Category Archives: Uncategorized

December 1, 2012 · 3:24 pm

Season for Shopping and Sewing

Well, every season is the season for sewing, and shopping, too, for that matter, especially for fabric.  But somehow, the holiday season seems to take both activities to a new level for the year.   Somehow, knowing how to sew makes one very susceptible to feeling like at least one or two of your planned gifts to family or friends be hand-sewn by YOU.  I, of course, am one of these people.

Remembering some of the gifts I have made over the years came into sharp focus this week.  I went into a storage box (acid-free, of course) where I have some family textile heirlooms in safe-keeping.  I was in search of a Christmas item, but what caught my eye were two aprons which I made the first Christmas my husband and I were married.  It was 1973.  I wanted to do something special for my new mother-in-law and my husband’s aunt, and since they were both “apron-wearers” I thought they might like hand-made aprons.  I designed  a simple pattern, which had two pockets and rick-rack trim.  Gingham was widely available, so I chose colors I knew they each liked.   Most of the sewing on them was by hand, and I still remember furiously working on them to get them finished on time.  I also remember the true delight that both ladies showed upon opening them. I obviously had made just the right thing!

This was the apron I made for my mother-in-law.

This is the apron I made for my mother-in-law.

Season for sewing - apron

And this apron was for my husband’s aunt.  If I made this apron for myself, I would add a “bib” to it.

I added a label with my name on it!

I added a label with my name on it!

Twenty years earlier, in 1953, Vogue Pattern Book magazine had a multi-page feature on “Merry Christmas Gifts and Fashions.”  I must say those 1950s’ home-sewers must have been very ambitious, as this is only part of what was suggested as gift projects:

1)  Lots of sequin-embellished ornaments and decorations.

There were sevben apages of projects like this in the December/January 1953-54 issue of Vogue Pattern Book magazine.

There were seven pages of projects like this in the December/January 1953-54 issue of Vogue Pattern Book magazine, c1953, The Conde Nast Publications, Inc.

2)  Doesn’t everyone make ties, shirts, jackets, and pajamas for husbands and grown sons?  “The tailoring is not hard with Vogue’s step-by-step, clear sewing directions.”

This is one of two pages of things to make for men.

This is one of two pages of things to make for men.

3)  Of course you’ll sew for your little ones (which I did a lot of when my own children were young….)

Everything from petticoats to overcoats were featured for children. Lacking from all these suggestions in this feature were dolls' clothes, surprisingly.

Everything from petticoats to overcoats were featured for children. Lacking from all these suggestions in this feature were dolls’ clothes, surprisingly.  Maybe Vogue Patterns had not yet started making patterns for doll clothes.

4)  Now we’re getting into my favorite ideas – “something special for the girl who loves pretty, unusual  things…”

The two tops shown on this page would be very stylish today. And the grouping of accessories just happens to from a pattern which i own.

The two tops shown on this page would be very stylish today. And the grouping of accessories just happens to be from a pattern which I own.

Here is the pattern, which includes patterns for other accessories, as well:

The curved belt (not the one with the spikes!) attracted me to this pattern even though it is an unprinted one.

The curved belt (not the one with the spikes!) attracted me to this pattern even though it is an unprinted one.

And here are more suggestions for stylish women:

I can do without the jacket with the ball fringe, but I love that wrap blouse featured in the red triangle on the right!

I can do without the jacket with the ball fringe, but I love that wrap blouse featured in the red triangle on the right!

5)  It seems appropriate that the section ended with a feature on aprons and clothes to wear at home.

"At home clothes for serious work or lazy-lounging." I doubt too many home sewers are doing lazy lounging this time of year - or ever!

“At home clothes for serious work or lazy-lounging.” I doubt too many home sewers are doing lazy lounging this time of year – or ever!

So – am I making/sewing any gifts this year?  I have just one very simple thing planned (still in my head).  But – along with the Christmas decorating, the shopping, the wrapping, the cookie-making, the cards, the parties and all the other wonders of the season – I am hoping to finish my current work-in-progress (a wool dress for me) and start and finish (?) a pair of wool pants – also for me.  Yes, for me.  Should I feel guilty about this??

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Filed under aprons, Blouse patterns from the 1950's, The Conde Nast Publications, Uncategorized, Unprinted patterns from the 1950s, vintage Vogue patterns from the 1950s, Vogue patterns

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November 20, 2012 · 6:18 pm

Fancying Fringe

A number of years ago I purchased a fringed skirt from a Pendleton Wool Women’s Apparel catalogue.  I loved it when it arrived at my door – the fabric was soft and beautiful and the styling was a simple A-line skirt.  Even though I ordered a Petite in my regular size, I should have sent it back for a smaller one; it was just too baggy and too long, even when paired with boots.

