Category Archives: Uncategorized

April 26, 2013 · 4:22 pm

What Comes First – the Jacket or the Skirt?

Sewing has lots of decisions with it, some more important than others.  One of the decisions I face when making a two-piece suit (my current project) is: which part do I make first – the jacket or the skirt?  Instruction sheets are divided on this, as some start with the skirt, others with the jacket.  It would make sense, I guess, to start with the more difficult or more complicated half, which would most likely be the jacket.  So why do I usually make the skirt first?  Here’s what I think:

1) If the skirt and jacket are of the same fabric, making the skirt gives me “practice” with the feel of the fabric.  This comes in handy when I’m turning facings or collars on the jacket.

2) I’ve made enough jackets to know that I’m always kind of exhausted when they’re finally finished.  I’m not sure I’d want to be facing making the matching skirt, too, at that point in the process!

3) It’s easier and just plain better to make the final fitting of the jacket if it can be viewed with its accompanying skirt.

4) And finally, well . . .   I can always wear the skirt if the jacket doesn’t get completed right away, right??

So – what about progress on my emerald green silk suit?

This is the pattern I am using (View B), as written about in a former post.

This is the pattern I am using (View B), as written about in a former post.

Yes, the skirt is finished, which allows me to give you a sneak preview.

An interior view of the waistband and lining.

An interior view of the waistband and lining.

What do you think of that turquoise china silk lining?  Failing to find a green lining fabric, which would coordinate or match, turned out to be an advantage.  I had to choose something else – and, I must say, I love this combination.

Here is a view of the hand-picked zipper.

Here is a view of the hand-picked zipper.

The jacket is still in pieces, but very controlled pieces they are!  Here they are all ready to go:

The silk organza underlining is all basted, interfacings cut, ready to go!

The silk organza underlining is all basted, interfacings cut, ready for sewing.

I am hoping that this suit will serve me similarly to the description of this green suit in the October/November 1962 Vogue Pattern Book Magazine:

"Colors to go wild about" -n 1962 and in 2013.

“Colors to go wild about” – in 1962 and in 2013.

To quote:  “… a pure green with perfect pitch for day or evening, town or country.”  This particular design is by Michael of England, but, like the Vogue pattern I am using, it has a fitted jacket with a narrow notched collar, and three-quarter sleeves.

In the same issue of VPB Magazine, a letter to the editor caught my attention.  Mrs. B. M. of the Bronx, New York, wrote:  “… When I make a suit, I always buy extra fabric and also run up a slim dress.  This lets the suit jacket do ‘double duty’ and I have both a suit and a jacket-dress, while having to make only one jacket.  This saves me time and expense, and I enjoy having a variety of costumes that I can wear almost anywhere, in a fabric I love.”

Now I wonder what she made first – the jacket – or the skirt – or the dress?  I’m exhausted just thinking about it!

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Filed under Dressmaker suits, hand-sewn zippers, sewing in silk, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, Vogue patterns

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April 19, 2013 · 12:59 pm

Back to the Past

I am finally back in my sewing room, working on my emerald green silk suit.  The event to which I had hoped to wear this suit has come and gone (I wore something else that evening and the world somehow kept on spinning – amazing!), but this sewing project was and is on my Spring agenda and I am bound and determined to finish it.  Until I have made a bit more progress, with something to show for it, I thought I would indulge you with a book review of the 1956 Claire McCardell (1905-1958) book, What Shall I Wear, re-published in 2012 by The Rookery Press, in association with The Overlook Press, New York, New York.

Back to the Past

This book came to my attention by way of The Vintage Traveler blog (thanks, Lizzie!).  I purchased it on Amazon last Fall, and then, to my surprise, it was one of five books chosen by Christina Binkley of  The Wall Street Journal for her annual list of “Best Style Books”.

This annual feature on "style books" is always one of my favorites.

This annual feature on “style books” in The Wall Street Journal is always one of my favorites.  It appeared on December 20, 2012.

Here from Binkley’s review of the book: “This book is a gem.  …It manages to be modern more than 60 years later…  The designer created chic casual items that we take for granted today, such as trim ankle pants and full skirts that permit comfort and movement.  … She demonstrates an understanding of women’s lives. ‘Everyone should have a “pop-over” dress – a sheath that they can just pop over their head and go.’”

Here are some of Claire McCardell’s fashion tips and thoughts which struck a chord with me, especially in relation to sewing and dressmaking:

1)  The simple act of changing buttons (or in sewing, choosing the right ones) can make a dress fit your style.

2) When putting together your clothing (or pattern and fabric) budget, consider carefully where you want to put your money.  Make one major purchase a year, something classic and timeless is always a smart move.

3) Use color extensively and don’t be afraid to stretch from your normal palette.

4) Coats should be a large part of your wardrobe.  Indeed, she recommends compiling a “Coat Collection”.  That’s advice sweet to my ears!

