August 9, 2012 · 5:33 pm

Eating my words.

I never expected to find a pattern from the decade of the ‘80s that I liked, as my refrain about fashions from that span of time has always been:  “Those ’80s’ styles were just too awful”.  But I humbly ate my words when I finally found a pattern (from an Etsy shop) for a sarong skirt, which just happens to be from 1985.

I won’t be making the bra top… And notice the “big” shoulders on the blouse, which otherwise would be kind of cute, I think!

It’s quite obvious where the Vogue pattern designer got the inspiration for this sarong and “bra-type top” look.  Here is the scoop from Fairchild’s Dictionary of Fashion , p. 395 (Fairchild Publications, Inc., New York, New York, 2010):

“Long straight wraparound skirt made of bright-colored tropical design fabric with deep fold in front, held on by a scarf around waist.  Worn by men and women of the Malay Archipelago.  Adapted as a beach dress style with wraparound skirt draped to one side and strapless top first designed by Edith Head for Dorothy Lamour film Hurricane, in 1937.  Worn by Lamour in many films of the 1930s and 1940s. [my emphasis]

This sketch accompanies the entry for sarong skirt/dress in Fairchild’s Dictionary.

The original owner of the pattern made the long version skirt while I decided to make the shorter version.  She left cryptic notes throughout the instruction sheet.

Here is an example of some of the notes which the original owner made on the instruction sheets.

I made some of my own notes, but I wrote them on the muslin which I made to test the pattern before cutting into my fashion fabric.   I am glad I did, too, as I discovered that the overlap for the skirt was not quite enough for a “street” skirt (as opposed to the beachy/resort intent of the pattern).  So – I made the side panels each about 2” wider.  Then to make the waist still work, I added a dart in the left side front (which is the hidden side of the wrap).  I  made the ties each about 2 inches longer, as I thought they would be more becoming and lay flatter if they had a little more length to them.

Here is the diagram from the envelope which shows the thumbnail details of the two skirts.

I had picked out this tropical-look fabric, ordered a swatch, then the yardage from B & J Fabrics in New York.

Here’s how it all turned out:

Not quite Dorothy Lamour.

A close-up view, showing the ties.

When I was putting my new skirt in my closet, I spied my chartreuse green Tommy Bahama top, which is almost vintage itself, it’s so old.  But, h-m-m-m-m, the wheels started turning and I paired the two together here:

The green in the top actually matches the green in skirt better than it shows here. Just wish I had some green shoes to match…

From 1937 – to 1985 – to 2012, I suspect this is one style which will never go out of style.

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August 1, 2012 · 10:48 pm

Parlez vous français?

Unfortunately I do not – yet.

It is undeniable that French is the universal language of fine sewing.  I have found myself often going to my copy of The Vogue Sewing Book (copyright 1970 by Vogue Patterns, New York, New York) to check translations and pronunciations of certain French fashion terms in the list at the back of the book.

A few weeks ago I picked up a paperbound copy of this Vogue Sewing Book from 1963:

Notice the price on this paperback book: $1.00!

I was intrigued by the teasers on the front, such as “High Fashion Sewing with Professional Skill”, “Profiles of Europe’s Great Designers” and especially by “How to Become America’s Best-Dressed Woman.” (I figured that was one tutorial I did not want to miss!)  What I didn’t know was that the final page of this book is a “Glossary of French Fashion and Sewing Terms.”

One page – full of information…

I just assumed that this list would be the same as the one in the hardbound book I already owned.  Not so!  While there is certainly some crossover of terms (such as the common ones:  au courant, boutique, couturier and couturiere, chic, haute couture, vendeuse, volant, etc.), other terms appear on only one list, such as amincir (1963 book, meaning “to make thin, look slender”), gens du monde (1963 book, meaning “people of fashionable society”), and chemise (1970 book, meaning “blouse or style with manshirt details”).  At least one term is two variations on the same meaning – and very much in our vocabulary today:  confectionne (1963 book, meaning “ready-to-wear”) and prêt a porter (1970 book, meaning “ready to wear”, but with this addition: “more current than ‘confection’”).