The skirt before it’s make-over – very baggy.

Over the years I kept moving it back and forth from my cedar closet with the change of seasons, but I had found myself not wearing it, and wishing I could.  So this year, when once again it emerged out of the cedar depths for the trek into my bedroom closet, I made the decision to do something about it.  I would remake it.  I’m not sure what took me so long to come to this decision, but I was certainly inspired by the fringed Pendleton wool dress featured in one of my recent posts:

The winner of this category of the Make It With Wool contest built her outfit around a piece of black fringed Pendleton wool. (Threads, January 2013, page 52)

First I took out the zipper.  Then I picked out the seam connecting the waist facing to the body of the skirt.  I set the lining/skirt facing sections aside and tackled the skirt.

I had to determine the exact length I wanted the skirt to be, and work up from there.  Since it was not just length that needed to be adjusted, but also the all around fit, I knew I needed to use a reliable skirt pattern to re-cut the front and back sections.  I was so happy with the fit of the slim skirt I had just made, that it was an easy decision to go with that again.  I determined the straight grain of the front and back sections and put the muslin sections on top.

The muslin pattern placed on the front and back skirt sections.

Making sure I have the finished hemline placed correctly.

Since this skirt would not be underlined, I had to transfer the new seam and dart lines with chalk directly onto the wool fabric.  I measured again and again to make sure I had the right length (since I certainly could not make adjustments to the fringed end!) Then I cut, sewed darts and side seams.  I put a new zipper in by hand.

The new hand-picked zipper.

Then I was ready to remake the lining.  This was simpler, as I could use the existing waist facing (just taking it in a bit), which was still basically attached to the lining, and work from the top down. I split open the side seams, took them in commensurate to the re-cut skirt front and back, and re-sewed them.  Once the facing was reattached, all I had to do was cut off and re-sew the lining hem, and then  slipstitch the lining around the zipper.

The re-made lining back inside the skirt, label intact.

My new, old skirt.

A back view.

I am so happy with this re-make.  It’s the perfect skirt to pair with a sweater and tights – and that fringe around the hem makes it fun to wear and just a step above the commonplace.

Now it’s back to sewing from “scratch.”

POST SCRIPT:  I’m delighted to say that Cissie is the winner of my first give-away – the very small Little Black Dress.  Cissie – please send your delivery information to  fiftydresses@gmail.com and I’ll get your very small package in the mail right away!

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November 10, 2012 · 10:32 am

Fun-iversary

I could have titled this post “Blog-iversary, Sew-iversary, or just plain Anniversary.  But Fun-iversary seems more fitting, as FUN is what this past year of fashion sewing and blogging has been.  It was one year ago this week that I started my blog.

There was definitely a steep learning curve for me in the blogging process – and, needless to say, I am still learning…  However, it is an undertaking that has opened my world in so many rewarding ways –  such as:

1) Discovering all the passion for fashion and home sewing all over the world.  I feel like I am part of a great sisterhood (brothers welcome, too!) where creativity, industriousness, and appreciation for the tactile process of sewing are a very large part of defining who we are.  The global aspect of it is quite remarkable.

2) I have become a much better dressmaker because of all I have learned from my fellow bloggers and from non-blogging readers who comment on my posts.

3) Blogging has helped to define my personal appreciation for knowing how to sew – I always knew I loved it, but writing about it has made me realize what a gift it is in my life.

Well, I can’t let this benchmark pass without celebrating it in some small way with my readers.  So, I made a very small Little Black Dress – as in 4½” – which could hang on a Christmas tree, adorn a present, decorate a sewing room, or attach to the hanger you use for your own LBD, to reserve its place in your closet.  This is my Fun-iversary give-away.

Very small LITTLE BLACK DRESS

This little dress is made out of black wool, taken from a dress I made in 1973.  I used a LBD cookie cutter from Ann Clark as my template.  The LBD is double-layered and I joined the two sides together with a blanketstitch.

First, I traced the outline onto freezer paper.

Then I ironed the glossy side of the freezer paper onto the black wool, cut out the shapes, peeled off the freezer paper and started to decorate with beads and sequins.

Every LBD needs a string of pearls! I also sewed green sequins to the sleeve edges, and red sequins to the hem. (Click on the photo for a close-up.)

I “defined” the bust-line with little black beads, and joined the front and back together with a blanket-stitch, done in black embroidery floss.

The LDB next to a ruler.

If you would like a chance to own this very small LBD, please send me a comment by your time midnight on November 15th.    The winner will be drawn by random on November 16.

I am also grateful to Sarah of Goodbye Valentino for giving me this lovely “Blogger award” for commenting regularly on her posts.