5) Learn how to tie a scarf!  In her words:  “You miss all the fun if you can’t tie things.”  “If you really care about Fashion, sit down right now and learn to tie.  An ascot, a bandanna, a neckband, a bowknot.  This means knowing how to fold first, knowing how to loop next, knowing how to get the knot straight, knowing how to make the ends even – or uneven – on purpose.”

6)  Like all the great fashion designers and couturiers, she emphasizes the overwhelming importance of fit.  All those muslins/toiles we make are worth the time they take!

7) Accessorize your outfits with the appropriate jewelry, shoes, and bags.  Restraint is better than opulence.

8) She was a big fan (and proponent) of the “American Look”: meaning comfortable clothing with clean lines, displaying elegant simplicity.

The final chapter of the book is appropriately entitled:  Fashion has no last chapter.

You can read here for yourself her Essential Eleven.  Pay particular attention to #2!

As a preface to this list, McCardell states: "There is a great deal in common between the woman who designs clothes and the woman who knows clothes."

As a preface to this list, McCardell states: “There is a great deal in common between the woman who designs clothes and the woman who knows clothes.”  (Click on the photo for a close-up).

Earlier in the book on page 103, she relates her first experience with dressmaking: “Miss Annie … came to the house to make clothes for mother and me.  The process fascinated me from the start – selecting the pictures of dresses in the Vogue Pattern Book, the fabrics to be bought at the dry-goods store, the cutting and basting and fitting, the pockets and buttons and buttonholes…”

Surely sewing and dressmaking have no last chapter either:  What will you wear?  What will you sew?

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Filed under Buttons - choosing the right ones, Coats, Scarves, Uncategorized

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April 9, 2013 · 4:35 pm

Fifty little dresses!

Can you guess??  It’s a girl!

Our dear daughter and her wonderful husband have given us our first grandchild.  Little Aida was born on March 19th in the middle of a last-day-of-Winter New England snow storm.  She weighed 6 pounds, 12 ounces and was 19.5 inches long.  Of course, she is beautiful and dainty and looks like she will wear little dresses with delight!

Aida - one week old

Aida – one week old

I had the wonderful opportunity to spend three weeks with my daughter, Susanna, son-in-law, Jon, and baby Aida to help them over the initial hospital stay and adjustment to home.  I cooked and baked and cleaned and shopped for groceries and did laundry, and cooked and baked and cleaned and shopped for groceries and did laundry, and cooked and baked and cleaned and . . .   did all the things my daughter could not do.  (Aida was persistently in breech position while in utero and, despite heroic efforts to get her to turn, remained so, necessitating a c-section.) Sewing and blogging went unattended, but such is life in all its sweetness and toil.

I also sang silly songs to Aida, whispered in her ear about Christian Dior and Cristobal Balenciaga and about sewing from pretty Vogue patterns, and we planned tea parties and dolls’ fashion shows.  No time like the present to get these things started, right?

Aida’s birth brought back many memories of the birth of her mommy – my daughter –  almost 32 years ago.  Before Susanna was born, I bought this book as a gift to myself and took it with me to the hospital.

This beautiful book by Kitty Benton was published in 1981, by Hearst Book, New York. It is extensively illustrated, with explicit instructions for every project. It also has a complete section on Sewing Techniques, including smocking, embroidery stitches, hems, sewing on buttons, etc., etc. The book is an invaluable guide for heirloom sewing. Copies of it are available on Amazon and through a few Etsy shops.

This beautiful book by Kitty Benton was published in 1981, by Hearst Books, New York. It is extensively illustrated, with explicit instructions for every project. It also has a complete section on Sewing Techniques, including smocking, embroidery stitches, hems, sewing on buttons, etc., etc. The book is an invaluable guide for heirloom sewing. Copies of it are available on Amazon and through a few Etsy shops.

Of course, I didn’t know we were having a girl (neither did Susanna and Jon).  Then I found myself so busy and overwhelmed with my growing family (Susanna’s brother was born less than two years later), that somehow I never used the ideas in this book, preferring commercial patterns for all the sewing and smocking I did for my two.  But I never stopped looking at it, and never gave up hope of making some of the lovely clothing and gifts.

The blue gingham dress, adorned with a spray of embroidery flowers, is my favorite dress in the entire book. Yes, I think Aida would wear this dress well!

The blue gingham dress, adorned with a spray of embroidery flowers, is my favorite dress in the entire book. Yes, I think Aida would wear this dress well!

A red dress with a white pinafore - so cute!

A red dress with a white pinafore – so cute!

Two little bishop dresses.

Two little bishop dresses.

And here is a sampling of some of the timeless gifts, instructions for which are presented in the book. Even the teddy bear can be home-made!

And here is a sampling of some of the timeless gifts, instructions for which are presented in the book. Even the teddy bear can be home-made!

Could it be that Aida will reap the rewards of this gift to myself from so many years ago?  I hope so, I do hope so.

Little Aida in my arms, with Porter, the Bernese Mountain dog, looking on. Such blessings!

Little Aida in my arms, with Porter, the Bernese Mountain dog, looking on. Such blessings!

