Category Archives: silk

C is for Couture . . .

. . . And Courage. I guess “C” could also be for Craftsy, come to think of it. Although I thought I would be writing only one post solely devoted to my guipure lace skirt (when finished!), I really feel the need to address my progress and the Craftsy course which is leading the way for me.

When, just a few months ago, Craftsy announced a new class by Susan Khalje, The Couture Lace Skirt, presented by Threads Magazine where Susan is a Contributing Editor, I jumped at it. Susan has not only written about these skirts in Threads Magazine (November 2014, number 175), she has also developed her own skirt pattern – with one view expressly intended for a guipure lace skirt – and, of course, she teaches the construction of these skirts in her own classes, too. Now with this class on Craftsy, there is ample reason to feel confident in plunging ahead with the construction of one of these elegant skirts.

View C is the version intended for use with Guipure lace. Although this looks like a simple straight skirt, there are subtle details which make it a step above ordinary. For example, the side seams are set slightly back from the front. There is slight fullness built in at the hip; not enough to be noticeable, but enough to make it more comfortable for wearing. This pattern is available on Susan’s website.

I knew I could not go wrong with this course, but it is even better than I imagined. To look at one of these skirts, one could never imagine the amount of work in something with such a simple silhouette. About halfway through the lessons, it dawned on me that there are quite a few similarities between making one of these skirts and making a classic French jacket. Both have very specific, and unusual, construction techniques. Both defy many of the normal sewing rules. Both have a tremendous amount of handwork involved. And both garments go through a really messy stage – almost chaotic! – before emerging in their final manifestation.

Here is one of the skirts illustrated in the Threads article from November 2014.

The course has ten parts, and although it is a couture sewing course, Susan’s directions can be implemented by someone with no couture construction experience. However, patience is a must. She walks you through the making and fitting of a toile, followed by preparation of the underlining and fashion fabric (the fabric which peeks through the lace, usually silk charmeuse), then the sewing of the side seams (only) and hem. I had never worked on a skirt where the back seam is not sewn until so far into the construction process, but such is necessary to provide a flat surface on which to shape and attach the lace overlay.

Another example of one of these skirts, from the Threads article.

This is where Courage comes in. Shaping the lace to lie properly on curves and darts requires a good amount of snipping and clipping and cutting of the lace! This is not for the faint of heart, but once you get into the process, it really is logical and even captivating. Besides, as Susan says, if you make a mistake, you can always patch!

A detail from my skirt, with the lace pinned and ready to attach.

This is also the part that looks somewhat chaotic, with great flaps of lace waiting to be tamed, and a crazy network of tiny stitches emerging on the underlining, but invisible on top.

One section of the underlining cotton showing the maze of stitching required to attach the lace to the top of the skirt. Leaving the basting stitches in helps to orient the lace properly.

I am about ready to insert the hand-picked zipper, which will be hidden when finished.

Ready for inserting the zipper. This is a good example of the flaps of lace which still need to be “tamed.”

What an interesting process this has been so far. Susan has so much sewing wisdom to impart, and she does it in such an engaging way, that it is like having your own personal couture teacher right by your side. If you have ever admired these skirts and thought about making one, you will find this course to be invaluable!  More on my skirt to follow in the next post on Fifty Dresses.

These opinions are my own. I purchased my subscription to the course on Craftsy and have no affiliation with the company.  

 

13 Comments

Filed under couture construction, Lace, sewing classes, silk, Uncategorized, underlinings

A Three-Piece Outfit for the Holidays: Part One, The Blouse

“Today blouses are not worn quite as much as they used to be and I think it is a pity.” So said Christian Dior in 1954. With that in mind, hopefully he would have approved of this Vogue blouse pattern from 1958:

You have already seen my toile of this blouse, where I worked out all the “kinks.” I liked it made up in muslin and now I am quite thrilled with it made up in silk dupioni, purchased from Britex Fabrics.