I am delighted to pass this on to Brooke of Custom Style (my number one commenter!), Lizzie of The Vintage Traveler, and Dressesandme.  In addition, thank you to Carol, Cissie, Nancy, Mary,  and Barbara, whose frequent comments are always welcome and much appreciated!

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November 2, 2012 · 10:19 pm

A Timely Arrival

Last week, as I was putting in some final hours on a suit I have been sewing, I was  thinking about some of the “creative” solutions I had to come up with to make the jacket turn out successfully.  I had, unbeknownst to me, made a “bad” decision about the fabric. Even though I (still) love the color and design of the black and pink hounds-tooth wool blend, it turned out to be a very heavy, bulky fabric to sew.  Well, my newest Threads magazine arrived in the mail last Friday – and right there on page 56 is an article entitled “Better Sewing Habits”.  Number 4, by Claire Shaeffer, is:  Choose fabrics appropriate to the garment design.  Printed in bold is this line:  “Select a fabric that is recommended for the pattern”. 

This issue of Threads is packed with all kinds of great advice and ideas!

Sure enough, when I went back to the pattern envelope, there in plain English for the recommended fabrics is:  “Lightweight wool.”  I really felt that sinking feeling, but I tried to console myself by reminding myself that I had made some changes to the pattern and to the construction to accommodate the heavy fabric.  I was trying to feel grateful that I actually have some skills which allow me to make changes and try different approaches to solve sewing problems.  And, actually, now that the jacket is finished, I am happy with it.

This is the pattern I used – from Vogue’s Designer series, Jo Mattli, circa early 1970s.

The completed outfit – wool blend jacket and silk skirt.

Here is what went well:

1) I was able to match the design quite well across seam lines, shoulders, and sleeves.

2) I think I nailed the fit!  Of course, I made a muslin first, so it’s not like that just happened.

3) I reduced the spread of the collar, which actually turned out to be a good decision, when I realized how difficult double layers of the fabric were to work with.

Here is what either did not go well or needed to be “creatively” approached:

1) I really wanted to make bound buttonholes, but the loosely woven, heavy fabric gave me pause.  So I decided to make them out of the silk skirt fabric.  I backed the buttonhole strips with silk organza by fusing them together.  This made the silk stiff enough to stand up to that heavy wool.

The strips attached for the bound buttonholes.

I made the topmost  buttonhole a “blind” one as I determined that I would not be buttoning that top button anyway.  I knew I could never finish the back of the two remaining buttonholes by the normal method, so I “patched” behind them on the interfacing with a lightweight black wool.

Here is a close-up of the bound buttonholes – and the happily matched front!  Click on the photo for a closer-up view.

Before I sewed the front facing, I attached these “patches” to back up to the buttonholes. Then I cut away the heavy fabric underneath, so that I could finish the underneath of the buttonholes somewhat successfully. Click on the photo to see this up close.

2) The neck facing was going to be too heavy using the pink/black wool.  So I used that same lightweight black wool for it instead.

Using a lightweight black wool for the facing made the neckline much more manageable.

3) The back vents were not going to lay flat if I turned in the raw edges as the pattern instructions indicated.  So I bound them with black bias tape instead.

Instead of turning back the facing edge to finish it, I attached this bias binding.

4) Setting in the sleeves was an exercise in sewing terror!  I was sure they would never look good, but somehow they came out unpuckered and pretty well matched.  I only used a sleeve heading to round out the shoulder, even though the pattern called for shoulder pads.

5) I have steamed and steamed, but still feel like the front edge could use some further attention.  I might take the jacket to the dry cleaners and have it professionally steamed….

I actually really liked the engineering of the pattern: with the correct weight fabric, the jacket would go together quite well and the skirt pattern is a winner, with its shaped waistband.

This view of the back waistband shows how it is shaped.

And, of course, I inserted the zipper by hand.

Another look at the finished suit.

And one more…

Interestingly enough, in the same issue of Threads, the winners of the “Make it with Wool” contest were featured.  I couldn’t believe my eyes when I saw that the Senior Winner of the Mohair Council of America, Marisa Linton, of Mount Olive, North Carolina, had used either the same fabric or one very close to “my” fabric to make the coat for her entry (which is stunning, I might add!).  She had used a very original and successful technique for her buttonholes, which are part of the details which make her outfit so noteworthy.

Do you think this is the same fabric? (Threads, January 2013, page 52)

So – it seems the past 7 days have been a time of many arrivals, including a huge and destructive East Coast storm – and the first day of November.    May the next 7 days bring the final arrival of power and comfort to so many who lost so much in the storm, and make us all grateful for resilience, whether it be in life – or in sewing .

