Category Archives: vintage Vogue Designer patterns

Classic Diane von Furstenberg

Forty years ago this month – October of 1976 – the first Diane von Furstenberg Vogue patterns were available for purchase. At the same time, Cohama (fabrics) produced Diane von Furstenberg-designed knits specifically for use with those patterns. Both were detailed in the September/October 1976 edition of Vogue Pattern Book Magazine:

One of the Diane von Furstenberg designs I long admired but never purchased when I was sewing for myself in the 1970s was this pattern:

One year at a time - DvF pattern

I never quite believed that it could really be reversible; I just especially liked the front wrapped version. So when I had the opportunity to purchase this pattern a few years ago online, I jumped at it. Then not long after, one of my blog readers contacted me with some vintage Cohama DvF fabric for sale. She so kindly gave me first choice of what she had, and I purchased two lengths from her. The first piece of fabric I made into this dress:

Easy breezy dress

The second piece was this “Birds” design, and I was fortunate enough to have over three yards available to me:

Classic DvF

The selvedge clearly states the DvF connection.

The selvedge clearly states the DvF connection.

How I waited THIS LONG to make this dress, I’ll never know, but now it is reality!

 Classic DvF

Worn with the V and wrap to the back.

Worn with the V and wrap to the front.

Worn with the V and wrap to the front.

DvF-designed Cohama knit fabric is a lovely cotton/rayon blend, very soft and surprisingly easy to sew. I am not a big fan – or any fan at all, really – of sewing with knits, so I appreciate that this fabric is so accommodating. One downside of sewing with knits that I can’t quite get around is the fact that it is almost impossible to make a muslin mock-up to try out the fit and sizing. Perhaps someone knows some trick that I don’t know, but I felt a little like I was flying blind when making adjustments to the pattern which I would need for the proper fit. These included 1) lengthening the bodice by about an inch (which I know needs to be done from other wrap dresses I have made), 2) shortening the sleeves to three-quarter length and adding a little bit of width to them so they could be pushed up comfortably, and 3) adding about an inch and a half to the diameter of the waistline. Even with the forgiving nature of a knit fabric, I am not comfortable making a dress without a proper muslin first – so I was a little bit nervous the whole way through the construction of this dress.

I followed the instructions carefully, and was fascinated to find that all the seams needed to be double-stitched, trimmed and pressed to one side. I discovered the reason for this after the dress was finished – it helps make the dress truly reversible, in some magical way.

A side and waist seam detail.

A side and waist seam detail.  Yes, this dress has pockets – two of them!

I did, however, use my trusty Snug Hug seam binding for the front skirt facings and the hem.

I did, however, use my trusty Snug Hug seam binding for the front skirt facings and the hem.

I needed an iron-on interfacing suitable for use with knits and after some research came up with Heat-n-Bond Fusible tricot (purchased from Fabrics.com.) This is the perfect interfacing for use with knits as it stretches, but also stabilizes. I used it for the neck and front facings per the pattern instructions, and I also reinforced the hems in the sleeves. The pattern called for under-stitching the front and neck facing, and I could not help myself – I did it by hand rather than machine!

Hand finishing is just so much nicer!

Hand finishing is just so much nicer!

I was fortunate enough to receive a label with the pattern! You can see a small strip of the fusible interfacing showing beyond the edge of the facing...

I was fortunate enough to receive a label with the pattern! You can see a small strip of the fusible interfacing showing beyond the edge of the facing…

In the description of this pattern in the Vogue Pattern Book Magazine, it states: “Night & Day, Diane is the one! She wraps up both scenes in one pattern! Her wizard [my emphasis] wrap (that reverses front to back)… [for] day with plunge to front and …[for] night with plunge to back.”

Plunge is right! When I tried on the dress with the wrap to the front, I decided I was going to have to add a modesty panel or a very strong snap to keep the front closed. I opted for the snap, but I’m not entirely happy with the way it looks.

I should have taken a closeup of the bodice!

I should have taken a closeup of the bodice!

There seem to be a few wrinkles across the back.

There seem to be a few wrinkles across the back.

Classic DvF

I so prefer three-quarter length sleeves rather than long sleeves, particularly in a dress like this which will be worn in the warmer months.

When I tried on the dress with the wrap to the back, I loved it, and I felt like it fit me better, especially across the shoulders.

Classic DvF

The back without the snap fastened.

The back without the snap fastened.

