Category Archives: vintage Vogue patterns from the 1950s

How Exciting Can a Bathrobe Be?

Or – Who Is That Woman in our Kitchen? After well over twenty years of wearing the same ratty old bathrobe (well, it wasn’t old or ratty when I first started wearing it, but the years took their toll on it), I now have a new one. I will admit to being almost unrecognizable in the mornings and evenings now, as I float through the house in my new attire – leading my husband to wonder if a new woman is now making the morning coffee.

I found vintage Viyella wool/cotton fabric on eBay last year. Although only 35” wide, the length available was 5 ½ yards which I determined should be enough for a ankle-length bathrobe. Viyella is a lovely blend of 40% wool and 60% cotton, and it is machine washable. It is lightweight, but warm, very soft, and such a pleasure with which to sew.

The paper labels were still attached to this length of Viyella.

From four bathrobe patterns in my collection, I chose this one for its classic styling, including a wrap front and shawl collar:

I made a muslin (toile) to check on the fit, and then I used the muslin as my pattern, marking the seam lines onto the Viyella using waxed tracing paper.

Because of the narrow width of the fabric, and the need to be precise with matching the plaid in the fabric, I laid out my muslin pattern singly. I had to do this on the floor because of the great length with which I was working. Matching the plaid, although thankfully a very even plaid, took a lot of time – and time on my knees! Ouch!

One of the pattern pieces close up.

And here is one piece with markings transferred onto it. I am used to sewing on a marked seam line, and prefer this method rather than using set seam allowances.

I am always impressed by some of the subtleties in these vintage patterns. This one includes bust darts that descend from the shoulder seams. Also, two small back darts make the fit across the shoulders so much more precise. Both are clearly shown in the diagrams on the reverse side of the pattern envelope.

Click on the picture to see the details.

Also detailed on the pattern layout diagram is the slight flare to the front edges of the robe. I didn’t really pick this up in the muslin I made, but once I was working on the robe, especially in this plaid, which makes a flared seam more apparent, I was very aware of it. It is such a nice detail, making the wrapped front closure more graceful in appearance and offering just a bit more coverage than a straight edge would do.

You can follow the flare of the front edge by looking at the descension of the plaid.

A detail of the back neck edge.

I did make a few changes to the pattern. First of all, I used a fusible interfacing instead of a “sew-in” one (typically indicated on vintage patterns form the 1950s, as this one is.) I don’t use fusible interfacings very often, but I decided this would be a good application for such. I used “Heat n Bond” woven interfacing, ordered from fabric.com, and so far, I am very pleaded with its performance. Secondly, I added another pocket, as I like two pockets on my bathrobes. I also had to lower the placement of the pocket from the lines indicated on the pattern, which were inexplicably high!

Two pockets!

A third change was the elimination of the wide self-binding on the pockets and the cuffs of the sleeves. Instead I used a 1¼ inch self-binding which I cut on the bias. With all that plaid, I thought a little bit of variety would add a nice touch.

A minor fourth change was the addition of fabric belt loops, as opposed to the thread loops called for in the pattern instructions.

 

 

 

 

 

 

 

 

 

I love the classic styling of this robe. The fact that I was able to use such a glorious fabric for it (contemporary with the age of the pattern, by the way!) makes it even more lovely to wear. Not only am I – yes – very excited (!) about wearing this new bathrobe, I also find it to be an unexpected, but wonderful change of persona for my early morning and late evening hours.

 

32 Comments

Filed under Bathrobes, Mid-Century style, Uncategorized, Vintage fabric, vintage Vogue patterns from the 1950s

A Good Start

Happy December! It seems like a long time since I have been here with a new post for Fifty Dresses. The first thing I want to say, since my forced hiatus from sewing (due to my badly injured left hand), is “Thank You!” to so many of you who gave me encouragement, sent sympathy and healing thoughts, and made me feel like such a valued part of our worldwide fashion sewing community. Your kindnesses meant the world to me at a personally difficult and discouraging time.

Although my heart never left sewing (attested to by the new vintage patterns and a couple of lengths of new fabrics which have somehow found their way to my sewing room over the past weeks!), my hands have finally come back to it as well. While I still have weeks and weeks of “hand therapy” to attend in an effort to restore full use of my left hand, I now can sew at the machine, cut and mark fabric, and even hand sew. Having said that, I wish I had something truly spectacular to show you to prove that point, but alas, I do not. What I can show you is a promise of things to come, things which are now destined to make their appearance in 2017 instead of in November or December of 2016.