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Filed under bound buttonholes, hand-sewn zippers, sewing in silk, Shoulder shapes (shoulder pads), Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1970s, woolens

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October 25, 2012 · 5:20 pm

A Blouse by Any Other Name Would Be the Same

I usually work on only one project at a time, but for the past three weeks I’ve had  two going strong.  I’m furiously working on a “dressy” suit – which needs to be completed this week!  However, last winter I made a mental note to myself to use up the fabric remaining from another suit, to make a matching overblouse.  I knew the pattern I was going to use, and with my newfound techniques from Craftsy’s The Couture Dress  online course, I knew this “small” project would be a great way to practice those skills.   So, I thought, “Oh, I’ll just throw this together in no time at all.”  Why do I ever think such things?  I must be either an eternal optimist or totally divorced from reality.

I have always loved sleeveless overblouses – also known as “shells” and sheath tops.  They were particularly popular in the late 1950s and 1960s with or without sleeves (during which time I also knew them as “jerkins” or “weskits” – which are really synonyms for vests).  Fairchild’s Dictionary of Fashion describes an overblouse as “ Any blouse or top worn over the skirt or pants rather than tucked inside.”  And here’s what they say about a “shell”:

From: The Fairchild Dictionary of Fashion, 3rd Edition, New York, New York, 2010, page 37

A number of my ‘60s patterns show overblouses paired with suits or as part of two-piece dresses.

This v-neck overblouse is a great pairing with this sporty suit.

The description on the back of the envelope says this overblouse “may be tucked in”.

This design by Gres shows a boxy overblouse and skirt combination.

I particularly liked this pattern, with its Dior darts, the slits at the front hem, and its back zipper.  (I was able to pick up a refined separating zipper when I was at Britex in September – many are suitable for outerwear only and too clunky for something like this.)

View D is my choice.

Here is another example of an overblouse with Dior darts, which forms part of a two-piece dress.  Note that the zipper is on the side:

This design was featured in the August/September 1957 Vogue Pattern Book magazine.

I dutifully made up my muslin, to which I made a number of adjustments (lowering the bust line/darts, shortening the darts in the back, lowering and widening the neckline a bit, adding a little more girth to the hipline so it would slip over my matching skirt without buckling, and adding about two inches to the overall length of the blouse.   Hm-m-m, is that all?)  I underlined it with silk organza, matched the plaid everywhere I could, keeping in mind how the windowpane check would line up with the skirt.  I secured all the seam allowances with catch-stitching, and then I hand-picked the separating zipper.  About this time I quietly panicked when I realized how much time I had already put into this blouse!  I put it aside and started working on my suit, with a promise to myself to put in a bit more time on the overblouse whenever I had just 30 or 40 minutes “extra”, whatever that means.

Somehow I have managed to complete it, and I think I’m on track to finish my suit in a day or two, as well.  Whew!  Here are some of the details:

Here is a front view . . .

. . . and here is the back view.

A peek inside the blouse . . .

. . . and a look at the hand-picked zipper. This was the first separating zipper I think I have ever put in – and I am happy with the results!

And here is the finished blouse/overblouse/shell/sheath top, shown with the skirt:

An impersonal view, for which I apologize – no tangling with the tripod and camera timer today!

Just as I appreciate the preciseness which couture sewing makes possible when sewing something as “simple” as this shell, so do I also appreciate the many variant words to describe this type of blouse.  My personal favorite name for this blouse?

Finished!

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Filed under Blouse patterns from the 1950's, couture construction, Dior darts, hand-sewn zippers, Uncategorized, vintage Vogue patterns from the 1960s, Vogue patterns, woolens

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October 14, 2012 · 1:44 pm

Who is Mrs. Exeter?

And the more important question is – Can she sew?  Yes, she can – and she does!  But first, let me tell you who she is – or actually who she was.  She was a fictional character – a “woman of a certain age” – who started appearing in The Conde Nast Publications’ Vogue magazine in 1949 (as best as I can determine).  She was the focus of a regular style column, which was meant to appeal to older fashionable women –  with the emphasis most definitely  on fashionable.   She must have proved to be an appealing figure to readers, because in 1954, the front cover of the October/November issue of Vogue Pattern Book magazine announced:  Introducing Mrs. Exeter patterns.

Top billing for the new feature!

Suddenly Mrs. Exeter had discovered the joy of sewing beautiful, classic fashions for herself.  Obviously, Vogue patterns, which already had its own Couturier line of patterns, and its very popular Designer pattern series, knew that its audience included these “older” women who had the time, the talent, and the inclination to sew beautiful fashionable clothes for themselves. The copy accompanying the sketches and photos clearly played into the idea that Mrs. Exeter was very sure of her fashion sense:

Here we learn about Mrs. Exeter’s “experienced way of knowing the ‘right’ neither-too-young, nor too old fashions for herself…”

She also had color sense, knowing how to play up her features, and showing she was not afraid to branch out from neutrals and basic black.