Classic DvF

Classic DvF

Now the dilemma: I need the snap for the front V, but I don’t need it for the back V, nor can I reach it by myself in the back to fasten it. But one half of the snap shows when the V is in the back, which obviously will not do!   If I take the snap off, I cannot wear the dress with the front V (which is a little more casual look.) If I leave the snap on, I cannot wear the dress with the back V (a little dressier look.) Maybe I should forgo the snap and make a modesty panel, which can fasten underneath and be removed when I wear the dress “backwards.”   Any thoughts, anyone??

I guess I have the advantage of time on my side to figure this out, as I probably will not, at this point, be wearing this dress until next Spring. Despite this one little gaping issue, I think this dress is beautiful, versatile, comfortable and very feminine!

Hooray for Diane von Furstenberg, vintage Vogue Patterns and vintage Cohama fabrics – some styles never get old!

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Filed under Diane von Furstenberg Vogue patterns, Uncategorized, Vintage fabric, vintage Vogue Designer patterns, vintage Vogue patterns from the 1970s, Wrap dresses

“Mrs. Scimpy”

Two years ago I made this dress:

The Year of Magical Sewing

From this pattern:

Perfect Blue - Mattli pattern

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

Taffeta coat - swatch

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

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

Taffeta coat - Mattli pattern

The thumbnail diagrams on the back of the pattern envelope.

The thumbnail diagrams on the back of the pattern envelope.

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

Front and back pattern pieces

Front and back pattern pieces

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

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

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

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

Taffeta coat - 2nd Mattli pattern

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

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

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

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

Taffeta coat - pencil notes

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

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

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

An Evening Jacket for the Ages

“Very up and coming” for the Fall of 1962, according to Vogue Pattern Magazine, was “the striking medium between a straight line and a bold curve – the gentle convex ‘barrel’ shaping of this coat:”

An Evening Jacket for the Ages - picture

It is from this time period – perhaps a year or two later – that this Designer Pattern comes:

Oh the things we can learn, no 10

I don’t know many of us who want to look like they are in a barrel, so it was my intention to take the best parts of the design of the evening jacket and then adapt it to a more current look, or at least to one that did not scream 1963/64

The details I loved about it were: 1) the shaped, two-part collar, which doesn’t really look like a collar, rather as an extension of the body of the jacket, but with more definition to it:

Evening jacket for the Ages

2) the dipped back hem of the jacket:

Evening Jacket for the Ages

I purchased the yellow silk taffeta from Britex Fabrics, while the dress fabric, also silk, is from Mendel Goldberg.

Evening Jacket for the Ages

3) the below-elbow length, kimono sleeves with their clever built-in gusset, and 4) the prominent, offset buttons:

Evening Jacket for the Ages

The top buttonhole is a slot-seam one, while the other two are bound buttonholes.

Less attractive to me was the fullness of the body of the jacket.

My muslin (toile) showed me that I needed to eliminate quite a bit of that fullness from the pattern pieces. I took 2 inches right out of the back of the jacket, making for much less to be gathered into the collar:

Even with two inches removed from the center back seam, there is still enough to gather nicely into the collar.

Even with two inches removed from the center back seam, there is still enough to gather nicely into the collar.

I also took a large wedge out of the each side of the back:

The dark blue line on the left is my re-drawn seam line. the original seam line is marked in red.

The dark blue line on the left is my re-drawn seam line. The original seam line is marked in red.

Then to add a little more shaping, I re-drew the side seams in the side underarm sections:

Again, the blue line on the left is my re-drawn seam line.

Again, the blue line on the left is my re-drawn seam line.

Because the buttons are such a prominent feature of the jacket, I knew I had to find the right ones. The pattern called for them to be 1¼” in diameter. That is a big button! I also knew they had to be a bit fancy or elegant, and I envisioned mother-of-pearl as the ideal composition. It took a while, but I found these buttons on eBay, and they looked just about perfect to me: right size, beautifully carved mother-of- pearl with a swirl design which I thought would add just the right contrast to the silk taffeta of the jacket. As it turned out, they were also the right price (always a welcome surprise!), and more beautiful when they arrived than I had anticipated:

Evening Jacket for the Ages

These buttons have a substantial heft to them, making them well suited for their application on this jacket.

After getting the body of the jacket together, I tried it on to look at the length of it. Fortunately I had cut my pattern with about an extra half-inch in the length, and I used it, plus another ¼ of an inch, as it just looked better a little longer.