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March 13, 2013 · 6:13 pm

Suited for Spring

Last Fall when I found emerald green matka silk on Waechter’s website, I quickly purchased 3½ yards.  At 45” wide, I knew that amount would be enough for a Spring suit although I really did not know which pattern I would be using.  It seems I often  purchase fabric and then end up not actually using it for a year – or more.  But with emerald green so front and center in fashion this year, I definitely decided to make this project a top priority.

This is the silk I ordered from Waechter's Fine Fabrics

This is the silk I ordered from Waechter’s Fine Fabrics.

I envisioned what is known as a “dressmaker suit.”  Fairchild’s Dictionary of Fashion (3rd edition, Fairchild Publications, Inc, New York, New York, 2003) gives this definition:  “Woman’s suit made with soft lines and fine details, as contrasted with man-tailored styles that have the sharply defined lines of a man’s suit made by a tailor.  Fashionable in 1950s and revived in the mid-1980s.”  Specifically, I envisioned a straight skirt (aka pencil skirt in today’s fashion parlance), a short-ish, dressy jacket with some neat detail on it, and adorned with buttons to compliment the sheen and slubby texture of the silk.

First step was to go to my pattern box, brimming over with vintage patterns (and a few new ones).  I quickly had my selection narrowed down to two possibilities, but one was actually a sheath dress with coordinating jacket, not a jacket and skirt. (Yes, there is a definition for this category as well, according to Fairchild’s:  “Suit dress:  Used in 1960s to refer to a jacket and dress ensemble that resembled a tailored suit.”)

Is it the hat that makes this ensemble so appealing - or just good styling?

Is it the hat that makes this ensemble so appealing – or just good styling?

I hashed over the two reservations I had about using this pattern:  1) I was a little short on yardage – about a quarter of a yard – and just not completely confident that I would be able to cut this pattern out with the generous seams that I have come to like so much, and 2) I have a RTW (gasp!) silk shell top which will look stunning, I think, paired with an emerald green silk skirt and matching jacket.  So in the end, I decided to go with a dressmaker suit to be made from this pattern:

I'll be making View B, which just happens to be shown in emerald green!

I’ll be making View B, which just happens to be shown in emerald green!

And then, the bonus!  Actually three of them . . .  I had forgotten that tucked inside the pattern envelope were two clippings obviously placed there by the original owner of the pattern.  She was doing some “comparison shopping” for styling.

The first clipping is for another pattern – a Spadea, available through mail order from the newspaper.  Fortunately, the date of 1964 shows up on one corner.

Dressmaker suit - 3

The second clipping is from Vogue magazine, showing a fashion from 1968.

The jacket of this suit, just like the Spadea pattern, is very similar to the Vogue pattern.

The jacket of this suit, just like the Spadea pattern, is very similar to the Vogue pattern.

Perhaps the original owner was trying to decide between a striped fabric and a plain one?  Maybe she was really undecided about making this style suit?  I’d love for her to sit down with me over a cup of coffee so we could discuss this pattern!  As it turns out, she never made the jacket, as its pieces were still in factory folds when I obtained it.  The skirt pattern shows signs of having been used, however.  I’ll never know why,  after all her thought about this suit, she never made it.  However, her decision afforded me the third bonus – the original pattern label – pristine after so many years.

I am looking forward to sewing this label into my green silk suit.

I am looking forward to sewing this label into my green silk suit.

I’ve made my initial adjustments to the pattern and am now making the muslin.  Like my “pattern predecessor” I am dreaming of a certain look.  Now it’s up to me to finish what she started.

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Filed under Dressmaker suits, kimono sleeves, Messages from past owners of vintage patterns, sewing in silk, Uncategorized, vintage Vogue patterns from the 1960s, Vogue patterns

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March 4, 2013 · 5:59 pm

“The Sweetest of All the Colors…”

“… Every woman should have something pink in her wardrobe.”   Christian Dior certainly had distinct thoughts about fashion, and with this statement I concur.  Everyone looks good in pink, especially pale pink (men definitely included), and I suspect pale pink was what Monsieur Dior was thinking when he wrote this in his Little Dictionary of Fashion (First published by Cassell & Co., Ltd., 1954; 2007 edition by Abrams; Copyright Catherine Dior and Jean-Pierre Teto, 2007).   Interestingly, the lining pages of his little book are pale pink, but the divider pages feature a deep, deep raspberry pink as in – – – my newly finished “ladylike” dress!

Here is the "section"page for E from Dior's Fashion Dictionary

Here is the “section”page for E from Dior’s Fashion Dictionary

Dated 1958, this is the pattern I used for my pink dress.

Dated 1958, this is the pattern I used for my pink dress.

The finished dress!

The finished dress!

As I mentioned in my last post, I made this dress using couture construction, which means a lot of hand-sewing.  The more I use this type of construction, the more I like it, but it doesn’t get any faster.

An interior view of some "couture" construction - silk organza underlining, catch-stitched seams, hand-picked zipper.