Yes, red can definitely enhance silver hair!

She sounds like she was a fun grandmother, too, as this sketch attests:

The caption reads: “Mrs. Exeter takes her grandchildren to town for a Saturday movie treat.”

The Mrs. Exeter feature appeared sporadically  throughout the year in the issues of Vogue Pattern Book magazine,  continuing through the decade of the 1950s.  The October/November 1957 issue had this feature:

The reader was instructed to “sew jet buttons on the short, fitted jacket and flap pockets” of the gray suit on the right.

That same issue used a real model for the Mrs. Exeter section:

It seems Mrs. Exeter favored white gloves and classic handbags.

And another real model appeared in the February/March 1958 issue:

I think this Mrs. Exeter looks a bit insipid!

By the fall of 1958, Mrs. Exeter must have been very popular, as this was the cover of the magazine:

10 pages for Mrs. Exeter patterns!

The Mrs. Exeter appearing here suddenly looked a little less grandmotherly:

Now this is a lovely woman!

Again, the accompanying text was very flattering to the expertise of the older woman:

“Mrs. Exeter knows what she likes… how to look right on all occasions.”

And the texts made frequent reference to Mrs. Exeter’s civic and social obligations and interests. One two-page spread showing suits, declared:  “For Mrs. Exeter’s busy calendar of civic and social events, a suit wardrobe is almost a necessity.  Her choices, admirably combining chic, distinction, and flattery – with perhaps a shade more emphasis on flattery.”

She also apparently wore shirtwaist dresses with great aplomb, being careful “to avoid thickness at the waist.”

“For all day, every day, the shirtwaist dress is indispensable…” which could be true for 2012 as well!

The Mrs. Exeter feature continued into the early 1960s, but then succumbed to the burgeoning emphasis on youth, disappearing from the magazine by the mid-‘60s.  Indeed, in 1970, Vogue Pattern Book magazine introduced a new feature, this one called “Miss Vogue” in an obvious appeal to the younger generation.  The description of Miss Vogue?  Well, she must have been raised  by Mrs. Exeter:

“She’s the girl with the fabulously fresh smile.  She loves life.  She has fun.  She is active and her versatility knows no bounds.  …She is a sewing expert…  She loves a good challenge.  She’s got talent.  She’s got finesse…  She’s a winner!”

Although Mrs. Exeter might have been “replaced” by Miss Vogue, there were still plenty of 1970s’-era fashions and patterns, which certainly appealed to “the older woman” as well as a stylish younger one.  One of those patterns is the one I am currently using :

From Vogue’s Designer series, ca 1970.

I have completed the skirt, which incidentally is, to my thinking the perfect “pencil” skirt – as it is narrow, but very comfortable – and it has a shaped, two-part waistband. (I’m an unabashed fan of waistbands!)  I think Mrs. Exeter would approve.  I’ll show you in a future post…

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Filed under The Conde Nast Publications, Uncategorized, Unprinted patterns from the 1950s, 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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October 1, 2012 · 10:05 pm

What Do a Chanel Jacket and a Chicken Have in Common?

Not much – unless you were in my sewing room last week.

When we were out in California very recently, my son’s girlfriend, Rachel, showed me a Chanel jacket she had found at a store which sells vintage clothing.  Sadly, she had never been able to wear it because it had very prominent shoulder pads, which screamed 1980s.  Otherwise it was a very wearable cropped jacket with petite convertible collar, in a creamy white wool with just a hint of  a sparkly windowpane weave.  Rachel asked me what I thought could be done with it.

Hm-m-m-m, I looked inside it, felt around those shoulder pads hidden inside the lining, and guessed that I could easily remove them and replace them with a much more reasonable sleeve header.  Of course, I’d need to bring the jacket home with me, so in the suitcase it went, landing in my sewing room.

I carefully removed the stitching from the lining at the right shoulder and took a peek.  The shoulder pad had been attached with hand stitches, easily snipped.  Out it came.  I cut a piece of French sleeve heading tape, called Cigarette, which I had purchased from Susan Khalje’s website. (I had used this in my Craftsy course The Couture Dress.)

The shoulder pad is in plain view in this photo.

The jacket has top-center seams on the sleeves, so with that extra fabric bulk, I determined that the simple sleeve heading would be enough shaping.  Here is the jacket with just the side on the left fixed:

Can you see how bulky the shoulder on the right is?

Here I have placed the shoulder pad on top to show some perspective on its bulk.