I had my heart set on getting this fabric made into a dress to wear during this month of December, even though back in October I still had not settled on a pattern for it.

I purchased this fabric from Mendel Goldberg in New York City. It is a wool/silk blend, similar to fabric in a dress I made last Fall.

I purchased this fabric from Mendel Goldberg in New York City. It is a wool/silk blend, similar to fabric in a dress I made last Fall.

After searching online through many, many vintage patterns, I finally came across this one, an Advance pattern (a small departure from my normal preference for Vogue):

I still need to do a little research on the exact date for this pattern, but it appears to be from the mid-1960s.

I still need to do a little research on the exact date for this pattern, but it appears to be from the mid-1960s.

I could easily see this dress made up in polka dots, with the three-quarter sleeves. I think the back detail with the buttons is so pretty. My muslin is in the process of being completed, and then I will determine if this style looks good on me. I certainly hope so…

Another project I wanted to complete this Fall was a new bathrobe. A while ago I found this vintage Viyella fabric (cotton/wool blend, warm but light-weight, 5¼ yards, 35” wide), and it just spoke “bathrobe” to me.

The paper label is still attached to this length of fabric.

The paper label is still attached to this length of fabric.  Isn’t it lovely that this fabric is washable?

This Vogue pattern seems just about perfect for it, as long as I can match the plaid and still have enough yardage to eke it out. My muslin will tell the story.

I definitely want to make the long version of this robe.

I definitely want to make the long version of this robe. This pattern is from the late 1950s.

But before I can get any further on either of these projects, I have some sewing to do for Christmas gifts. The countdown is on, but I think I have a good start. It is wonderful to be back in my sewing room, which now looks like a cross between a couture atelier and Santa’s workshop, with fabric and wrapping paper and ribbons vying for equal space.  Happy December, indeed!

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Filed under Day dresses, Mid-Century style, Uncategorized, vintage Vogue patterns from the 1950s

Blame It on the Buttons

It can be a little overwhelming to look at my (growing) collection of beautiful summer linens, and then try to make a decision on which piece to select for my next project.

Fortunately, a random purchase of buttons helped me make up my mind this time around. I found these buttons at Britex Fabrics in San Francisco last year, and purchased them on a whim, not knowing when or how I would use them. I also don’t know what possessed me to purchase 6 of them, but that’s what I did.

Yes, those are interlocking "a la Chanel" Cs.

Yes, those are interlocking “a la Chanel” Cs.

When I got them home, I realized they were a perfect match with a length of vintage, pale yellow, Moygashel linen in my possession. I tucked the fabric and the buttons away together, confident that the perfect pattern would also be found amongst my many vintage Vogue patterns.

It was a bit of a trick finding a pattern that needed 6 (or fewer) ¾” buttons. This one kept surfacing as the most ideal candidate:

I am making the short sleeve version - but a little shorter!

Ideal, except for the yardage needed, that is. Many of you know by now that being a “little shy” of the prescribed fabric usually does not keep me from my desired goal! After making a fitting muslin and making the necessary adjustments, I cut out my underlining (light weight linen/cotton blend) and used that as my pattern. It was immediately evident that I did not have enough of that 35” width linen.

Or did I? I figured if I eliminated the center back box pleat and replaced it with just a slit in the back center seam, I’d save a bit of yardage requirements. I could make the sleeve hem facings out of the underlining, saving a bit more. And if I cut the collar on the horizontal straight of grain rather then the vertical, I could just fit the pattern pieces onto my yardage. It was a good thing I had already decided to eliminate the chest pockets (a little too 1950s.) And a self-belt?   Out of the question!

A belt turned out to be a perplexing question. I had been fortunate enough for a few years to have my belts and covered buttons custom made by Pat Mahoney, but since her retirement last year, I have found no replacement for her services. I was dreading the prospect of making my own belt. The only good thing was I knew I had a piece of vintage Moygashel linen in a medium navy blue (see the button photo above) which would be a good contrasting color for the yellow dress. I decided I would think about actually making the belt after I had the dress itself finished.

For a simple shirtwaist dress, there were a number of time-consuming details, like the gussets I covered in my last post. There were also six bound buttonholes to work.