I like to think that I began my “French lessons” last summer, when I purchased this silk neck scarf from a vendor at The Vintage Fashion and Textile Show in Sturbridge, Massachusetts.  (I blogged about this fun day with my daughter back in January):

French for beginners!

Of course, this scarf has its own share of fashion and sewing terms featured on it:

It’s quite appropriate that the needle and the hand are side by side.

A stylish green dress.

A diamond and a fan to complete your outfit!

I guess I must be attracted to alphabet-related textiles –  like this one, which I purchased online from Britex last Fall:

A lustrous crepe de chine.

The tell-tale selvedge edge.

A design by the house (“chez” in French!) of Marcel Guillemin, Paris, it very subtly spells out that name in the letters.  I have two yards of this beautiful fabric, and I keep seeing it as the lining in a Chanel-type jacket…

It is plans like this and some of those beautiful French fashion/sewing terms that help to inspire me to become a better dressmaker.  Something else, too, is inspiring me to dare to think of myself as being my own “couturiere”: my enrollment and active participation in The Couture Dress, on online Craftsy course taught by Susan Khalje.   I am currently working on my muslin (also known as “toile”) for my version of the class-suggested “fourreau” (fitted or semi-fitted, sheath-like dress).   I may not be thinking in French yet, but I am definitely dreaming in it!

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July 26, 2012 · 10:18 pm

It’s a wrap!

What could be easier than this: a garment with no buttons and no buttonholes, secured by sashes which can be forgiving to your waistline and still be flattering?  Diane Von Furstenberg immortalized the “wrap dress” in the early 1970s; its many variations became available to home dressmakers through the Vogue Patterns Designer series, and those original patterns now command significant prices on eBay and Etsy.

This is the label which was provided to purchasers of Diane Von Furstenberg patterns.

But – what came before Von Furstenberg’s classic dress?  Many of us remember our “wraparound” skirts from the ‘60s and ‘70s – some were “reversible”, some were made of a lightweight sailcloth type of fabric and were kind of stiff, some were gathered, and some were A-line.  Towards the late ‘60s, according to The Fairchild Dictionary of Fashion (3rd Edition, Fairchild Publications, Inc., New York, 2010), the term “wraparound” was shortened to just “wrap” – and that is the term we know and use today.  The illustration in this book surely is based on DVF’s classic wrap dress.

Who wouldn’t recognize this as a DVF dress?

One of Diane Von Furstenberg’s famous statements is “I design for the woman who loves being a woman.”  (Think dresses!)  In The Saint James Fashion Encyclopedia (Richard Martin, author; Visible Ink Press, Detroit, MI, 1997), she is quoted:  “…I believe in marrying fashion and function – chic style and easy comfort, maximum impact and minimum fuss.”  It’s easy to see that she practiced what she preached (and still does…) when you look at this Vogue pattern:

A classic style by Diane Von Furstenberg.

About the time I purchased this pattern on Etsy, I saw this fabric on Mood Fabric’s website:

This is a cotton twill, but it’s stretchable!

The bright, happy design reminded me of some of the original DVF-designed fabric, although this fabric is actually by Oscar De La Renta.  No, it wasn’t a stretchable knit which the pattern stipulated, but it was a stretch fabric, so I took a gamble and ordered it with my DVF pattern in mind.

I actually liked the heavier weight of this fabric (I’ve never been a fan of sewing jersey knits), but I had to be extra diligent to minimize bulky seams on the interior of the dress.  Instead of self pockets, I made the pockets out of some leftover white silk lining fabric from my raincoat.

One of the pockets.

Instead of turning under edges on the facings, I double-stitched and pinked the edges, and used stretchable hem tape for the hem.  It all seemed to work and here is the finished dress:

This cheery fabric could brighten any day!

A bit of a back view.

I was thrilled to get that original label with my pattern – and here is the finishing touch for my DVF wrap dress:

My final stitches on this dress were to attach the label.