And here is the jacket with both shoulders complete and all sewn up inside (with itty-bitty stitches):

The padded hanger helps to simulate the shoulder line.

Of course, I had to guess a little on the final fit as I did not have Rachel here to try it on.  But I am sure, once it completes its return trip to California, that it has a better chance of being worn now than before!

It was interesting for me to be able to see inside a Chanel jacket – I discovered some details I thought I might find – such as 1) the wool fabric was totally underlined in what looks like silk organza; and 2) hand-sewing was evident in quite a few areas.  However, the seams were not catch-stitched to the underlining, which I thought they might be.  The most amazing thing was actually seeing those shoulder pads – as their construction was almost exactly like view C of Vogue 7503, my vintage pattern from 1953. How cool is that?

Two authentic Chanel shoulder pads!

View C is right in the middle.

So that was Chanel.  But what about the chicken?  Another project I wanted to finish last week was an auction item for my garden club’s annual fundraiser.  As I am the only one in my club who has a backyard flock of chickens (yes – can you believe it?), I like to put together what I call a “Little Red Hen” basket to add to our auction selection every year or so.  Besides the main attraction of a couple dozen of our farm-fresh eggs, I add other items with a chicken theme.  Some examples are egg poachers, an egg timer, cocktail napkins with chickens on them – things like that.  Of course, as one who sews, it is impossible for me to do a project like this without adding something handmade. So this year, I made a tea cozy with a matching chicken potholder.  I had already completed the tea cozy a couple of weeks ago, but the potholder  – well, it had to take its place behind Chanel.    It did not take long for me to fashion this little hen (in red, of course) to match the cozy. Here she is, ready to perch on the handle of any hot pan:

She is interlined with several layers of heavy cotton flannel.

She’s pretty underneath it all, too!

Here is the little red hen in front of the tea cozy.

Tthe bottom of the tea cozy can be folded out to fit a higher pot.

So what was more fun – and what did really come first– Chanel or the chicken?  Now there are two questions for the ages!

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Filed under Chanel-type jackets, couture construction, Shoulder shapes (shoulder pads), Uncategorized, underlinings, Unprinted patterns from the 1950s, vintage Vogue patterns from the 1950s, Vogue pattern 7503 for shoulder shapes, woolens

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September 24, 2012 · 3:54 pm

Missing in Action – or – Doesn’t everyone shop for fabric on vacation?

You may have noticed that I’ve not posted anything for almost two weeks.  Mr. Fifty Dresses and I have been away on the West Coast, enjoying some time with our grown son, and seeing some of the majestic scenery in the states of California and Oregon.  Of course, one of the best places to enjoy colorful scenery is always in Britex Fabrics on Geary Street in San Francisco.  My husband and son know by now that no trip to California is complete without fabric shopping!

I am all smiles with my newly-made purchase! I am wearing “my very styish pants” and was delighted to get complimented on them in the store.

You may recall that I have been looking for a skirt-weight fabric to coordinate with this wool:

This fabric will be a jacket, and I want to make a pink skirt to make it into a “dressy suit”.

That pink is a tricky color, I’ve discovered.  I’ve ordered many swatches, thinking one of them will be “it” and it never was.  So I tucked that pink and black houndstooth- checked wool sample into my carry-on bag so that I could enlist the experts at Britex to assist me.  The bolted wools and silks and designer fabrics are on the first floor, and it did not take long for me to accept Douglas’ kind offer of help.  We looked first at the wools, one beautiful bolt after another, but none that totally complimented the pink.  Next we moved to the silks – and there we struck gold – or perhaps I should say pink gold.  As soon as Douglas pulled out this silk shantung, we knew the color was right.

Just what I was looking for!

We carefully checked the color inside and then took it outside on the steps to check it in sunlight.  Perfect, both places.  Being shantung, it has the correct heft to accompany the wool, but it is light enough to be used for attached trim if I choose to add it around the collar, down the front, and at the bottom of the sleeves.

I am probably going to use this 1970s’ pattern for this outfit.

Next we selected a lining fabric, enough for a narrow skirt and the jacket.   Those of you who know Britex, know that the store is on 4 levels, so to accommodate the need to move between floors, I was provided this card with swatches of my newly selected fabrics attached.

The lining is the lighter-colored fabric.

Off I went to the third floor to find buttons.  Oh, the choices!    That little bit of sparkle in the wool – and the sheen in the silk shantung – seem custom made for buttons with a bit of sparkle, too.  I kind of felt like Goldilocks looking at the buttons which the savvy “button lady” pulled out for me.  Some were too frou-frou for me, some were too round (and fought with the angles in the weave), some were too sparkly…  but these were perfect!

When I actually sew these buttons onto the jacket, I promise I’ll have them on straight!

