. (And, although sergers are handy and have their place, they are unnecessary – nay, unwelcome, even! – in the world of couture dressmaking.)          Thus we come to our second half of  The ABCs of D-R-E-S-S-M-A-K-I-N-G

M, of course, is for MUSLIN. Although many of my fellow dressmakers around the world refer to this as a toile, in the States we call our test garment a muslin, after the basic cotton fabric, purchased cheaply, which is used for its construction. Once I started taking classes with Susan Khalje, I learned the true value and versatility of this basic part of dressmaking. Subsequently, my muslins are written upon with abandon, torn apart, discarded when too many fitting issues are revealed, and regarded with a certain restraint, for what they can and cannot do. They CAN help you fit your pattern to your particular shape and needs. They CAN be a test run for the construction of your garment. They CAN suggest to you if the design you have chosen is right for you (although not always). They CAN’T mimic the flow and drape and weight of your fabric. So – as always – one needs to use her sewing brain to compensate for the lack of this important detail – and make a best guess as to how the finished garment will actually fit and look.

How many muslins does one dress need? Sometimes, several!

How many muslins does one dress need? Sometimes, several!

A is for ACCURACY. Accuracy in marking straight-of-grain, seams, notches, darts, buttonholes, buttons, center front and center back, fold lines, pleats, tucks, pockets, etc. etc., is absolutely paramount for a successful garment. This is often time-consuming and tedious work, isn’t it? But have you ever had to go back to your tissue pattern to see exactly where a notch or seam junction are? That’s also time-consuming.   I try to do it right the first time, but sometimes I miss. So – I am always striving to increase my accuracy when it comes to marking my fashion fabric.

Just for example, the most important ingredient in making successful bound buttonholes is precise marking.

Just for example, the most important ingredient in making successful bound buttonholes is precise marking.

K is for KEEP. When you have a workable muslin pattern which has been successfully made into a finished garment, and you have notes and diagrams, and suggestions written on it, KEEP it. You never know when you might want to use it again. I think I have kept all my muslins – in large plastic zip-lock bags for the most part – except for one. I could not wait to get the muslin for what I call my Ghost Dress out of my house! I will never make this pattern again! The moral of the story is, Keep the good, discard the bad…

I also like to keep extra buttons, and at least a little bit of extra fabric and trim (if appropriate) for each of the pieces I complete. One of these days, I’m going to put together a notebook of fabric swatches, so that I can keep a record of all these yard goods which have stolen my heart.

I is for INNER WORKINGS. The inside story of any couture dressmaking is a story of attention to details. Interfacings, inter-or-under-linings, linings, seam finishes, bar tacks, waist stays, boning, pad-stitching, even labels (and the list goes on and on) – give your garment a professional look. Skimp on this part of dressmaking and results will be compromised.

Here is just one page from the 1957 Vogue Dressmaking Book which shows some "inner workings."

Here is just one page from the 1957 Vogue Dressmaking Book which shows some “inner workings.”

N is for NEEDLES. Using the correct needles will go a long way in making your sewing experience a pleasant one. I have only recently started using real basting needles for attaching silk organza underlining to the fashion fabric – and what a difference it makes.

These are excellent basting needles!

These are excellent basting needles!

Of course, everyone knows the importance of changing your machine needles frequently. I even find that my hand sewing needles sometimes need to be “retired” if they start to show signs of losing their sharpness – or get a bend in their spines.

All in all, sewing needles are amazing things! The magic within them has been recognized by artists, poets, and, of course, by dressmakers, for centuries. Samuel Woodworth summed up their charms and inextricable human connection in this charming quote:

The bright little needle – the swift-flying needle, the needle directed by beauty and art.”

G is for GET ON WITH IT. Sometimes the most difficult part of dressmaking is getting started. Starting a new project – especially a complicated one, can be daunting, but the only way to get started is to . . . get on with it.

So, there we have it – the ABCs of D-R-E-S-S-M-A-K-I-N-G, a simplified synopsis of a very complicated and diverse undertaking. Dressmaking has it all for those of us who love to sew fine fashions – and find joy in the process.

 

 

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Filed under couture construction, Love of sewing, Quotes about sewing, The Conde Nast Publications, Uncategorized

Can a Coat be Glamorous?