It always amazes me how long these buttonholes take to make!

It always amazes me how long these buttonholes take to make!

Blame it on the buttons

 

There were separate front bodice facings, and a front skirt placket with separate facings. There were sleeve hem facings (as mentioned above), and lots of trimming, clipping, and grading of seams! And then the dress was done.  Except for the belt, of course.

After giving myself a pep talk, I took out one of Pat’s belts and studied it, vowing to duplicate as closely as possible her techniques and precision. Fortunately I had a belt buckle from long ago, which I had saved. It was for a 1.25” width belt, which is exactly what I wanted.  I plunged ahead and this what I made, working the eyelets by hand (which fortunately don’t show much on the dark linen!):

Blame it on the buttons

The underside, just in case you are curious!

Although not my favorite dress of all time, I think I’ll get good use out of it, and I do love its pairing with “summer” blue.

Blame it on the buttons

Blame it on the buttons

Blame it on the buttons

Blame it on the buttons

The clutch is a perfect match with the belt – how lucky is that?

Cool linen for a hot summer!

Cool linen for a hot summer!

Best of all, the buttons add just the right, somewhat mysterious, touch.

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Filed under bound buttonholes, Day dresses, kimono sleeves, Linen, Mid-Century style, Moygashel linen, Uncategorized, Vintage fabric, vintage Vogue patterns from the 1950s

Gazing at Gussets and Fashion Exhibits

We are almost halfway through the sewing year! Time for me to just keep plugging along, being grateful for any hours I can spend sewing – or dreaming about sewing. Lately it seems I have spent more time dreaming about it than actually accomplishing anything. But that’s not quite true. I have actually done a lot of sewing (I call it necessary sewing) – just not anything worth sharing. But that is about to change.

I am working on a yellow linen shirtdress, using this pattern:

I am making the short sleeve version - but a little shorter!

I am making the short sleeve version – but a little shorter!

I am really getting to be a fan of kimono sleeves. They were incredibly popular in the 1950s (and early ‘60s), and their construction varies according to the type of gusset used. The dress in this pattern has a gusset that forms part of the sleeve, itself.

Usually gussets are diamond shaped. However, the curved lower edge shows that this gusset incorporates part of the sleeve in it.

Usually gussets are diamond shaped. However, the curved lower edge shows that this gusset incorporates part of the sleeve in it.

The instructions for inserting the gusset are quite explicit and interesting, I think. The first step is to work a “bar” across the point on the bodice where the matching point of the gusset is placed. I have actually never seen this done, but it makes sense as it reinforces that stress point.

Gazing at Gussets 1st diagran

I also like the double stitching on the interior seams of the gusset as shown in this section:

Gazing at Gussets 2nd diagram

Here is how the finished short sleeve is diagrammed:

Gazing at Gussets 3rd diagram

And here are some photos of the finished gussets on my dress:

Gazing at Gussets

This photo clearly shows how the gusset becomes part of the underpart of the sleeve.

This photo clearly shows how the gusset becomes part of the under-section of the sleeve.

Here is an inside look. While the dress is underlined in a very light weight cotton/linen blend, I opted not to underline the gusset, in order to add to flexibility. I got this brilliant idea from Laura Mae of Lilacs and Lace sewing blog.

Here is an inside look. While the dress is underlined in a very light weight cotton/linen blend, I opted not to underline the gusset, in order to add to flexibility. I got this brilliant idea from Laura Mae of Lilacs and Lace sewing blog.

The seam you see at the top of this photo is the shoulder seam which runs down the length of the sleeve.

The seam you see at the top of this photo is the shoulder seam which runs down the length of the sleeve.

I managed to tear myself away from my sewing room for a few hours this week to go to see an exhibit at the Michener Museum in Doylestown, Pennsylvania (USA). Entitled Philadelphia In Style, the exhibit featured fashions either made, worn or purchased in Philadelphia, PA over the course of about 100 years (1880-1980).

Duskin - Exhibit title

All are part of the Robert and Penny Fox Historic Costume Collection at Drexel University in Philadelphia, a veritable treasure trove of designer, haute couture and ready-to-wear dresses, coats, ensembles, shoes, handbags, and accessories of all types. The Exhibit has special meaning for those of us with Philadelphia ties, but universal meaning for lovers of fine fashion anywhere.