With my tasks accomplished, I decided to check out the remnants on the fourth floor, and took a quick look at the cottons on the second floor, but then I headed back down to the first floor to look at the woolens again.  Britex has a very large selection of wools suitable for “Chanel-type” jackets, including some actual Chanel fabrics.  I am trying to buy only what I can’t live without (which isn’t as limiting as it should be, unfortunately), so I carefully considered all the selections in front of me.  You can probably guess by now that I did indeed find one I deemed necessary for continued life, liberty, and the pursuit of happiness.  I can just imagine this wool in a jacket trimmed in an orangey-red something – all yet to be determined, which is, of course, part of the creative intrigue of sewing.

This fabric is very soft, perhaps due to a certain percentage of mohair wool in its composition.

So – what about the rest of the trip?  Lots of driving those great distances out West, lots of laughs, fun, and brews with husband and son, wonderful days at Crater Lake National Park in Oregon, hiking without a fabric store in sight.  When one is in such a place as Crater Lake, the great expanse and passage of time is ever in one’s presence.  However, I couldn’t help but think about another passage of time, this one personal: the last time I was at Crater Lake was in 1962 when I was twelve years old.  It just so happens that Britex Fabrics celebrated their tenth anniversary that very same year.  Happy 60th Birthday, Britex!

One more smile before closing hour!

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Filed under Buttons - choosing the right ones, Chanel-type jackets, sewing in silk, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1970s, woolens

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September 10, 2012 · 9:46 pm

Spending time on the Cape.

Doesn’t this sound like a wonderful vacation?  Picture billowy clouds reminiscent of  silk organza, gently undulating waves of turquoise hue, windswept flowers lining the landscape. . .   So where would one find this perfect setting?  I hope you’re not disappointed to learn that it all happened in my sewing room.  Yes, that’s correct – it has been wonderful, but this cape is the wearable kind, and I have definitely spent time on it!

The fabric in which I made my Couture dress was a length of linen I picked up last April.  When I found it, I did not yet have a pattern in mind for it so I thought I’d purchase enough (3 yards) to cover just about anything, and at 58” wide, I had a nice amount left over from my dress.  It just so happens that earlier in the Summer, I had found this pattern and added it to my collection:

Capes were in fashion in the 1970s and are again today!

I remembered this pattern from the 1970s and always liked the short cape, with its asymmetrical opening and clever folds of fabric resulting from that detail.

As I was working on my dress, I started to think about what else I could make from this lovely linen.  I didn’t particularly want to make a jacket, as I envisioned the dress as the focal point, but I did think it would be nice to have some kind of matching “wrap” for cool evenings. Well, the rest is quite obvious – I decided to make a short cape to go with my dress.

First I needed to find a silk lining fabric, which would compliment the linen.  I wanted a print of some sort to add some interest to the finished look.  I think I looked at every printed silk available on the internet!  I found lots of gorgeous designs, but only one which presented the possibility of both coordinating with the teal blue linen and introducing some other colors as well.  My old friend Britex Fabrics not only had this fabric, but  also had a vintage button among their extensive offerings, which looked like a good candidate for my needs.  I sent off for the button and swatch, and did indeed then order the silk charmeuse.

I like the abstract quality to this print.

Armed with my new-found couture techniques, I made a muslin pattern which helped me get the perfect fit over the shoulders (which is pretty much what a cape is all about).  I underlined the cape in that oh-so-wonderful silk organza, and added  interfacing, where required, of the same.  Some of this was a judgment call, as I determined were I could use couture features and where I had to follow the tailored construction of the cape.

This shows the silk organza underlining, and the side seam, catch-stitched to it.

One of the hem techniques I learned in The Couture Dress class was helpful with this hem.

Call me crazy, but I just love to make bound buttonholes.  Although the pattern called for a 2-inch button, the one I found was 1½ inches (and I thought it a more refined size anyway).  That still calls for a large buttonhole!  I practiced first, then got to work on the real thing.

The finished bound buttonhole

And the finished underside of the buttonhole.

And the button…

I understitched the facings by hand with that beautiful prick stitch, and attached the lining with the fell stitch.

A peak inside the cape.

Here is the finished look (unfortunately on a hanger and not on me…).

Here is the cape shown over my Couture dress

With one corner pinned up to show the lining.

This view shows the lovely draping formed by the asymmetrical opening.

And one more view.

Well, my time on the Cape officially draws my summer sewing to a close.  Now it’s going to be all wools or wool blends and maybe some silks – and I can’t wait!  Let’s throw an extra blanket on the bed and dream of cool nights and crisp days filled with creative hours of sewing. . .