An interior view of some “couture” construction – silk organza underlining, catch-stitched seams, hand-picked zipper.

However, couture construction gives me a lot of flexibility in changing necklines, which I really appreciate.  That is one of the changes I made to this pattern – widening the neckline to a more flattering appearance for me.

The widened neckline.

The widened neckline.

I also changed the back of the skirt by removing the box pleats and substituting a darted back.

I substituted darted back panels for the "original" box pleats

I substituted darted back panels for the “original” box pleats

The original dress had pockets hidden in side box pleats, but when I narrowed the width of the skirt, I did away with those side pleats.  I still wanted pockets, so I added pocket extensions in order to still hide them in the side seams.  It worked!

A peek at the pocket inside which shows the raspberry silk lining I used for the dress. I understitiched the pocket edges by hand, which took no time at all and looks so much nicer than machine stitching!

A peek at the pocket inside which also shows the raspberry silk lining I used for the dress. I understitiched the pocket edges by hand, which took no time at all and looks so much nicer than machine stitching!

I added a quarter-inch to the underneath seam on each sleeve, so that each sleeve would have one-half inch extra width to it.  Those ladies in the 1950s must have had skinny arms, as I find sleeve widths on these vintage patterns are often just not quite spacious enough.

I added to the underarm seam - an adjustment which I determined from my muslin.

I added to the underarm seam – an adjustment which I determined from my muslin.

This was the first time I had made sleeves which are half set-in and half kimono.  This is a look and fit which I love!  In fact, the shoulder fits so well, that my original thought to add an interior sleeve heading was one I decided I did not need.

The one thing I’m not sure I like is the “purchased or novelty belt” as indicated on the pattern.  I think a self-belt, a little wider than the one I show, would be more attractive.  Please comment if you have an opinion.  (I have plenty of fabric left over to make one…)

I am thinking a 2" wide self belt might be more attractive???

I am thinking a 2″ wide self belt might be more attractive???

Before I move on to my next project (to be announced soon), I want to thank Dresses and me for nominating me for the Very Inspiring Blogger award.

Very Inspiring Blogger Award

So, in accordance with the “rules” –  I am supposed to share a few facts about myself and nominate some others for the same award, so here goes:

1 – I am told I have a slight Southern accent, surely a remnant of being born and raised in North Carolina.

2 – I do most of my machine sewing on a 1940s’ Singer Featherweight and on my mother’s 1956 “306K” portable Singer.

3 – Autumn is my favorite season.

4 – I can make a very good Pumpkin pie.

5 – I enjoy reading historical fiction.

6 – I can’t sing (as in carry a tune) except for a few simple lullabies and Christmas carols.

Now – to pass on this award:  So many fellow bloggers inspire me every day that it is difficult to single out just a few (especially as many have already received this award!), but here are some worthy recipients:

For always giving me a laugh:  A Dress A Day and The Blue Gardenia.

For always teaching me something I would not have known otherwise:  The Vintage Traveler, Pattern Vault, Two Nerdy History Girls, and the FIDM Museum blog.

For sharing their sewing knowledge, design sense, and beautiful workmanship:  Custom Style, Lilacs and Lace, So Sew Lovely, and Frabjous Couture.

So now – you are IN THE KNOW and  – I am IN THE PINK!

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Filed under couture construction, hand-sewn zippers, kimono sleeves, Uncategorized, underlinings, vintage Vogue patterns from the 1950s, woolens

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February 20, 2013 · 9:35 pm

Saying YES to a Ladylike Dress

What is it exactly that makes a particular dress elicit the description “ladylike”?  Is it primarily the fabric – or the color – or the style – or, as most would suggest, a combination of all these things?  And why, exactly, am I asking this question??

As one who generally is attracted to tailored, usually unfussy “frocks”, I had to answer this question for myself about this pattern, which, although still unfussy, with simple lines, just seems to be such a ladylike look:

Dated 1958, this pattern shows the influence of Christian Dior.

Dated 1958, this pattern shows the influence of Christian Dior.

This is what I’ve decided.  I definitely think you start with the style – or the pattern – and this one has it.  There are four elements which work together to make this a ladylike look: 1) a defined waist, here further delineated with a purchased belt (or, as the pattern calls it, a “novelty” belt); 2) a soft shoulder line, which in this pattern consists of a set-in sleeve on the front bodice, but kimono in the back – very clever; 3) a full skirt, this one with inverted box pleats which soften the fullness to a considerable degree (although not quite enough for me, as I will explain later); 4) three-quarter length sleeves, which are the most flattering for most women, and which provide the perfect foil for bracelets or gloves.

The middle sketch on the back of the envelope shows the kimono sleeve detail on the back of the dress.

The middle sketch on the back of the envelope shows the kimono sleeve detail on the back of the dress.

I’ve had this pattern for well over a year, but it took me a while to pair it with this fabric which I’ve had forever (well, not that long, but probably close to 10 years – which makes it seem like a baby compared to how long I’ve had some of my Moygashel linen!).