Although the clothing on display was fascinating and, for the most part, lovely, it was the numerous fashion illustrations, framed and lined up one after the other, which really caught my attention. They had all been done in 1954 for a specialty ladies’ shop in Philadelphia, called Nan Duskin. The most amazing thing is that each one had a swatch of the intended fabric taped in the corner of each drawing. Here is a sampling:

Duskin sketch - purple dress

The buttons were still in question for this dress – note the line in the upper right side “buttons?”

Such a lovely coat! Note the fabric swatch, held in place with yellowing tape!

Such a lovely coat! Note the fabric swatch, held in place with yellowing tape!

So many of the illustrations were of dressmaker suits. This one is made in brown checked wool.

So many of the illustrations were of dressmaker suits. This one is made in brown checked wool.

I love the saucy pose in this sketch - and the posy perched on the shoulder!

I love the saucy pose in this sketch – and the posy perched on the shoulder!

One of my favorites: in red, of course!

One of my favorites: in red, of course!

Here are a couple of the fashions represented in the Exhibit:

This was called a Day Ensemble. It bears the table "Irene for Nan Duskin." This was Irene Lentz Gibbons, 1952-53, USA.

This was called a Day Ensemble. It bears the table “Irene for Nan Duskin.” (Irene Lentz Gibbons, 1952-53, USA)

This shirtwaist dress, Norman Norell for Trina-Norell, circa 1955, had finely done bound buttonholes. the fabric is s ilk and wool brocade.

This shirtwaist dress, Norman Norell for Trina-Norell, circa 1955, had finely done bound buttonholes. The fabric is silk and wool brocade.

The Exhibit did manage to include one of the most unattractive Chanel suits I think I have ever seen.

The Chanel suit on the left is shown with an ultra-suede shirtdress by Halston, on the right.

The Chanel suit on the left is shown with an ultra-suede shirtdress by Halston, on the right.

But it was still fascinating to look at the cuff detail:

Duskin Chanel suit detail

One of the most charming displays in the Exhibit was a collection of hat boxes from the stores in Philadelphia which were the purveyors of so many fine fashions over the decades.

Duskin - hat box display

As a lover of pretty boxes and bags, I found this vignette not only delightful, but also evocative of the thought and care inherent in buying and wearing beautiful fashions. They reminded me of the same little thrill I get when a piece of beautiful fabric which I have purchased shows up in the mail, elegantly presented in crisp tissue and tied with silky ribbons.   It makes it oh-so-easy to fall in love immediately!

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Filed under bound buttonholes, Coco Chanel, Day dresses, Dressmaker suits, Fashion Exhibits, Gussets, kimono sleeves, Mid-Century style, Uncategorized, vintage Vogue patterns from the 1950s

“To the Most Imaginative Woman in the World”

“You see her leafing through pattern books – picking out a collar here, a cuff there, a new way of pleating a skirt . . . You see her fingering a tiny swatch of fabric, Yet she’s seeing it as a whole dress, or a blouse, or a jacket . . . Who is she – this lady with the limitless imagination? She’s the woman who sews. YOU . . .”

Most imaginative woman - Burlington-2

This is just one of many ads placed by manufacturers of fabric in the April-May 1950 Vogue Pattern Book Magazine. Ordinarily I would not have purchased this issue, as most Vogue patterns available before 1955 were not printed, and I rarely buy a vintage pattern which is not printed! My particular interest in these vintage magazines is the opportunity they provide to identify dates for patterns, fabrics and style trends, making the experience of sewing with vintage patterns (and fabrics) even more enjoyable.  However, when this issue was available in an Etsy store, I succumbed. I was born in May of 1950, and my curiosity just got the better of me.

I find the haughty expression on the cover model somewhat amusing.

An early haughty expression on a  model!

Looking at this issue made me realize how old I am… NO, NO, NO! Just kidding, I think. Actually, what really popped out at me was how exciting it must have been to be a home dressmaker at this point in time, with the home sewing business booming, post-war, and fine fashion – and the desire to look wonderful – such important aspects of a woman’s life.

And then, as I was leafing through the magazine, I found an unexpected surprise. Tucked in between two pages was Vogue Patterns April 15 Collection, an 8-page flyer, available at pattern counters and easily something that could be tossed away. I find it remarkable that this slim printed piece survived.