Feminine, timeless, versatile:  her dresses are more than fashion – they are enduring style.

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July 19, 2012 · 1:30 pm

Chance of Sprinkles

Whatever possessed me to decide to make a coat during this hot, hot Summer?

Actually, I have a (somewhat logical) answer to that question!  For starters, it’s a raincoat.   And how I came to sew a raincoat is a good example of what keeps the wheels in my head turning!

While perusing the website for Britex Fabrics last Summer, I came across its offerings of rainwear fabrics.  Just out of curiosity, I took a look at them, and I was immediately smitten with the “French Winter White Water-Resistant Rainwear Fabric”.

The woven “wave” design in this fabric really caught my attention.

I sent off for a swatch, which confirmed for me the graceful woven design and lovely creamy color inherent in this fabric.  A subsequent trip to California gave me the opportunity to see the fabric in person, and I decided it was time to “commit”!  I had frequently felt the need for a “dressy” raincoat, so I thought, “Why not make one?”  I also knew I had the perfect pattern  – this “swing” coat design from 1957.

I remember swing coats from my childhood – and now I have one!

I figured the kimono sleeves and the loose fit would be great for wearing over  dresses or suits, and the collar can be worn turned up or folded down, depending on the inclement conditions!  Well, it only took a year to get to it, which I decided was long enough.  Oh yes –  I had one more incentive to “get to it”. When my friend, Nancy C. opened up her family’s button box for me to pick out some treasures, I spied this beautiful single glass button:

I placed this button on a piece of black velvet so that the design would show up. It is a little more than an inch square in size.

The design in it reminded me of raindrops – perfect for a dressy raincoat, and, I thought, a perfect complement to the fabric, already in my possession.

Of course, every pattern and project seems to demand certain changes or adaptations, and the count for this one stands at four:

1)   I took a little fullness out of the front side panels.  When I made a muslin mock-up of the pattern, it just seemed a little too full for my frame.

2)   I added pockets to the side seams.  I can’t imagine any coat without pockets, but a lot of the vintage styles (dresses and coats) did not have them.

Here is one of the pockets under construction.

3)   Because I wanted to use the glass button, I decided to put in a bound buttonhole instead of using the buckle and band detail as shown on the pattern. (I did make and attach the back belt, however.)

Here is the bound buttonhole placed in the front right section – before the facing is attached.

Here you can see the button and finished buttonhole. Click on the photo to see it in detail.

4)   With just a single closure at the top of the coat, I thought I needed something lower on the coat as well, to keep it closed in windy, rainy conditions. However, I didn’t want to interfere with the look of the coat when I might be wearing it open.  Here’s what I came up with:

I made a “tab” with buttonholes on each end.

I made machine buttonholes in the tab.

I placed the buttons for it on the inside facings on either side of the coat, about halfway between my waist and  my hips.  It can easily be buttoned to secure the coat, and when I unbutton the left side, the button on the right side allows it to fall down, hidden from view, but easily accessible.

This shows the inside of the coat, with the tab buttoned.

And this shows the tab unbuttoned on one side and hanging down, out of sight – inside the coat.

A few more details about construction:  The rainwear fabric is an acetate/rayon blend which I underlined with rayon voile.

Here is the coat, showing the underlining, before I attached the lining by hand.

I lined it with a pure silk lightweight twill in white.  I would have loved to have lined it with a neat polka dot silk, but I didn’t want any “shadows” of a printed lining to show through.  Guess I’ll just have to dress it up with polka dot scarves instead!  The rainwear fabric was very easy to work with – surprisingly easy, actually.  It drapes beautifully for a pattern like this.  Speaking of patterns, this one was so precise and cleverly engineered (especially the collar), turning it into a really fun project!

Here are some finished views of my new dressy raincoat:

More of the same…

Hopefully you can see the “belted” back in this view.

Making a garment like this during the Summer months means that I had to be prepared for “delayed gratification” as I probably won’t have a chance to wear my new raincoat for at least a couple of months.  However, when a future Fall or Winter forecast is for “Chance of Sprinkles” – or even full-force rain – I’ll be ready!