Another plus to lengthening the jacket is that the sleeve length lined up more attractively, something I didn't realize until I saw these photos!

Another plus to lengthening the jacket is that the sleeve length lined up more attractively, something I didn’t realize until I saw these photos.

I did my usual flat applied piping along the edge of the lining:

Here is the piping sewn in place.

Here is the piping sewn in place.

The green piping picks up the green in the dress. I opted for an off-white lining, which is a little boring but that's okay!

The green piping picks up the green in the dress. I opted for an off-white lining, which is a little boring but that’s okay.

And I added the label I had:

Evening Jacket for the Ages

Evening Jacket for the Ages

Evening Jacket for the Ages

A few wrinkles left over from the jacket’s first wearing!

Evening Jacket for the Ages

Evening Jacket for the Agea

Evening Jacket for the Ages

I have to say, I really love this evening jacket. I have decided it is going to have another life – with another dress, this one constructed with the double, slanted flounce on it (see pattern above).  It would look fairly fabulous with a black and goldenrod printed silk – or navy, white and goldenrod printed silk…   I’ll be on the search.

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Filed under bound buttonholes, Buttons - choosing the right ones, couture construction, kimono sleeves, Mid-Century style, piping, sewing in silk, Silk taffeta, Slot-seam buttonholes, Uncategorized, vintage buttons, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

Wedding Ready

Why is it that we so often think every wedding to which we are invited means we need a new dress? Sometimes it is warranted; maybe we really do need a new dress! Maybe what we already have in our closet isn’t right for the season or the “ambience” of the wedding site. Maybe the couple getting married is very dear to us, and it just seems right to celebrate this event with something new and special. Maybe the wedding season is busy enough that we really cannot wear the same dress to multiple events where we will probably see many of the same friends and people. But maybe, just maybe, a wedding invitation is exactly the perfect excuse we need to indulge our love of fancy, dressy clothes.

Fortunately, I have not only a wedding to attend, but also, the following weekend, another elegant evening of “cocktails, dinner and dancing,” so it just seemed appropriate – necessary even! – to make a dress/ensemble that could suffice for both. Well, the dress is done, but not the jacket.

Front . . .

Front . . .

. . . and back

. . . and back

Wedding Ready

This is, of course, the pattern I had to alter in order to fit it onto my available fabric.

Oh the things we can learn, no 10

I made a couple more small changes to the dress. I broadened and lowered the neckline by a small amount, to make it more pleasing on me. I eliminated the neck facing and used the couture method of finishing that edge, with the dress lining brought up to the edge, fell-stitched in place, and secured with small back stitches. I also decided to make the center back zipper a focus when I found a vintage spool of green silk buttonhole twist in my collection. Using an idea I had seen one of my readers do (thank you, Cissie!), I pick-stitched the zipper with the twist, leaving a little trail of bright green dots along the center back.

In the Department of “Nothing is Easy,” I ran into a problem with the fullness of the “half-skirt” on the front of the dress. You may recall from my last post, that I doubled one of the back skirt sections to use for the front skirt (replacing the diagonally shaped flounces as shown on the pattern which required more fabric than I had.) When I made my muslin (toile), I did not realize that the front skirt was fuller than the two back skirt sections. I had all three sections of the fashion fabric sewn together, with the seams all catch-stitched, and the lining attached too (in order to treat both pieces as one in the ruffling process.)  I was half way through basting the skirt onto the body of the dress when I realized there was too much fullness in the front. I had to take it all apart, and figure out where I had made the mistake. It turned out that the front section of the dress was narrower than the two back sections sewn together. So I had to do some calculations, coming up with the fact that I had to take 4.5” off the width of the front skirt. That took a whole afternoon of sewing to take care of that adjustment!

The skirt was attached to the bodice in an rather unusual way as you can see in this photo and the instruction sheet below.

The skirt was attached to the bodice in an rather unusual way as you can see in this photo and the instruction sheet below.

Wedding ready - instruction sheet

I also had to figure out how to line the top part of the dress. I finally decided to leave the top part of the lining hanging loose inside the dress – and it actually works beautifully!

Wedding ready

The skirt lining is not attached to the bodice lining at all.

The skirt lining is not attached to the bodice lining at all.

Two small interesting design notes on this pattern are worth noting. First, if you look at the pattern envelope, you see small neckline darts on the back of the dress.