And what exactly is glamour? A recent quote by Carolina Herrera – “It’s important for women to feel glamorous and feminine but always themselves” – prompted me to look up the definition of the word “glamour” – and I was surprised by what I found. Here is how Webster’s defines it in its noun form: 1) the quality of fascinating, alluring, or attracting, esp. by a combination of charm and good looks 2) excitement, adventure, and unusual activity, like the glamour of being an explorer 3) magic or enchantment; spell; witchery. And then there is the definition of “glamorous”: 1) full of glamour; fascinatingly attractive; alluring 2) full of excitement, adventure , and unusual activity: to have a glamorous job.

Glamour was the last thing on my mind when I started out on my current coat project. Making a muslin (toile) can be time-consuming and tedious, especially when it shows you that some serious alterations need to be made. Fortunately, my coat muslin revealed only some small changes to the shoulder of my raglan sleeve coat, compensating for my square shoulders. My go-to book to guide me through these complexities is Fitting and Pattern Alteration, by Liechty, Rasband, and Pottberg-Steineckert (recommended to me by Susan Khalje.)

I highly recommend this book.

I highly recommend this book.

One of the things I love about this book is that it covers all sorts of situations. Square shoulders for Raglan sleeves? Not a problem.

The diagrams take the guess work out of alterations to patterns.

The diagrams take the guess work out of alterations to patterns.

Once I had my muslin adjusted, my silk organza interlining marked and cut (to be used as the pattern for the wool), I felt like I was off to the races. Not so fast. A careful steaming of my wool fabric revealed three small “thin” areas (not holes, but thin enough that I would need to work around them). This is not unusual for vintage fabric, and is one of the reasons why a careful pre-steaming or pre-pressing of any fabric is important, but especially so for vintage goods.

I marked these small imperfections with yellow chalk.

I marked these small imperfections with yellow chalk.

And then double-marked the areas with orange post-its when I was arranging the pattern pieces.

And then double-marked the areas with orange post-its when I was arranging the pattern pieces.

After untold hours of basting the layers of silk organza and fashion fabric together, I was finally ready to sew.   And this is when I think it began to get glamorous. The first major details to be completed were the pocket plackets. I thought I might faint when I had to make that first cut into one of the side panels of the coat front. But bravery saw me through!

I have the placket catch-stitched temporarily so it does not get caught on something while I finish the remainder of the coat.

I have the placket catch-stitched temporarily so it does not get caught on something while I finish the remainder of the coat.

Here is the inside of the pocket and placket.

Here is the inside of the pocket and placket.

With the first pocket and pocket placket successfully completed, the second pocket placket was simply fascinating and alluring, my progress encouraged by the charm and good looks of the first one. Definitely glamorous!

Progress - both pockets/plackets finished!

Progress – both pockets/plackets finished!

More seams ensued, each one carefully pinned, sewn, pressed and catch-stitched. Particularly rewarding were the shoulder seams of the raglan sleeves. Properly clipped, pressed and catch-stitched, the seams lie beautifully and look good, too.

The benefits of a silk organza interlining (or underlining) are manifold, but not least of which is a foundation upon which to secure the seams.

The benefits of a silk organza interlining (or underlining) are manifold, not least of which is a foundation upon which to secure the seams.

A view of the back of the coat (in progress.)

A view of the back of the coat (in progress.)

Although I have many more hours to go with the construction of this coat, I can’t help but feel that not only is this coat going to be glamorous, with its elegant gray cashmere, its vintage sensibility and all its hidden, inside secrets used to tame those seams, it is also going to be feminine and definitely me.

Perhaps the next question to ask is “Can sewing be glamorous?” It is “fascinatingly attractive, full of excitement, adventure and unusual activity.” It is magical and enchanting, too. The answer would have to be, “Yes, sewing most definitely can be very glamorous!” Even when we are in our bedroom slippers and blue jeans, covered in threads and pins, if we are sewing, I say we are glamorous.

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Filed under Coats, couture construction, Dressmaker coats, Love of sewing, Mid-Century style, Uncategorized, underlinings, Vintage fabric, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, woolens

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

Sweet November

The trickery, which defined my October sewing, finally floated away with the leaves and the goblins, leaving sweet November with her welcome reward, a new dress for Autumn and Winter.

Sweet November

So what made vintage Vogue 1395 such a tricky dress to make? I documented my efforts to get a workable muslin (toile) in a post from early October. Once I had my adjusted muslin pattern, I transferred it onto black silk organza to use as my cutting guide. It was then I realized that, because the design on the fabric, a silk and wool blend, was printed on it, not woven into it, I needed to work from the right side of the fabric in order to match the horizontal “lines.” This meant that I had to flip every piece that I cut out and then exchange the organza with its opposing side. (I hope this makes sense.) It added a bit of uncertainty to the process and I was fanatical with flipping and checking to make sure I kept the design in line. Something told me I should delay cutting out the sleeves until I had the body of the dress together – my sewing godmother at work, I guess – and I am glad I did, as I’ll detail in a bit.

