March 4, 2013 · 5:59 pm

“The Sweetest of All the Colors…”

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

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

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

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

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

The finished dress!

The finished dress!

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

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

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

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

The widened neckline.

The widened neckline.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Very Inspiring Blogger Award

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

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

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

3 – Autumn is my favorite season.

4 – I can make a very good Pumpkin pie.

5 – I enjoy reading historical fiction.

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

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

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

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

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

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

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

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February 20, 2013 · 9:35 pm

Saying YES to a Ladylike Dress

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Here is the detail of the skirt back.

Here is the detail of the skirt back.

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

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

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

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

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

My pile of basted pieces.

My pile of basted pieces.

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

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Filed under couture construction, kimono sleeves, Uncategorized, Unprinted patterns from the 1950s, vintage Vogue patterns from the 1950s, Vogue patterns

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February 12, 2013 · 4:28 pm

Coats of a Certain Length

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

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

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

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

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

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

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

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

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

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

Coats of certain length -4

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

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

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

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

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

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

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

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

I just may need this pattern someday!

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

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

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

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

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

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

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

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

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

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

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January 29, 2013 · 10:02 pm

New Life from an Old Dress

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

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

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

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

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

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

The dress with the side seams separated.

The dress with the side seams separated.

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

My muslin pattern positioned on the back of the dress.

My muslin pattern positioned on the back of the dress.

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

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

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

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

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

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

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

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

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

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

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

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

green skirt

The back view.

The back view.

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

How I love these comfy flats!

How I love these comfy flats!

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

The green in this scarf could not be more perfect.

The green in this scarf could not be more perfect.

A detail of the scarf on top of the skirt.

A detail of the scarf on top of the skirt.

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

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

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January 17, 2013 · 10:12 pm

Sewing SMART for 2013

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How stylish are these looks from the same magazine?

How stylish are these looks from the same magazine?

And a box-jacket suit is always in vogue.

And a box-jacket suit is always in vogue.

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

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

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January 11, 2013 · 1:15 pm

Chance of Flurries

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

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

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

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

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

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

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

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

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

The underlined pants, with catch-stitched seams.

The underlined pants, with catch-stitched seams.

Hand-picked zipper.

Hand-picked zipper.

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

The newsest issue of Threads magazine

The newsest issue of Threads Magazine

The Petersham ribbon basted onto the waistline.

The Petersham ribbon basted onto the waistline.

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

I made the facing out of the lining fabric.

I made the facing out of the lining fabric.

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

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

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

DSC_0761

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

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

Here they are, all finished!

Here they are, all finished!

Snowflake pants

A back view.

A back view.

Kind of a side view.

Kind of a side view.

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

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

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

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

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December 19, 2012 · 10:47 pm

A Newly Defined ‘50s’ Frock

I have finished making a new dress from an old pattern, which isn’t anything too unusual for me.  What is unusual is the spell which this pattern cast over me from the time I first saw it last January, and then purchased it from an Etsy shop.

The length of this dress as shown on the envelope is very 1950's. I'll be making it in knee-length.

The back of the envelope, showing the back yoke detail. Don't you love the handbags that the artist included?

The back of the envelope, showing the back yoke detail. Don’t you love the handbags that the artist included?

Copyright 1957, this pattern has intrigued me for both how modern it looks, and how quintessentially “1950s” its various details are – such as:

1) Kimono sleeves in three-quarter length.  Cut in one with the bodice, kimono sleeves were common in the ‘50s, and now seem to be making a comeback.  Three quarter length is extremely flattering for most women, and was popular then and now.

2) Side zipper.  This dress goes over the head and needs that side zipper to accommodate the wiggle room needed to accomplish this method of dressing.  A back zipper would completely ruin the effect of the four-buttoned back yoke.

3) No pockets.  While pockets are lovely inventions, this dress would lose some of its slim and flattering line should pockets bulge out from the side seams.

4) Mid-calf length.  This length looks great in the pattern illustration, but not so much on me.  One of the beauties of these vintage patterns is adapting them for current wear – so I opted for knee-length instead.