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July 11, 2012 · 12:30 pm

Decisions, Decisions.

For several years my mother-in-law had a sign on her refrigerator stating “So many men… So little time”.  As a wife and a mother of three sons, I guess she was either telling the truth – or maybe doing a little daydreaming.  I don’t post things on my fridge, but if I did, it might read, “So many patterns… So many decisions”.  And that, too, would be a combination – of the truth – and quite a bit of daydreaming!

Usually as I am working on an item, I am already thinking about the next one – and I often know what pattern I’ll be using next.  However, I finished my silk tunic not quite decided yet.  I figured I was ready to tackle something a little more complicated, after the easy construction of the tunic (and a few days off doing other things!)  So what was it going to be?  I had it narrowed down to these five patterns/projects:

1) View B of this dress (for summer), made up in a Moygashel linen, with a contrasting belt.  This pattern has persistently been popping in my pattern box ever since I purchased it on Etsy  in early January.

The length of this dress as shown on the envelope is very 195os. I’ll be making it in knee-length.

2) No, this pattern is NOT vintage.  I signed up for The Couture Dress class taught by Susan Khalje on Craftsy, and this is the dress pattern which is sent with class enrollment.  Actually, views A and C both have a 1960’s feel to them – classic and chic!

So – what will it be? Sleeveless or short sleeves? It will definitely be the straight-skirt version. And I love the square neckline.

3) Ah, Molyneux!  Another short-sleeved dress to be made in linen.  The seaming detail is so lovely on this design.  I will have to practice my “pouty” look, however, if I hope to look an inch as good as the model on the envelope.

The kimono sleeves have gussets, which will make this dress comfortable to wear.

4) After missing out on several Diane von Furstenberg-designed patterns on eBay, I was very excited to find this one in my size on Etsy in mid-May.  What is it about D von F’s dresses that makes them so timeless?

I owned this pattern in the ’70s, when I bought it for $1.50 at my local fabric store. Sadly I didn’t save it or the dress I made from it, so I had to buy it again! I originally made it up with short sleeves, but now I prefer the sleeveless version.

5) I featured this pattern in a post shortly after I started my blog.  Whether you call this a “swing” coat or a “clutch” coat –  it’s 1950’s style has been in my mind for months!

I love this coat with the sleeves pushed up, as shown in blue.

The truth of the matter is that I will eventually be making dresses or a coat from all these patterns, but as I usually work on only one project at a time, I had to choose just one.  Which one?  It is underway as the thread- and scrap-covered floor of my sewing room will attest!  I made my decision . . . but I have many stitches to go – and many stitches to go – before I can post it.

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July 4, 2012 · 4:15 pm

Sewing America

Much has been made of the legend of Betsy Ross and the making of the first American flag.  Although the facts of the legend can be disputed, Betsy was, above all, a talented craftswoman, a wife, mother, grandmother, and patriot.  The definitive biography of Betsy Ross, Betsy Ross and the Making of America, was written by Marla R. Miller (member of the Department of History at the University of Massachusetts) following years of research, and published in 2010. Although I read it almost two years ago, I still reflect on the fascinating facts I learned from it and the captivating story it told me.

The book jacket of this excellent biography.

In it, the reader is introduced to an amazing woman, who was married and widowed three times, had seven daughters, helped raise several nieces in addition to her own children, and who eventually was grandmother to over 24 children.  And – throughout her life, she sewed for a living, doing upholstery, drapery and mattress making, and of course, flag-making.  Marla Miller’s biography reads almost like a novel, and by the time I finished it, I was in wonder at how much Elizabeth Griscom Ross Ashburn Claypoole accomplished in her 84 years.  For anyone who sews, or enjoys history, or simply wants to know what life was like before, during and after the American Revolution, I cannot recommend this book highly enough!  It’s a great read.

So – here’s to the memory of Betsy Ross, talented and gentle American artisan, on this Independence Day 2012.  May all of us who love to sew strive to leave such a legacy with our own needle and thread.