The iridescent quality of silk dupioni woven with two contrasting colors, such as this one, makes it an excellent fabric to use for “fancy” attire. The only reservation I had was whether it would be too stiff for use in a blouse. It is by nature rather “papery” in composition. I was a little concerned it might not have enough drapeability for this blouse, where a major focus is on the softly pleated sleeves. I did a little research, and of course, the first guideline I found was an admonishment not to wash dupioni! Doing so would diminish that papery nature. Well, that was exactly what I wanted to do – soften it a bit. Further research led me to an article in Threads Magazine from a few years back, where, indeed, a reader had successfully washed dupioni in her quest to make it suppler. Off to my washing machine I went with a large swatch for a (successful) trial run. Soon the entire two yards were gently swashing around in cold water on the delicate cycle. It took quite a bit of heavy steam to wrestle out the wrinkles, but I was left with a soft, drapeable fabric for my blouse.

Quite apparent in this image are the two contrasting threads, one fuchsia and the other bright yellow, which, woven together made a shimmery apricot color.

Buttons for a blouse such as this one are an important element. I knew they needed to be special, and what could be more special than vintage glass buttons from France? I found these listed in an Etsy store (YumYum Objects).

These glass buttons have silver accents, adding just a bit more depth to their appearance.

The listing was for a set of 6, and I needed 8 for this blouse. The French cuffs required two buttons each. These buttons were too perfect to pass up, however, so I decided I could use two buttons of another style for the rear-facing part of the cuff. I found a set of little, clear glass, ball buttons in my button box, which seemed appropriate and a good compromise!

The ball button on the back.

For some reason I always like to make sleeves first, so that is what I did. The French cuffs, by their very nature, of course, call for two buttonholes with two buttons looped together to thread through those openings, one on each side. However, I placed a buttonhole on the front part of the cuff only. I then sewed the two buttons together, back to back through the back part of the cuff, with the fancy button meant to thread through that single buttonhole and the other button to be stationary. I liked the idea that this method would hold the two sides of the cuff more tightly together.

The fancy glass button on the front.

This view shows the three pleats in the sleeve. In addition, there is a small amount of gathering which adds to the blouson effect of the lower sleeve.

Being a pattern from 1958, the instructions called for bound buttonholes, of course. However, due to the nature of the fabric, I decided machine buttonholes would make a nicer finish, so that is what I did (with a little hand-finishing on each one…)

The rest of the blouse was quite straightforward.

I took this picture with the sun streaming in one of my sewing room windows. It really shows the luminosity of the fabric.

I am so happy I decided to keep the released darts at the waistline. I think they will work beautifully with the skirt I have planned.

I gave my usual attention to hand-finishing the hem and facings (it just looks nicer!) and marveled again at the finesse added to this notched shawl collar by that small dart in the collar crease. Hopefully you can see this detail here:

That dart makes the collar turn beautifully.

Next up is a guipure lace skirt! I wonder what Christian Dior would have to say about that?

11 Comments

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

Do You Do Pink?

Apparently, pink is a controversial color. Or maybe “was a controversial color” is a better statement. A recent article by Nancy MacDonnell in the Off Duty section of The Wall Street Journal (“Making Peace with Pink” February 11-12, 2017) makes a case for the appropriateness – and timeliness – of pink even for those who think they don’t like it. While I am one who thinks pink is always in fashion, it turns out that this Spring, it really is in fashion! According to Ms. MacDonnell, “On this season’s runways, pink predominated.” The different fashion houses showed varying interpretations of pink: Michael Kors was “brisk, All-American, [and] cheery.” J. Crew was “equally upbeat,” while Valentino showed pink that was “lush and romantic, with intricate appliqués and historical references…”   The list goes on and on. The unifying thread (pardon the pun), as claimed by the designers, was the lack of traditional “sweetness” associated with pink, with emphasis on the feminine power inherent in the color.

Looming large on page 58 from the November 2016 WSJ Magazine is a Valentino coat, quite traditional in design, but made very special by its stunning appliquéd pink wool.

According to Dr. Valerie Steele, the Museum Director at the Fashion Institute of Technology in New York, who was quoted frequently in Ms. MacDonnell’s article, the idea of pink as a feminine color did not take hold until the 1950s. Back in 1954 when Christian Dior wrote The Little Dictionary of Fashion, his entry on “pink” stated: “The sweetest of all the colors. Every woman should have something pink in her wardrobe. It is the color of happiness and of femininity.”   He even used pink throughout his book for illustrations, chapter headings and the title page. He recommended pink “for blouses and scarves; … for a young girl’s frock; it can be charming for suits and coats; and it is wonderful for evening frocks.” Who can argue with that, be it 1954 or 2017?

