Sometimes extra incentive is needed to push through a project which turns out to be more difficult than anticipated. Such was the case with this pink silk jacquard dress.
I had purchased this fabric quite a few years ago online from Britex Fabrics. I knew it was a dressy fabric, and unsure of what form this dress would take, I made the decision to purchase four yards of this 58” wide silk. That gave me some latitude in my selection of pattern.
Finally last Spring I made a decision about what I wanted this dress to be. That was precipitated by the arrival of a beautiful invitation to a very special event this Fall, and of course (!) I needed a new dress to wear to it. The fabric is a dressy, shimmery silk jacquard, so by its very nature it would make up into a dress which had a certain glamour to it.
I decided to use a go-to pattern I have used a few times already and make a classic shirtdress. That may seem like a strange choice, but I envisioned it as very dressy and flowing, and quite appropriate for the fabric.
While this idea was percolating, I happened to attend a luncheon/presentation by a wonderful organization called the Ibu Movement. (Pronounced ebu, with a long “e,” this is an Indonesian word meaning “a woman of respect.”)
The pop-up shop accompanying this event was filled with gorgeous clothing, accessories, even shoes. When I saw this envelope clutch, I knew it would match my silk fabric perfectly and would be the perfect addition to my as-of-yet-to-be-sewn pink dress. Little did I know at that time it would be the catalyst to make sure I finished the dress!

My first clue as to the fussiness of the fabric was as soon as I pressed it and laid it out for the placement of my muslin pattern. Here is what I noticed:
- The fabric had a slightly loose weave to it, making it almost stretchy, certainly very slinky. Keeping it properly aligned on the straight of grain was going to be a challenge.
- The fabric frayed easily.
- It also was prone to shedding silk fibers. I decided I needed to handle it as little as possible to mitigate this situation.
- The jacquard weave in it had a definite horizontal and vertical pattern to it, meaning I would have to match the design horizontally and vertically across seams. Although I am used to matching plaids and prints, this was a little different as the woven design was of irregular form.
I decided to underline the dress (except for the sleeves) with a very lightweight silk batiste, which I hoped would give it some substance, but still preserve the flowing nature of the fabric. I made the conscious decision not to add an additional lining to the dress.
Although I rarely use fusible interfacing, I realized very early on that sewn-in interfacing was going to shift around and cause all kinds of problems. Luckily, I had been introduced to a very finely woven, fusible German interfacing available from Farmhouse Fabrics. I had some on hand and found it to be the perfect stabilizing foundation for the cuffs, the front facing, the collar, the collar stand, and the hem.
So, that solved one big problem for me. I was still concerned about being able to get the hem even. I had good reason to be concerned! It took two tries to avoid having either a bubble appear or uneven dips around the perimeter.
The final quandary I had was the buttonholes. Because the fabric shed silk fibers so easily, I was really worried that my buttonhole attachment might grab onto those fibers and make a mess. I did some sample buttonholes, which confirmed my suspicions. So – I used wax paper between the foot of the attachment and the fabric, cutting little windows in the wax paper where the buttonholes would be sewn. It worked like a dream.

This was not a particularly fun dress to sew, but that “perfect” handbag kept me focused. And I am glad it did, as the dress was a success in the end. And it always feels like an accomplishment to use fabric which has been lying in wait for so long.
























































































































Going Around in Circles
When I purchased this sateen, jacquard-woven fabric from Mendel Goldberg a couple of years ago, I wasn’t sure what it would eventually become. It had a wide repeat to the design (which is something to consider when you know you are facing considerable matching of the design), but it was a lovely 60” wide. I bought just 2 yards (it was expensive) and hoped I would have enough fabric to finagle something.
First I thought I would make a midi-skirt to wear with a pretty silk blouse or something. I even got so far as to make a muslin for a longish skirt, but it just wasn’t going to work. I didn’t have enough fabric to match the design and create the skirt I wanted. The next task would be to find a dress pattern which would work. I kind of viewed this fabric as a good Fall and Spring transition weight, so I wanted sleeves. And I wanted a pattern which would show off the circle design to its best effect. One of the patterns in my collection which I have seemed to dwell on frequently is this one:
I like the styling of both the dress and the coat. I thought I’d take a stab at eyeballing the pattern on my fabric, to see if it might work. Well, it was going to be a squeaker, but I thought I could manage to get the dress out of the yardage I had – and match all those circles and dots as much as possible.
One thing I had to consider was the placement of the large dots and the smaller dots on my body. Working with dots can be a little tricky – you certainly don’t want prominent dots on top of each bust apex, for example, and a row of large dots around the waist might not be all that flattering. I thought the row of the largest dots would be best as an anchor at the hemline. That would place the wide band of smaller dots just over the waistline and somewhat below. This configuration would place one medium size dot over one bust, but I was okay with that since the dot on the other side was off to the side, and therefore not symmetrical. I also liked the repeat row of largest dots across the upper chest where they were not too obvious. And – the sleeves followed the line of varying size dots in a pleasing manner, I thought. It turned out, I had just enough fabric to get things lined up properly – except for the front facing. No way could I match that to the front of the dress.
Now, obviously the facing does not show on the right side of the dress. Still, I like to match across seams if possible. Which it wasn’t. I had to give myself permission to have a mismatched facing, and then I moved on. (I forgot to take a picture of the facing, unfortunately.)
A word or two about the fabric before I go on. According to Fairchild’s Dictionary of Fashion, (Third edition, by Charlotte Mankey Calasibetta and Phyllis Tortora, Fairchild Publications, Inc., New York, New York, c2003, page 395) sateen is a “smooth glossy cotton fabric made in the sateen weave with floating crosswise yarns on the right side, giving a lustrous finish.” This fabric is a combination of cotton sateen, with circles created by a damask weave on a jacquard loom. It makes for a striking fabric. And I think the fact it is done in navy blue makes the contrast more definitive. Christian Dior was a fan of navy blue, calling it “the only one [color] which can ever compete with black, it has all the same qualities.” (The Little Dictionary of Fashion, Abrams, N.Y., 2007, page 14). It is a wonderfully versatile color.
I made a few changes to the pattern. I cut the neckline a little wider, I shortened the sleeves by a couple of inches, and the big change was I lined the dress in a lovely silk batiste I purchased at Farmhouse Fabrics. (The pattern did not have instructions or pattern pieces for a lining.) The pleat in the front of the dress was a bit tricky to line, but I figured it out after quite a bit of thought. By the way, I underlined the dress with silk organza.
One more thing about the pattern and the dress. With the pleat in the front of the dress which extends to the hem, it gives the appearance of a coat dress. However, it is not. Again Fairchild’s gives us a precise definition of a coat dress: “Dress fastened down front from neck to hem, like a coat, in single- or double-breasted style, either belted or unbelted. A classic since the 1930s.” ibid., page 84. Someday I’ll make a coatdress, but this was not it.
As I mentioned in an earlier post, I made this dress to wear on my Paris trip, but alas, I never had the opportunity to do so. I feel certain it will eventually get its debut, but not in Paris!
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Filed under Buttons - choosing the right ones, Christian Dior, Fashion commentary, Loops for buttons, Mid-Century style, Polka dots, Sateen, Uncategorized, underlinings, vintage Vogue patterns from the 1960s, Vogue patterns
Tagged as Choosing buttons, Farmhouse Fabrics, fashion sewing, Mendel Goldberg Fabrics, polka dots, sewing, vintage fashion, vintage Vogue patterns