Wedding ready - pattern thumbnailWhen I studied the pattern, those darts were not there! Either the artist made a mistake, or the darts were eliminated when the pattern was drafted.

Another interesting design aspect is the center back seam in the skirt. Usually center back seams are there because there is an opening that the seam needs to accommodate. That is not the case in this dress, as the zipper does not extend into the skirt. However, even though it is very subtle, it just looks better to have a seam in the skirt that matches up with the center back seam of the bodice section.

That center back seam which is picked up in the skirt.

That center back seam which is picked up in the skirt.

It has been rainy and cold all week so no photos outside. I need a dress like this to remind me that it is actually May.

It has been rainy and cold all week so no photos outside. I need a dress like this to remind me that it is actually May.

Wedding Ready

Wedding Ready

Wedding Ready

Another back view

Another back view

Wedding Ready

I have decided I am “wedding ready” even without the jacket. However, if I get the jacket finished, I’ll be very happy!

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Filed under Cocktail dresses, couture construction, Formal or fancy dresses, Mid-Century style, sewing in silk, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

The Silky, Shimmery Colors of Spring

Just as with the elusive answer to “Which came first, the chicken or the egg?,” those of us who sew can try to answer “Which comes first, the fabric or the pattern?” The answer, at least as I see it, is “It depends.” And sometimes, even, it is a little of both.

When I saw this fabric on the website of Mendel Goldberg Fabrics last Fall, I really did not stop to think about a pattern. It was a “bolt end,” 1 3/8 yards of 58” wide Italian silk. With that width, I wasn’t particularly concerned about the length being under 1 and ½ yards. I just ordered it as soon as I could.

The colors of Spring

Upon arrival, the fabric was even prettier in person, shimmery with “polka dots” woven in, fluid as only silk can be, and the picture of Spring. At that point, I was up to my ears with my Winter sewing, so I thought about it only casually until just a few weeks ago. I already had this pattern in my collection, and in the back of my mind, I had paired that fabric with the dress in View B on the right.

Oh the things we can learn, no 10

One interesting thing about vintage patterns is the yardage requirements are often given for widths that are narrower than many modern fabrics are produced in. For that reason, it can be difficult to determine exactly how much fabric is needed for a particular design. I’m getting better at sensing what I need, so I just assumed that I would have enough fabric to make that dress.   I had my heart set on it, actually. So much so, that when Britex Fabrics announced an upcoming sale of silk fabrics, I sent off for swatches for coordinating silk for the short jacket (in view A) and lining for the dress.

The green is a lightweight silk/cotton blend. The goldenrod yellow is silk taffeta from Italy, without the stiffness that taffeta so often has.

The green is a lightweight silk/cotton blend. The goldenrod yellow is silk taffeta from Italy, without the stiffness that taffeta so often has.

Dutifully ordered, the fabric arrived from California, and it, too, was even prettier in person! I was in love, and really could not wait to get started, first on the dress, and then on the jacket.

DSC_0036

The green for the lining . . .

The colors of Spring

… and the yellow for the short jacket in View A.

Then reality hit. When I took out the pattern pieces, here is what I found for that unusual flounced skirt:

This skirt piece uses almost a yard in length, and the diagonal shaping on it uses more fabric than normal.

This skirt piece uses almost a yard in length, and the diagonal shaping on it uses more fabric than normal.

My heart sank as I knew immediately I did not have enough fabric. There was going to be no Rumplestiltskin to help me with this one.   I went back to my pattern collection and pulled out two more possibilities.

I love this dress, but I thought it might be too tailored for the fabric. Also, the seaming detail would be lost entirely with the busy design of the silk.

I love this dress, but I thought it might be too tailored for the fabric. Also, the seaming detail which adds so much to this dress would be lost entirely with the busy design of the silk.

I felt like Goldilocks evaluating this pattern for my fabric. Just not right...

I felt like Goldilocks evaluating this pattern for my fabric. Just not right…

With both these dresses I would have to rethink the jacket, as the styles would not compliment each other. I stewed over this, re-measured, re-thought, and left it all in a heap in my sewing room. There was something about that shimmery silk that kept telling me that a dress made from it needed to have some movement to it –  like the flounced half-skirt pictured in the pattern. And then it hit me. If I made the front part of the skirt the same as the back, I could probably just squeak it out.

I did a quick diagram to consider this option.

I did a quick diagram to consider this option.