Most imaginative woman - flyer cover-5

The format is larger than what I am used to seeing in later Vogue pattern flyers from the 1960s and 1970s.  When one looks at the fashions and patterns detailed, it is easy to imagine the woman who picked this up, looking at it again and again.

This is one of the inside pages of the flyer.

This is one of the inside pages of the flyer.

Not only that, also tucked in with this flyer was this page from Harper’s Bazaar, March 1st, 1950.

Most imaginative woman - Harpers Bazaar

How many of you save pictures of dresses/blouses/coats you would like to copy? Pinterest, anyone? I certainly do!

Clearly she had in mind making the dress pictured on the back cover of the flyer:

"Consider them two by two - the pattern and the fabric, and you will always have a happy result." Timeless advice!

“Consider them two by two – the pattern and the fabric, and you will always have a happy result.” Timeless advice!

Some of my favorite pages in this, my “birthday” issue? I was delighted to find an ad for Moygashel linen, for which I have a particular passion:

Most imaginative woman - flyer cover-1

A lover of polka dots makes me partial to this gorgeous blouse:

Most imaginative woman - flyer cover-3

This blouse is very similar to one I made a few years ago.

And how can I resist this stunning “moulded sheath dress with a draped cascade”?

Most imaginative woman - cascade dress-4

I am so struck by the sophistication of the styling of the fashions and illustrations, the emphasis on Designer offerings, and the exciting abundance of piece goods being sold by manufacturer’s name to the home sewing population. Times and fashions change, but I believe we have much in common with these mid-century home dressmakers plotting their wardrobes with creativity and skill – pairing fabric and pattern. We are the women who sew – and are still the ones with the limitless imaginations!

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Filed under Messages from past owners of vintage patterns, Mid-Century style, Moygashel linen, Pattern Art, Polka dots, The Conde Nast Publications, Uncategorized, vintage Vogue patterns from the 1950s

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

The Calm before the Storm

Starting the new year with a “simple” project seemed like the way to go, knowing that I plan to spend the remainder of the winter on a coat and “related apparel.” More on that in my next post. I thought that if I didn’t get this “skirt that was meant to be” cut out and sewn in the first couple of weeks of January, it might not get finished this year.

I found the fabric on eBay – dubbed as a medium-weight wool in good condition – 58” wide, 1+ yard in length, which I figured was enough for a skirt.

Navy and white houndstooth.

Navy and white houndstooth.

There is always a bit of the unknown when one is bidding on fabric online, especially when it comes to the feel and hand of the fabric. For that reason, I kept my bid fairly low, especially as I seemed to be the only one bidding or even watching this lot. So, you can imagine my surprise when I was OUTBID! I was disappointed, but clearly it was my own fault for not making a stronger bid.

I went on with my day, trying not to think about how much I liked the look of this fabric. And then – eBay sent me a message saying I had a second chance at the fabric – it could be mine for the amount I had bid originally. Hurray! I will never know what happened to make this possible, but clearly the skirt I had planned in my mind was meant to be.

DSC_1090

When the fabric arrived, it was lovely, although a bit heavier than I thought it would be. I decided it would make up better if there were few – or no – darts. So I settled on the paneled skirt from this 1958 pattern.

The calm before the storm - pattern

These small drawings show the seams and shaping of the skirt quite well. Obviously, I shortened the length of the skirt.

These small drawings show the seams and shaping of the skirt quite well. Obviously, I shortened the length of the skirt.

The shaping is in the seams, and even though there are a lot of seams (6 of them to be precise), I knew I could control the bulk by using couture techniques.

I underlined the skirt with silk organza, and secured the raw edges of each seam with catch-stitching.

I underlined the skirt with silk organza, and secured the raw edges of each seam with catch-stitching.

I also lined the waistband, thereby reducing bulk in that area. I used Bemberg rayon for the lining.

It is a little difficult to see, but this photo shows the inside of the lined waistband.

It is a little difficult to see, but this photo shows the inside of the lined waistband.

Another look at the waistband.

Another look at the waistband.

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DSC_1091

DSC_1095

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I believe this skirt is going to be a staple in my winter wardrobe – classic houndstooth in navy and white wool is versatile, timeless, and warm. This was a calm and simple way to start the new sewing year. Now I can dig into something much more complicated, and I am excited to do so!

27 Comments

Filed under couture construction, paneled skirts, Uncategorized, Vintage fabric, vintage Vogue patterns from the 1950s, woolens