I had made the decision at the beginning of the project to cover the dress’s two buttons in the plain gray “wrong” side of the fabric. But once I “semi-made” a covered button, and tried it out, it was DULL. It added nothing to the dress. I went to my button box and all I could find was a small gray pearl that was close in color. But I loved the iridescence of it and determined that gray pearl buttons were what I needed. I seem to have such good luck with buttons from Britex – even though I am ordering online – and found 1” gray pearl buttons with a rhinestone in their centers. Although I am not a rhinestone-y type of person, something about them spoke to me. I remembered what Susan Khalje said in one of the classes I have taken with her – that couture often has a bit of “whimsy” to it. Well, I ordered those buttons as as fast as I could! I think they are just what was needed!

Sweet November

I had also made the decision to make the “dickey” part of the dress out of the side of the fabric with the printed design – so that the horizontal line would be uninterrupted across the bodice. Here is what it looked like once I had it done:

Sweet November

There was not enough definition between the dress and dickey to make it interesting.

I cut some scraps to see what it would look like with a play gray insert – and it was so much better!

Sweet November

So – I took the dickey all apart and flipped it over so it would be out of the plain gray “wrong side.” By now I was enjoying the versatility of this fabric (which I bought online from Mendel Goldberg Fabrics) and appreciating the serendipity of having this fabric for this pattern, giving me options.

However, the fabric posed another challenge when I got to the point of finishing the front opening in the bodice. This fabric frays enough that I was not comfortable following the directions given in the pattern instructions:

The instructions directed me to just turn back the seam allowance, but because of the ravel-ly nature of the fabric, I was certain it would pull out with wear.

The instructions directed me to just turn back the seam allowance, but because of the ravel-ly nature of the fabric, I was certain it would pull out with wear.

Instead, I opted to make a “facing” for the opening out of black organza. It is situations like this that make me feel so fortunate to have enough “sewing sense” to be able to recognize potential difficulties and then have the ability to work out creative solutions to them.

Sweet November

Silk organza pinned in place.

And here it is sewn in place.

And here it is sewn in place.

I took some pictures at this point to show the inside of the body of the dress:

Yes, those are pockets hanging on the front.

Yes, those are pockets hanging on the front.

This shows those darts with their slanted orientation.

This shows those bust darts with their slanted orientation.

The zipper is inserted by hand, as usual! Once I had it basted in place, I tried the dress on for fit and determined I had to take it in a bit at the waistline.

Then I tackled the sleeves. I had quite a time determining how to place the sleeve patterns on the remaining fabric. Some of those horizontal lines of “paintbrush strokes” change color across the fabric! And my adapted sleeve pattern has two elbow darts, which changed the horizontal line. I had to make a decision about where I wanted the best match to be, as I determined I could not match it across and up and down as I would normally want to do. I opted for a match across the shoulders – and I now believe that was the best decision.

DSC_0924

I also added a soft “cigarette” sleeve heading to each shoulder seam.

Next to the lining – and bless those vintage Vogue patterns – the lining for this dress included separate and distinct pattern pieces. I made the sizing and dart changes to the lining (in keeping with the dress) and it went together effortlessly. When I got to the point of inserting the lining by hand, I just could not resist adding silk piping to the inside neck edge. I know I am the only one who will ever see it, but it makes me happy!

Sweet November

I used a bias strip of lightweight silk for the piping.

I used a bias strip of lightweight silk for the piping.

How wonderful to have this dress completed!

Sweet November

The buttons really show in this picture.

The buttons really show in this picture.

Sweet November

Sweet November

Sweet November

There was one more aspect of serendipity to this project. Those of you who follow my blog know that part of my fascination with vintage Vogue patterns is making connections between the past and the present. I love to “place” a pattern in its correct year – and then wonder in amazement at how classic fashions are so enduring. It was my great good fortune to have this Vogue Pattern Fashion News from November 1964 in my collection of vintage fashion magazines:

Sweet November - flyer cover

Inside on page 3 is, yes, my dress!

Sweet November - flyer illustration

Just imagine – 51 years ago this month, this dress made its debut. Happy Sweet November Everyone!

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Filed under Buttons - choosing the right ones, couture construction, Day dresses, hand-sewn zippers, Love of sewing, Mid-Century style, Uncategorized, underlinings, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, woolens