I'm not sure the fine twill weave of this fabric is visible here.

I’m not sure the fine twill weave of this fabric is visible here.

This fabric is a very beautiful wool/cotton blend, lightweight, but with a solid hand and very subtle fine twill weave to it.  It’s 60” wide and I bought three yards, so I obviously had plenty of fabric with which to work.  I’m in love with the color, a deep raspberry pink – I just cannot stay away from pinks of any shade.

Knowing that I would be making this dress in knee-length rather than mid-calf made me reconsider the fullness of the skirt.  In thinking about this, I remembered another pattern in my collection, which shows a full skirt in the front and a fitted, plain skirt in the back.

This is an unprinted pattern, which makes working with its pieces difficult.

This is an unprinted pattern, which makes working with its pieces difficult.

So – I decided to see if I could combine the two patterns to create the same look, but with less fullness.  The second pattern has a three piece back, which obviously would not work with a center back zipper.

Here is the detail of the skirt back.

Here is the detail of the skirt back.

So I decided to combine the side back and center back pattern pieces, add two darts to achieve a similar fit, and add a center back seam to match the seaming in the first pattern.

This is how I fit the two back skirt pieces together to make one piece. The "triangle" became two narrow darts, which seemed to work better than one wide one.

This is how I fit the two back skirt pieces together to make one piece. The “triangle” became two narrow darts, which seemed to work better than one wide one.

I took a little more fullness out of the front pattern pieces of the first dress and reconfigured the box pleats.  Then, of course, I made a muslin to see if this would all work.  It certainly seems like it will.  The width of the skirt, according to the pattern envelope, was originally supposed to be about 100”.  The width of my muslin skirt is 56” – which means I removed over a yard in the skirt width!  Sometimes things look and hang a bit differently in the fashion fabric as compared to the muslin, so I am proceeding with cautious optimism.

I am making the dress with couture techniques – and I’m ready to do some serious sewing now that I have silk organza hand-basted to all the pattern pieces.

My pile of basted pieces.

My pile of basted pieces.

In sewing, I am always reminded of this quote from Wilhela Cushman:  “Just around the corner in every woman’s mind – is a lovely dress, a wonderful suit, or an entire costume which will make an enchanting new creature of her.”  I do indeed hope this will turn out to be a lovely dress – with enchanting ladylike qualities!

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February 12, 2013 · 4:28 pm

Coats of a Certain Length

“. . .  above everything they must be practical.  Practical in color and practical in style.”  This was Christian Dior’s dictum for coats which he wrote in 1954 in The Little Dictionary of Fashion (first published by Cassell & Co., Ltd., republished by Abrahms, 2007, copyright Catherine Dior and Jean-Pierre Teto).    Beginning around this same time, Vogue Patterns began to feature more coats in shorter lengths, with slimmer profiles.  The “tunic coat” and matching skirt debuted in the October/November 1955 issue of Vogue Pattern Book Magazine, with this description:  “The tunic . . . the newest and most sophisticated of the coats. Its straight lines are highlighted by an even narrower skirt.”

This was the only three-quarter length coat in this feature entitled "The most-wanted new coats."

This was the only three-quarter length coat in this feature entitled “The most-wanted new coats.”

In 1958, a tapered coat-suit was featured in the October/November VPB Magazine, touting its “three-quarter” coat:

Shown in "boxwood green mohair," this coat would be quite stylish in 2013.

Shown in “boxwood green mohair,” this coat would be quite stylish in 2013.

And in the same issue the smock-jacket certainly caught the eye of many a busy mom, with its alluring description:   “”Enjoying suburbia’s natural tranquallizers – grass, trees, sky . . .  Triangular smock-jacket in bright blue-orange-green-red plaid.  Grey flannel slacks – who could live without them?”

This "smock" coat has a pleat in the back for ease of movement for the busy mom.

This “smock” coat has a pleat in the back for ease of movement for the busy mom.

Indeed, who could live without such a comfortable, easy-to-wear, fingertip coat?  As this style morphed into the “Car Coat”, it quickly became ubiquitous, and for good reason.  Here was (and is) a coat, which is a barometer of culture (a term I have borrowed from the little book, 101 Things I Learned in Fashion School, p.32).  An excellent definition is given in The Fairchild Dictionary of Fashion, 3rd Edition, 2010, page 89:  “Sport or utility coat made hip- to three-quarter length, which is comfortable for driving a car.  First became popular with the station-wagon set in suburbia in 1950s and 1960s [my emphasis] and has become a classic style since then.  Some of the styles in which car coats have been made include BENCHWARMER, DUFFEL COAT, RANCH COAT, MACKINAW JACKET, STADIUM COAT, TOGGLE COAT.”

Coats of certain length -4

This pattern was for a reversible coat, shown here in poplin and sham lamb. The collar can be turned into a hood.  Click on the image to see the details.