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Filed under bound buttonholes, Buttons - choosing the right ones, Capes, couture construction, Linen, sewing in silk, Uncategorized, vintage buttons, vintage Vogue Designer patterns, vintage Vogue patterns from the 1970s

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September 2, 2012 · 4:38 pm

Completely Captivating Couture Construction

I just can’t seem to avoid alliteration in my blog-post titles as of late!  Truthfully, however, this title really seems to sum up just how badly I have been bitten by the “couture” bug.  Earlier in the summer I signed up for Susan Khalje’s class, The Couture Dress, on Craftsy.  I’ve mentioned it several times in my past posts, but now, my couture dress is finished.

The Craftsy course included this Vogue pattern:

I decided to make this dress in the slim skirt with short sleeves.

Although I could have substituted another pattern for my dress, I decided it would be beneficial to follow the exact steps which Susan takes one through in her course.  (It helped that the view I chose to make reminds me very much of a classic 1960s–style dress).

My idea of making a “muslin” or toile has been completely transformed by this course. I now know it as the most essential ingredient in the proper fit and alteration of a garment – and although the process of producing a useable muslin is time-consuming, every minute is worth it.  There is nothing quite so discouraging as spending a lot of time, energy, and money on a garment and then not being completely satisfied with the fit.  Making a couture muslin eliminates this possibility almost entirely.  Check out the online preview of the course if you want to know more about this concept.

Here is one of my muslin pieces. The lines in red were the original tracings from the pattern and the lines in black are my alterations.

This muslin piece shows the “blind dart” I added to the neck edge. Susan goes over all these details in her course.

There are several “hallmarks” of couture construction, I have learned: Control, Generosity, and that all-important duo of Form and Function.    So what (in a nutshell) do these terms mean?

A few examples of Control are:

1) Control of the fit, which, as stated above, is the purpose of the muslin.

2) Control of the stitching line, which is your reference point for sewing – as opposed to the seam allowance, which is how most of us were taught to sew.  Lots and lots of basting is the key to controlling the stitching line.

3) Control of the inner seams, the raw edges of which are each catch-stitched to the underlining.

Here you can see the interior of the assembled dress, with every edge catch-stitched in place. The underlining serves as a “tablet” upon which you can make all kinds of notes!

The two big examples of Generosity are:

1) Cutting out the muslin, the underlining and the fashion fabric with very large seam allowances which give you the flexibility you might need to make changes in your final fitting.

2) Allowing – and taking – the time to do a lot of hand-sewing, fitting, and detail work.

If you look closely you can see the hand made loop and the “couture” attachment of the hook at the neck edge.

I ended up applying a bias facing to the sleeve edges. At my final fitting, I decided I wanted the sleeves a bit longer than I had originally anticipated, so the bias facing gave me another 3/4 inch in length. This is one more detail which Susan covers in her fabulous course!

Finally, Form and Function are well illustrated by these two examples:

1) A couture lining is always applied by hand, using the fell stitch.  To insure that the lining will not “migrate” to the outside, it is secured by the very lovely pick stitch – doing the job (function) in a truly elegant way (form).

Here is the finished front neck edge, showing the “applied by hand” lining and the pick-stitches which keep the lining from migrating out of the dress!

2) The zipper (if you are using one) is a regular zipper (not invisible) which is set in by hand, again using the pick stitch.

The top part of my hand-picked zipper.

Now that you’ve gotten a few glimpses of my dress inside and out, here it is all finished:

The fabric is a teal green linen; the lining is matching crepe de chine, and the underlining is white silk organza.

Another view…

… and a back view.

One of the things that appeals to me so much about couture construction is how transferable it is to vintage patterns. In fact, I would go so far as to say that parts of this type of construction are implied in many vintage patterns.  Here is an example from a construction sheet from the early’70s:

The instructions say to sew the zipper in by hand, the hooks and loops are shown in “couture” detail, and the hem treatment is very similar to one I learned in this course. One exception I should note here is that couture does not use facings as shown in the topmost drawing.

Consider for a moment this advantage of using vintage patterns over contemporary ones:  contemporary patterns, which are usually “multi-sized”, are drawn with the cutting line only.  To make one of these patterns usable for couture construction, you must add the stitching line onto the pattern tissue, adding another step in the whole process.  Vintage patterns (except for unprinted ones, of course) have the stitching line drawn on the tissue – ready to be traced onto your muslin fabric (which becomes your ultimate pattern).  All of which brings me to another alliterative phrase  . . .  as I find myself Valuing all the many Virtues of Very Versatile Vintage!

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Filed under couture construction, hand-sewn zippers, Linen, sewing in silk, Uncategorized, underlinings, vintage Vogue patterns from the 1970s, Vogue patterns

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