5) Bound buttonholes.  Although this pattern is called “easy to make” on the back of the envelope, it still calls for bound buttonholes.  And, oh, they add such a nice detail.

Now to the specifics.  I found this black and white herringbone alpaca wool (made in the USA) on Britex Fabrics’ website, and purchased it on sale a few months ago, specifically for use with this pattern.

This is the swatch I ordered from Britex sometime over the Summer.

This is the swatch I ordered from Britex sometime over the Summer.

I wanted to make the dress using couture techniques (learned in the online Craftsy course The Couture Dress taught by Susan Khalje.)  This meant that I would 1) make a muslin for fitting and pattern tracing; 2) underline the entire dress with silk organza; 3) eliminate the separate neck facing; 4) finish all the interior seams by catch-stitching them to the underlining; and 5) line the entire dress, which I did using Bemberg instead of china silk (more on that in a bit).

There were a number of decisions/problems/successes involved in making this dress. First, the nature of the fabric is that there are slight imperfections in the weave, and it is quite loosely woven, making it quite susceptible to raveling.  When I laid it out to cut it, I wanted to avoid any obvious imperfections front and center.  Patterns with kimono sleeves demand large expanses of fabric and thus do not allow a lot of jiggling of their placement.  I can honestly say that I had JUST enough fabric and not an inch more than I needed!

One of the first problems I realized I was going to have concerned the buttonholes.  I quickly discovered that the loose weave of the fabric meant that I was not going to be able to make bound buttonholes using self-fabric for the “strips”.  I considered using a plain black wool for these strips, but I thought that would be too much of a contrast.  Well, now I know why I save all kinds of scraps from previous projects – you never know when one of those random pieces of fabric will come in handy.  I spied a scrap in my fabric closet and quickly decided that one part of the weave would be perfect to delineate those buttonholes:

I used the "gray"portion of this windowpane check for the buttonhole "strips".

I used the “gray” portion of this windowpane check for the buttonhole “strips”. Click on the photo to see this up close.

An inside look at the buttonholes in progress

An inside look at the buttonholes in progress

And an outside look...

And an outside look…

When it came to deciding on buttons, I could not find any I liked.  But I remembered some buttons I had sewn onto a RTW jacket several years ago (to replace the ones that came on it.)  They have a “herringbone” look to them – it’s very subtle, but effective.  The jacket is one I haven’t worn in a couple of years, so I just robbed the cuffs of their buttons and used them on my dress.  (Now I guess I know for sure I won’t be wearing that jacket again!)  But – the buttons are perfect for this dress.

My buttons of choice!

My buttons of choice!

Choosing to use couture techniques was a “dress-saver”.  The larger seam allowances took away the panic I might have felt, once I realized the fabric frayed so easily.  And finishing off each interior seam with catch-stitching controlled the fraying and helped the seams to lay perfectly flat.

Eliminating the separate neck facing was also a bonus to ease construction.  First of all, I wanted to widen the neckline, which I worked out in my muslin.  Using the seam allowance and hand-applied, under-stitched lining for the neck facing made it lay flat, and of course, it’s not itchy either!

The "couture-constructed" neckline, before the lining is attached.

The “couture-constructed” neckline, before the lining is attached.

Even though I did not have “plaids” to match, I needed to pay close attention to the rows in the herringbone weave, so that none of them were crooked.  This is where Clover two-pronged pins (recommended by Susan Khalje in The Couture Dress class) came in handy and helped me keep those rows lined up evenly.

Clover "fork" pins

Clover “fork” pins

Finally, I decided to use Bemberg lining fabric instead of China silk because I thought it might be a bit more substantial for this somewhat heavy weight wool.  When I was deciding what color to make the lining, I considered ivory, black, and even a bright color, such as red.  But I settled on deep gray, and it seems just right.

In fact, everything about this dress seems just right.  It is delightfully rewarding when a pattern does not disappoint – and when it turns out to be a complete winner, well, that is reason to make it again (which I will)!

I can wear this dress as a sheath, unbelted, but I love it with this Coach black belt.

I can wear this dress as a sheath, unbelted, but I love it with this Coach black belt.

The back view

With a touch of emerald green for the holiday season

With a touch of emerald green for the holiday season.