The title page of Dior’s smart little dictionary. (Harry N. Abrams, Inc., NY, NY, copyright 2007)

This page from the June/July 2013 issue of Town and Country Magazine gives an interesting timeline of the color pink, “how the color of little girls and baby dolls came of age”:

Click on the image to read it.

I particularly like this statement from Laura Vinroot Poole, the founder of boutique Capitol in Charlotte, N. C., quoted in The Wall Street Journal article: “To wear pink, you have to be an interesting and smart person… You have to have things to say. In pink, you can’t hide.”   Nor would you want to.

Personally, pink is my favorite color. I am always drawn to it, regardless of its hue. And its hue covers a huge range from palest pink to deepest fuchsia, from bubblegum pink to raspberry red. In thinking about pink for this post, I gathered this stack of pink fabrics from my collection. Just looking at it makes me happy!

From top to bottom:
1) vintage Moygashel linen, purchased on eBay
2) silk charmeuse, purchased from Britex Fabrics
3) vintage Moygashel linen, purchased by me in the 1970s
4) linen, possibly Moygashel, purchased on etsy
5) silk jacquard purchased from Britex Fabrics
6) silk charmeuse, purchased from Mendel Goldberg Fabrics
7 & 8) coordinating silks, purchased from Mendel Goldberg Fabrics

The only controversy I have with pink is deciding which hue of it I like best.

19 Comments

Filed under Fashion commentary, Moygashel linen, silk, Uncategorized, Vintage fabric

“Mrs. Scimpy”

Two years ago I made this dress:

The Year of Magical Sewing

From this pattern:

Perfect Blue - Mattli pattern

Once I had the dress finished, I liked it so much that I decided a coordinating coat, with a lining to match the dress would be wonderful – sometime. I even went so far as to order more of the blue silk blend fabric from EmmaOneSock, while I knew it would still be available.   Tucked away in my fabric closet, it has patiently waited while I searched and searched for the right coat fabric in a coordinating/contrasting color and in silk. I finally found it last Spring, during a online silk sale at Britex Fabrics in San Francisco.

Taffeta coat - swatch

The fabric is lightweight silk taffeta, with the weft in persimmon color and the warp in fuchsia pink, giving it a shimmer which changes color with movement. I decided it would be my first project after we returned from our summer travels – with the intention of having it ready to wear with the dress to a September wedding, which happens to be at a location where a light coat or wrap is advisable.

All along I had intended to use the Jo Mattli coat pattern that is shown with the dress. I liked the idea of no buttons and simple lines.

Taffeta coat - Mattli pattern

The thumbnail diagrams on the back of the pattern envelope.

The thumbnail diagrams on the back of the pattern envelope.

However, when I got the pattern pieces out, here is what I found:

Front and back pattern pieces

Front and back pattern pieces

Yep, that is one voluminous coat! I knew that, even with taking some of the bulk out, I would probably still look like I was wearing a tent. With that slim dress, I am not sure why the coat has to be so full, but I had no qualms about deciding not to go in that direction. However, I still wanted a coat with no buttons or maybe just one button. I dug through my collection and came up with several possibilities, which included this one:

I do like the looped buttons, but I just wasn't convinced this was the right look.

I do like the looped buttons, but I just wasn’t convinced this was the right look.

I have another Jo Mattli coat and dress design which I love, but I think the coat would make up much more attractively in wool rather than silk taffeta, so I ruled this one out:

Taffeta coat - 2nd Mattli pattern

Then I came across this one: View B shows it with no button/buttonholes down the front. I also like the three-quarter sleeves, with the cuff detail.

The pattern description reads: "Striaght coat with or without buttoned closing below notched collar. Long and below elbow length sleeves with button trimmed vent. Optional pocket in side. Slim skirt.

The pattern description reads: “Straight coat with or without buttoned closing below notched collar. Long and below elbow length sleeves with button trimmed vent. Optional pocket in side. Slim skirt.”  I knew this coat would take on an appropriate dressy look when made up in silk taffeta.