My completed muslin verified this for me, and, not only that, I loved the look, at least done up in muslin. Once again, using the couture technique of laying out and cutting each pattern piece individually enabled me to manipulate the pieces to make the most of the fabric I had available to me. Fortunately, there was no matching to be done, although there is a specific up and down to the design.

Now this is what is called making the most of one's available fabric!

Now this is what is called making the most of one’s available fabric! This shows my silk organza underlining pieces in place, ready to cut.

As far as the jacket – losing the diagonally shaped flounces on the skirt, makes the effect of the jacket not quite as dramatic, but I think it will still be very flattering – and appropriate. (The jacket has a million pieces to it, so it will be quite the project…!)

Well, I can’t leave this post without sharing another color of Spring, although this one is not silk and not shimmery. Pink cotton gingham is the picture of Spring, especially in a little dress for a little girl! When I made a crib quilt for my younger granddaughter, Carolina, I backed it in pink gingham, appropriately called “Carolina Pink.” I ordered enough so that I would be able to make her a dress for her first birthday (earlier in April) and here it is:

The colors of Spring

The colors of Spring

The bodice is lined in soft white cotton, which makes a lovely finish.

The bodice is lined in soft white cotton, which makes a lovely finish.

In my tins of buttons, I found these little ceramic ones, purchased years ago when Carolina’s mommy was my little girl. (Well, she is still my little girl, but you know what I mean.) How appropriate to use them for one of her daughter’s dresses.

The colors of Spring

These buttons, with their delicate cross-hatch design, were just waiting for this dress.

And with this dress –  the fabric absolutely came first!

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Filed under Buttons - choosing the right ones, Formal or fancy dresses, Heirloom sewing for children, Mid-Century style, Sewing for children, sewing in silk, Silk taffeta, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s

A Practical Decision

A practical decision, made out of desperation, that is! It is a rare occurrence that I stop working on a project before it is completed, but that’s what I decided to do with my cashmere coat, skirt and blouse ensemble. Quite simply, life got in the way, without asking me first! Robbed of sewing time for one reason or another, I had to make a decision: should I quietly and gently fold my unfinished skirt and blouse away for a summer sleep, and get busy on my Spring sewing? Or should I plow through and continue work on this wool ensemble as the allure and charms of Spring sewing beckoned me on? Well, Spring’s charms won, especially as I am now facing middle-to-late May deadlines for a silk dress to wear to a wedding and another fancy event.

But I had promised photos of my coat, so before everything goes in the cedar closet until next September, I thought I should share the progress I did make. Even on a cool Spring day, this Cashmere coat felt glorious to wear, even briefly.

A Practical Decision

A Practical Decision

I am very happy with the lining!

I am very happy with the lining!

A Practical Decision

A Practical Decision

This coat is very warm and buttery soft.

This coat is very warm and buttery soft. These photos confirm for me that I need to reset the working buttons, making longer thread shanks, to accommodate the bound buttonholes.

The skirt is a six-panel slight A-line style.  Because the fabric is heavier than I would normally use for a skirt, I wanted to eliminate darts and a waistband, to help control the bulk. I decided to make a waist facing made out of wool challis (used for the coat lining and the blouse), and attach it to a skirt lining made of Bemberg rayon. The skirt is completed except for the hem.

This shows the waist facing, with the Bemberg lining attached to it.

This shows the waist facing, with the Bemberg lining attached to it.

Making a blouse out of wool challis demanded some special considerations. The fabric is finely woven and lightweight, making me hesitant to use waxed tracing paper to make any markings on it. So, I decided to thread trace all the seam lines and markings. This is, of course, the process one uses for the construction of a classic French jacket, so I am comfortable with it. It sounds time-consuming, but it goes fairly fast, and is fool-proof.

This shows my muslin pattern, cut on the seam lines, and with the darts cut out, so that I could tread trace along all sewing lines.

This shows my muslin pattern (with the changes I made to it), cut on the seam lines, and with the darts cut out, so that I could tread trace along all sewing lines.

Click on this for a close-up look at the thread tracing of seam lines and darts.

Click on this for a close-up look at the thread tracing of seam lines and darts.

I got as far as having both sleeves completed, the body of the blouse put together, and the collar pinned in place. I am feeling good about my progress, and I know I can pick this up again, knowing that I really am in the home stretch on this particular project.

The pinned collar, placed along the neckline.

The pinned collar, placed along the neckline.

One of the sleeves pinned in place.