With green gloves for a '50s' look!

With green gloves for a ’50s’ look!

And another back view.

And another back view. Alpaca is a very warm wool – so this dress is very cozy.

For now, however, my sewing room is “gift-wrap central”.  The colorful ribbons, paper and tags are cheerful tokens of a season of blessings and family and home.  To all of you celebrating the season, may it be a time of great peace and love for you and yours. And, as I  take a couple of weeks “off”, I send a heartfelt Merry Christmas from me to you…

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Filed under bound buttonholes, Buttons - choosing the right ones, couture construction, kimono sleeves, side-placed zippers, Uncategorized, underlinings, vintage Vogue patterns from the 1950s, woolens

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December 12, 2012 · 1:52 pm

Green, green, and more green

When Pantone announced the color of the year for 2013 last week, I was immediately smitten.  Actually, I’ve been smitten with Emerald Green (Pantone 17-5641 TCX) for as long as I can remember – and finally, finally, it’s going to be center stage again after at least 30 years in hiding (as deliciously detailed by Christina Binkley on the Personal Journal front page of The Wall Street Journal on December 6.)

My initial euphoria turned to smug (yes, I admit it!) satisfaction.  Why is this?  Just this Fall I had seen emerald green silk matka on the website of Waechter’s Fine Fabrics.    Well, I sent for a swatch and upon its arrival I speedily ordered three+ yards. I knew I would have to make a Spring suit out of this fabric.

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

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

Of course, this was before Pantone made its announcement. And although I still would have purchased it even if this shade of green were the “uncolor” of the coming year, I’m looking forward to being stylish, to boot!

But wait, that’s not all!

Much earlier in the year, I had purchased this yardage of Moygashel linen from an Etsy shop.  What attracted me to it was that emerald green is featured so dominantly in it.  I’ve shown this fabric before on this blog, but I could not resist showing another peek at it.  I still keep thinking it would make a gorgeous Spring coat… or pants.

The emerald green in this design really makes it pop!

The emerald green in this design really makes it pop!

Finally, this color – this Emerald Green – has given me the perfect opportunity to tell (and complete) a story about a dress I made for myself in 1980 – and share some wonderful, wonderful family news, too.  Here’s the pattern:

Yes - it is for a maternity dress... from 31 years ago.

Yes – it is for a maternity dress… from 32 years ago.

And yes, I made it in Emerald Green:

With a few hang lines after 32 years!

With a few hang lines after 32 years!

DSC_0737

A detail of the yoke. I chose two pearl buttons from my button box of 32 years ago to add a little interest.

This was a piece of Pendleton wool I picked up on sale in the Fall of 1980 when I was scrambling to make some dresses for my first pregnancy (our daughter was born in April 1981).  I loved the color and thought it would be quite beautiful over the holidays. In fact, two years later, when I was pregnant again (with our son), I wore it for our Christmas photo:

.

Our growing family, in 1982.

Whatever possessed me to save this dress, I’ll never know.  I actually saved all the maternity clothes I made for myself.  I dug them out of the cedar closet this Fall to show to our daughter (the little girl in the photo)– who (taa daa!), with her husband, is excitingly expecting their first child (our first grandchild!).  Whatever thoughts I had about the suitability of these dresses for “today’s” pregnant style made both of us laugh!  My daughter will not be wearing vintage maternity dresses, even if one of them is an au courant color.  But oh dear, the wheels started to turn in my head.     Hm-m-m-m, why not take this green “tent” and make a skirt for MYSELF out of it??  Wouldn’t that be a story to tell?

So now, I’m realigning my winter projects.  Come January I’ll be seeing and sewing GREEN.

By the way, Pendleton fabric yardage used to come with labels to sew into finished garments.  I never sewed the label into this dress, but here it is:

A pristine label, still attached to its card.

A pristine label, still attached to its card…

... with care instructions on the back.

… with care instructions on the back.

This time around I plan to use it!

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Filed under 1980's dress patterns, Uncategorized, vintage Vogue patterns from the 1970s, woolens

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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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Filed under hand-sewn zippers, Uncategorized, woolens

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