By August/September of 1962, VPB Magazine featured a pattern for a Pea Coat, which although not officially a car coat, displayed the same practical length and wearability:

According to Fairchild's Dictionary, Yves Saint Laurent used the classic U.S. Navy peacoat as inspiration for his variation of it in the 1960s.

According to Fairchild’s Dictionary, Yves Saint Laurent used the classic U.S. Navy peacoat as inspiration for his variation of it in the 1960s.

And in the next issue of the 1962 VPB Magazine, in a feature called “The Rangy Western Look for Urban and Suburban Dudes,” front and center was this coat “corralled for suburbanites”:

VPB called this coat a "direct steal from the cowboys's sheepskin original."

VPB called this coat a “direct steal from the cowboys’s sheepskin original.”  (Another wonderful example of a “sheepskin” coat – this one by an English designer – can be seen here, with thanks to my reader, Carol, who led me to the sketch of this fingertip coat.)

Far be it for me to resist such a coat!  Last year I succumbed to this pattern on Etsy, which although not dated, is most certainly from the early ‘60s:

I just may need this pattern someday!

This is a good pattern to have in my collection – I just may need it someday!

Back in the 1970s, I purchased this Christian Dior Designer pattern, with intentions of making the “below the knee” version, although a nice variation of a stadium coat is also featured.  I still love this coat, in both lengths – and someday I hope to finally make good on my intentions!

The buckles around the sleeves add a great look to this coat.

The buckles around the sleeves add a great look to this coat.

However, this coat must be my all-time favorite hip-length style:

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

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

Purchased last August,  this pattern sometimes keeps me awake at night. With Dior’s words imploring me to be practical, I wonder – – – should I make it in navy and white (as pictured), in black and white, in red and black, in gray and camel, in orange and gray, in ??? and ???

Still to be decided . . .  but you haven’t seen the last of this pattern.

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Filed under car coats, Coats, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s, Vogue patterns

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January 29, 2013 · 10:02 pm

New Life from an Old Dress

I’m sure I never would have entertained the thought of remaking/repurposing this dress  –

I made this maternity dress in the Fall of 1980 while pregnant with our first child.

I made this maternity dress in the Fall of 1980 while pregnant with our first child. The fabric is US-made Pendleton wool.

– had Emerald Green not emerged as THE color of 2013.  As it was, it seemed silly not to take advantage of this opportunity to make a skirt in a color I love, from a dress that would not be worn again, and which already carried sentimental memories.  So I told myself repeatedly, “Do this.”  And so I did it, but not without much mental anguish.

Before I did any ripping of seams or cutting of fabric, I needed to decide what kind of a skirt I could make, knowing that, even with a maternity tent-style dress, the usable expanse of fabric was limited.  It seemed fairly obvious that a pencil or A-line skirt was about the extent of the possibilities.  But I wanted some kind of a focal point on it, too.  I kept thinking about the fringed Pendleton wool skirt that I had remade, thinking that fringe on this green one would be quite nice as well.  I did a little testing on an inside seam of the dress and determined the wool was so tightly woven, that any “fringing” would have to be somewhat minimal.  It also seemed to be easier to unravel the threads working up and down rather than across.  I figured if I could wiggle out enough fabric to add one overlap (or pleat) at the side front, I could fringe that edge and get the focal point I wanted.

With this plan in mind, I now had to face cutting apart – and into – this dress, which I so clearly remembered making and wearing over 31 years ago.  Honestly, for a couple of days I really couldn’t face this.  My practical side finally triumphed when I decided I would first separate just the side seams on the dress.  If I chickened out at that point, I could always sew it back together, right?  Right!  And so I snipped and snipped and pretty soon I had two usable sections of wool.

The dress with the side seams separated.

The dress with the side seams separated.

Then –  somehow, miraculously, I was suddenly okay with the thought of cutting into this dress.  The back part of the skirt pattern fit perfectly on the back section of the dress – it was even already seamed for me.

My muslin pattern positioned on the back of the dress.

My muslin pattern positioned on the back of the dress.

The front part of the dress gave me enough room to make a new two-piece front, with a pleat on the left side.  I cut out the pieces and set about to fringing.  Re-runs of Downton Abbey helped tremendously with this – I pulled and picked and created fluffy little towers of green threads while totally absorbed in another time and place.

Then it was back to the sewing room to sew this baby (pardon the bad pun) together.  There was not enough fabric  to fashion a waistband on the straight of grain, so I opted to make an inside pieced-together facing instead.

The facing at the waistline. I attached the 31-year-old Pendleton label in place after all these years!

The facing at the waistline. I attached the 31-year-old Pendleton label in place after all these years!

Then I made a button tab out of bias tape which I just happened to have on hand in emerald green.  What I could not find was a 7” zipper in emerald, nor lining fabric in emerald.  Guess the manufacturers of such items did not get the memo from Pantone about the color of the year!  So I ended up with a black zipper and dark gray Bemberg lining fabric.

The black zipper and gray lining are okay, I think...