One of the sleeves pinned in place.  The sleeves are three-quarter length.

Good-bye to Winter and Hello to Spring!  Right now it feels wonderful to be focusing on silks and linens, bright colors and feminine fancy things. I am “desperately” happy with my decision!

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Filed under Blouse patterns from the 1950's, Blouses, Coats, couture construction, Dressmaker coats, Mid-Century style, Uncategorized, Vintage fabric, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, woolens

A Fine February Finish

Leap Year, with its extra February day, seemed to be custom made for my sewing schedule. I had hoped to have my gray cashmere coat finished by the end of the month, and thanks to those extra 24 hours, I managed to do just that – barely! I will confess to taking out basting stitches, steaming, and adding two bar tacks to the lining on March 1st (gasp), but now my coat is finished.

A Fine Feb Finish

A Fine February Finish

Photos of me in this coat will be in a future post…

Like Claire McCardell, who said “I believe in a collection of coats,” and coats are “revealing, a clue to your taste, and your knowledge of Fashion,” I also believe that one should not “make a coat too basic.” The unique aspect of fashion sewing is that one can start with a basic (or not-so-basic) coat pattern and then make it her own.

The first owner of this Vogue Designer Original pattern, designed by Guy Laroche, which I used for my coat, had obviously used it. (This isn’t always the case – many vintage patterns are still “factory-folded” and in their unused condition.)

When I purchased the pattern, I had already decided to lengthen the sleeves, which are shown on the pattern envelope as “below-elbow” or bracelet-length. I wanted full-length sleeves as a practical matter. Much to my delight, the original owner had decided the same and had added tissue paper inserts into the sleeve pattern pieces. As it turned out, the length she had decided upon was also exactly right for me.

What a nice surprise to find the sleeves already lengthened!

What a nice surprise to find the sleeves already lengthened!

There are really only a few details I chose for this coat which serve to make it “not basic.” Besides the bound buttonholes (which used to be basic but are not so much anymore!), I put emphasis on the buttons, the lining and a couple of the finishing details.

First the buttonholes and buttons: because the cashmere fabric is coat-weight, I needed to make the “lips” of the buttonholes a bit wider than normal. Once again, I used an organza patch on the underside of the buttonholes, which makes a very nice interior finish:

The line of basting stitches is the fold line - the organza patch is on the facing part of the front edge.

The line of basting stitches is the fold line – the organza patch is on the facing part of the front edge.

Here is the patch ready to be sewn onto the back of the buttonhole.

Here is the patch ready to be sewn onto the back of the buttonhole.

I found these vintage buttons in an Etsy shop. Although they appear to be gray mother-of-pearl, they are actually plastic. The iridescent strip through the middle of each one, along with the square detail on the tops, gave me the idea to arrange them on an angle. I think they add just the right amount of interest to the front of the coat.

The "square" detail on the buttons picks up the design in the lining fabric.

The “square” detail on the buttons picks up the design in the lining fabric.

A Fine February Finish

Using the printed wool challis for the lining certainly elevates this coat to a notch above ordinary. The sleeves are lined with gray rayon Bemberg for practicality’s sake.

An inside out view, trying out the lining.

An inside out view, trying out the lining.

This photo shows a good look at the finished buttonholes, too.

This photo shows a good look at the underside of the finished buttonholes, too.

Of course the detail I love the most is the flat piping I added to the front interior edges of the lining.  As I have said before, doing this is so easy and adds so much.

A Fine Feb Finish

A Fine February Finish

Here is the flat piping stitched in place - so easy!

Here is the flat piping stitched in place – so easy!

The final small detail, which helps the collar to keep its shape, is under-stitching (by hand) on its underside.

A Fine February Finish

So what else did Claire McCardell say about coats? To quote from her book, What Shall I Wear, page 69, “… you can take another step and get a coat and dress that go together—never to be separated, never to be worn with any other dress or any other coat, and always with a special feeling of satisfaction. If you take a little trouble, you may be able to manage a heavy fabric skirt to go with the coat.”  I plan to take that little bit of trouble – a skirt out of the gray cashmere, and a blouse from the printed challis – to complete the outfit, and I will hope for that “special feeling of satisfaction.”

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Filed under bound buttonholes, Buttons - choosing the right ones, Coats, couture construction, Dressmaker coats, Mid-Century style, Quotes about sewing, Uncategorized, vintage buttons, Vintage fabric, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, woolens