Now –  I try to buy vintage Vogue patterns in sizes with a 32” bust and 34” hip measurement; however, that is not always possible, so I will go up or down a size if it is a pattern I really want to have. When I make my muslin (toile) for such a pattern, I try to include adjustments for the size issues so that my final alterations will be easier. However, the handwritten note on the front of this pattern gave me pause: “too scimpy” it reads. She obviously meant “skimpy,” but those two words spoke volumes to me (no pun intended!) Maybe I would just follow the pattern exactly (except for lowering the bust which I always have to do), and see if the size is okay.

Taffeta coat - pencil notes

And that is exactly what happened! Little did Mrs. “Scimpy” know that her simple pattern review, circa 1961, would save me both time and effort in 2016!

It looks like Mrs. Scimpy made her coat out of red wool, with a matching skirt. Her pencil notes on the yardage required indicate such, along with the cost of the fabrics: $22. I certainly hope she figured out that the coat was too skimpy in time to make adjustments, as a red wool coat with matching skirt would be lovely indeed!

8 Comments

Filed under Coats, Dressmaker coats, Messages from past owners of vintage patterns, Mid-Century style, silk, Silk taffeta, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

Britex or Bust

No trip to the West Coast of the United States is complete for me without a stop at Britex Fabrics in San Francisco. This time I had a specific goal in mind: finding silk lining fabric for the next “Classic French Jacket” I have planned. I was so fortunate to receive this lovely boucle as a Christmas gift from my (grown) children, and am so anxious to start work on this jacket, hopefully in the late Fall.

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

2 full yards of this glorious boucle! What a wonderful gift! (Purchased from Mendel Goldberg Fabrics in New York City.)

However, I knew I could not start work on it until I had the lining, the trim and the buttons. Britex seemed like the perfect spot to find the perfect lining (and trim), so off I went with my husband and son for a marathon session at this wonderful purveyor of beautiful fabrics and all things sewing. Walking in to Britex from their entrance on Geary Street always gives me a thrill. One is met with tables wide enough for entire bolts of silk twills, charmeuses, chiffons, etc., to be spread out for easy viewing.

Britex interior view copy

Like so many stores in San Francisco, Britex Fabrics extends through the width of the building, from its main entrance on Geary Street through to its back entrance on Maiden Lane.

Opposite from the silks are bolts and bolts of boucles lined up.

Britex boucles 1 copy

More boucles!

More boucles!

Above the silks are more bolts and bolts  – of woolens.

Britex interior view 2 copy

As usual, the Sales Associates at Britex are knowledgeable and always helpful. With my boucle sample swatch in hand, I started looking. My search was helped immensely by a lovely young woman who knew the silks, and started uncovering several which held promise. One, however, was the absolute winner. I was thrilled to find this blue silk lightweight twill, which had all the colors I wanted in a stunning floral print:

The photo does not give this silk its due. The colors are deep and clean.

The photo does not give this silk its due. The colors are deep and clean.

I had several more stops to make on the upper floors of Britex – for lightweight separating zippers (which I find impossible to find), for trim for my jacket (which I forgot to photograph before having it sent home with my other purchases), for Petersham ribbon, for this and that!

Returning to the first floor, I found my husband eyeing a piece of wool – not for me, but for him! Our tailor at home may find himself making a sport jacket out of a piece of Britex woolen:

Britex wool

With so much fabric already in my queue at home, I was trying to avoid being smitten by too much else. But I could not resist taking photos of some of the silks available:

I loved this geometric print.

I loved this geometric print.

Bold and beautiful.

Bold and beautiful.

I am always drawn to pink and green.

I am always drawn to pink and green.

A real conversation starter!

A real conversation starter!

An unbelievable print!

An unbelievable print!

A watercolor print, reminiscent of Matisse.

A watercolor print, painterly and shimmery.

I love the pop of pink in this blue floral silk charmeuse.

I love the pop of pink in this blue floral silk charmeuse.

With more to do and see in San Francisco, we were (too) soon on our way, and I bid a fond farewell to Britex. But only ‘til next time and next year and my next project needing something perfect…

9 Comments

Filed under Boucle for French style jackets, silk, Uncategorized