The black zipper and gray lining are okay, I think…

I went round and round with a decision about buttons to hold the top part of the pleat in place.  I found several single buttons in my button box, which I really liked, but I really needed two or three.   A trip to Joann’s yielded some pale gray pearl buttons which would have been lovely, except that one broke after I got home when I was taking it off the card!  So I still have to resolve the button issue – as right now I  have exactly one button on the skirt, although I do like its diamond shape quite well…

The fringe detail on the pleat - and the single button. Sure wish I had another one of these!

The fringe detail on the pleat – and the single button. Sure wish I had another one of these!

It's finished (except for the button issue, of course!).

It’s finished (except for the button issue, of course!).

green skirt

The back view.

The back view.

Thinking back on this project, I believe the signs were there, telling me to make this skirt.  Consider that I found these Stubbs and Wootton shoes – green and black Buffalo Check to go with my Pendleton wool:

How I love these comfy flats!

How I love these comfy flats!

And among my collection of silk scarves was this scarf, purchased in the 1980’s from the Museum of American Folk Art, featuring one of their quilts in predominant colors of pink and – yes, Emerald Green.

The green in this scarf could not be more perfect.

The green in this scarf could not be more perfect.

A detail of the scarf on top of the skirt.

A detail of the scarf on top of the skirt.

So – where do I envision wearing this skirt?  How about to a baby shower for my daughter, now expecting her own little one?  After all, she herself  was once sheltered by these warm woolen threads of green – and love.

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Filed under 1980's dress patterns, Buttons - choosing the right ones, hand-sewn zippers, Scarves, Uncategorized, woolens

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January 17, 2013 · 10:12 pm

Sewing SMART for 2013

The word “smart” has lots of different meanings.  My desktop Webster’s lists 21 different connotations of this short, very effective word.  I particularly like two of the ways this word was used when I was growing up in the ‘50s and ‘60s:  those  would be meanings #5: “neat or trim in appearance, as a person or garment”, and #6:  “socially elegant; sophisticated or fashionable: the smart crowd”.  With these definitions in mind, I looked for and quickly found some very pertinent examples of these meanings in two Vogue Pattern Book Magazines from 1953 and 1954:

The February/March issue of Vogue pattern Book Magazine 1954 gives the reader ideas for a "smart look all through the day, now and through spring."

The February/March issue of Vogue Pattern Book Magazine 1954 gives the reader ideas for a “smart look all through the day, now and through spring.”

The VPB magazine from October/November 1953 featured "10 smart, new high fashion Vogue Couturier Designs."

The VPB magazine from October/November 1953 featured “10 smart, new high fashion Vogue Couturier Designs.”

I love this caption from the same issue: fashions with " a minimum number of pieces to sew and fit ... maximum smartness."

I love this caption from the same issue: fashions with ” a minimum number of pieces to sew and fit … maximum smartness.”

Well, in thinking about some of my sewing goals and aspirations for 2013, I kept coming back to this word – SMART – and decided it would be very useful to use as a  guideline, with each letter of the word reminding me of some of what I hope to accomplish.   SO …

S  is for SKILLS.  This year I am concentrating on learning new ones, practicing and perfecting ones that I have and taking advantage of at least two classes to help me develop my skills as a dressmaker.  So far, I am enrolled in Craftsy’s “Sewing with Silks: The Liberty Blouse” on-line course (not started yet), and I will be spending a week in Baltimore with Susan Khalje for The Classic French Jacket Class.  Perhaps other classes will wiggle their way into the year as well!

M is for MARKING AND MEASURING my progress and accomplishments, my mistakes (hopefully not too many!), and my plans and intentions.  This is, of course, where “Fifty Dresses” comes in.  Writing this blog helps me focus more on the process than I would normally – and that’s both instructive and rewarding.  So thank you from the bottom of my heart to all of you who follow along, make comments, give me encouragement, and share your sewing insights and ideas through your own blogs or other online presence. Thinking, reading and writing about sewing is almost as much fun as sewing itself.

A is for ART.  Sewing is so much more than a “hobby” or a way to build a wardrobe (albeit slowly!).  It really is an art form, and the more I sew, the more I realize and appreciate this fact.  Some of my creations will no doubt be like simple sketches – quick and easy to make and even easier to throw on for a trip to the grocery store –  while one or two others perhaps will rise closer to “masterpiece” level (I can dream) – made with finest fabrics and specialized techniques, intended for special occasions.  Good art should be taken seriously and seriously enjoyed, don’t you think?

R is for REALISTIC, as in having realistic goals of what I can and cannot accomplish in a set amount of time.   This is the part I have trouble with.   I always think I can sew faster than I can.  Although I am sure I will always plan more than I can possibly accomplish, I am going to try to set more realistic goals (keeping a separate, working list of intended projects to help me focus) in the context of what I know will be a busy year in other aspects of my life.

T is for TIMELESS.  This may be my favorite part of the acronym.  Timeless is the look that I am always striving for in the clothing I make.  Using vintage patterns for the most part allows me to choose styles that really have stood the test of time – and which often have a restrained classicism to them that suits my sensibility.

Sketches in Vogue Pattern Book Magazine from October/November 1956 show styles which look very au courant, from the clothing to the hair to the shoes and accessories. I'd like to be that lady in red!

Sketches in Vogue Pattern Book Magazine from October/November 1956 show styles which look very au courant, from the clothing to the hair to the shoes and accessories. I’d like to be that lady in red!

How stylish are these looks from the same magazine?

How stylish are these looks from the same magazine?

And a box-jacket suit is always in vogue.

And a box-jacket suit is always in vogue.

It’s fun to see current color and style trends, which harken back to 40, 50, or 60 years ago.  Then to make them, using vintage patterns, with newfound construction knowledge, in some of the beautiful fabrics available today, is the best of many worlds. Not only SMART, but lucky, too, in 2013!

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Filed under The Conde Nast Publications, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, Vogue patterns

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January 11, 2013 · 1:15 pm

Chance of Flurries

I am two weeks (maybe closer to three weeks) behind schedule, but I am undaunted.  The last two weeks of 2012 were chock-a-block full of Family, Fun, and Feasting – and then the plague hit our house.   Yes, another F-word – the FLU – which apparently was not the type we got the immunizations for…

But this week has found me back in my sewing room, finishing up what was to be my final project for 2012.  Flexibility, I have learned, is a great asset to cultivate, so I am trying to be flexible in my plans and take it all in stride.  Indeed, I am hoping that I will be striding pretty in newly-sewn pants, which have now joined my wardrobe.

I think I must like pants made out of figured fabric.  As soon as I saw this snowflake wool on the website of Waechter’s Fabrics, I knew I wanted to make it up in winter slacks.

This is a jacquard woven wool, but very light-weight and soft.

This is a jacquard woven wool, but very light-weight and soft.

It was not even a decision to use the same 1960s’ pattern I used for my “very stylish” linen pants last Spring – pants’ patterns that fit are worth using again and again.

I made quite a few alterations to the pattern so that these slacks actually fit me!

I made quite a few alterations to the pattern so that these slacks actually fit me!

I did decide, however, to make these using couture techniques.  I underlined them with a very light-weight rayon voile which I have used successfully before.  I did not want to add much stiffness to this very soft and flexible wool, so the rayon seemed a better match than silk organza in this instance.  I catch-stitched all the seams, and inserted a hand-picked zipper.

The underlined pants, with catch-stitched seams.

The underlined pants, with catch-stitched seams.

Hand-picked zipper.

Hand-picked zipper.

As luck would have it, the newest issue of Threads Magazine arrived right as I was getting started on this project – and Susan Khalje’s article “Build a Better Waistband” (page 44 – 49) immediately caught my attention.  I had already purchased several yards of Petersham ribbon in anticipation of waistbands yet to come, so I was all set.  I carefully followed all her detailed instructions and photos:

The newsest issue of Threads magazine

The newsest issue of Threads Magazine

The Petersham ribbon basted onto the waistline.

The Petersham ribbon basted onto the waistline.

I even decided to make a “faced” waistband.  I knew that this would help reduce bulk in the waistband, but also it would insure that any “itching” around the waist sometimes caused by wool fabric would be eliminated.

I made the facing out of the lining fabric.

I made the facing out of the lining fabric.

Everything was going along swimmingly until I went to set in the lining for the pants, which I made out of Bemberg rayon.  Somehow, the rise from the crotch to the waist was a little short.  I don’t know how this happened, but it did, and so I was faced with figuring out how to remedy this situation short of making an entire new lining.  Well, I decided to attach the waistband just to the underlined wool, not including the lining.  Then I used some careful and tightly-spaced catch-stitching to attach the top of the lining to that waistband seam.  (I forgot to take a photo of this, as I was totally absorbed in this “make-do” process.) This worked beautifully, much to my delight.  The only further fix I knew I needed to do was finish the inside of the waistband.  The waistband facing needed to be a little longer to hide my mistake, so I bound the raw edge with seam binding and used the fell stitch to finish it off.  I’m happy with the way it looks:

The seam binding helps to make a clean finish and hides my mistake!

The seam binding helps to make a clean finish and hides my mistake!

DSC_0761

I don’t think anyone would suspect my mistake – except for all of you, of course!

After final stitches to secure the lining to each of the legs, and then lots of steaming and pressing , my snowflake pants were finished!

Here they are, all finished!

Here they are, all finished!

Snowflake pants

A back view.

A back view.

Kind of a side view.

Kind of a side view.

And a little closer up... I'm happy with the way I was able to align the snowflake "medallions".

And a little closer up… I’m happy with the way I was able to align the snowflake “medallions”.

We seem to be in a January thaw right now, so the only forecast for flurries must be – in my control??  Well, I happily guarantee that sightings of snowflakes will definitely happen this Winter!

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Filed under couture construction, hand-sewn zippers, Uncategorized, underlinings, vintage Vogue patterns from the 1960s, Vogue patterns, woolens

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