A very small basket, signed Asheville, NC 1904, filled with my three “patriotic” woolen strawberries.

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June 26, 2012 · 10:05 pm

“You are going to have some new clothes.”

So said the fortune which was tucked inside my cookie.  What it failed to mention was that I was going to be the one making those new clothes, but otherwise I’d say it was right on target. Well, it seemed only fitting that, with this Chinese dictum, and with my burning desire to use those shell buttons (which kind of give off an exotic aura), I should indulge my attraction to Asian-inspired clothing design, and make this tunic my next sewing project.

The date on this pattern is 1958. The envelope is in sad shape, but the pattern pieces are fine!

I had another reason, too, to choose this tunic pattern.  After my last project, the Pierre Cardin silk dress, I was ready for something that did not need to be underlined or lined – and I was ready for something casual and fun.  I might add “bright” to that list, too, as the fabric I chose is indeed that!

This is the swatch I ordered from B&J Fabrics.

Just a reminder (if you need it) that I wanted to use these buttons for this tunic.

I had the fabric swatch sitting on my ironing board in my sewing room when I started work on my “Pierre Cardin” dress.  The pink silk from that dress complimented this silk check so much that, putting the two together seemed inevitable.  I played around with some small scraps, scrunching them around those orange shell buttons, still on their card.  What could be more perfect than making the buttonhole loops and details out of the pink fabric, to set off those shell buttons?  I was sure that would be much more effective than making the loops and details out of the same checked fabric.

I ordered enough fabric to make a matching obi-type sash, as I thought I might want to wear the tunic “belted” sometimes, too.  (In the back of my mind is the knowledge that I have enough of that pink silk left, that I can make a skirt – or blouse – with it.  I’m definitely leaning towards skirt…)

First, of course, I set out to make a muslin.  When I opened the pattern, the pieces for the dress had been previously used, but not the pieces for the tunic.  The collar was universal for all three views.  However, in addition to the tissue collar, there was a collar piece cut out of newspaper.

Here are the two pattern pieces for the collar – the top one cut by the original home sewer.

There was nothing written on the instruction sheet or envelope to explain this mystery – and it appeared that the “newspaper” collar was shorter in length than the tissue pattern.

Here you can see the newspaper pattern is shorter than the tissue one.

Having no explanation, I just decided to use the tissue pattern – and I figured the muslin would tell me what I needed to know.  Did it ever!  The collar included with the pattern is too long for the neckline, so this home sewer in the late ‘50s re-cut it to fit her pattern.  I decided to take another approach: I kept the tissue collar and widened the neckline enough so it fit perfectly.  I also decided to shorten the shoulders a bit, for a more structured fit, and I took the center back seam in a bit at the waistline.  I ended up adding long tapered “floating” darts to each side of the back, too, to give it a little more definition to the waistline –  but I am getting ahead of myself…

As is my method of approaching a new project, that is, getting a few things constructed before I need them, I decided to make the obi sash first.  I just kind of guessed for width and length, making it 4” wide (finished width) and 77” long, so it could go around me twice comfortably with a double knot in front.

The completed sash.

Next I made the button loops and details.  The pattern didn’t give too much instruction on these pieces, other than the length they should be and the finished width (1/4”).  (I should mention here that I decided to put 5 buttons on the tunic, not 4 as is shown on the pattern.)  I cut bias strips 1”wide, folded them in half lengthwise, sewed the seam twice and turned them with a bodkin.  Nice and easy!

From top to bottom, the making of the strips for the buttonholes and details: 1″ wide bias strip, one folded and stitched, one turned and finished! (Click on the photo to see these close-up.)

I put flat-felled seams in the sleeves and added interfacing to the front edges even though the pattern did not call for this.  The most time-consuming part of the whole thing was hemming the ends of the buttonhole loops and details and then sewing them onto the tunic.  But that’s really what the project was about – showcasing those buttons in an appropriate way.

The finished tunic, with the sleeves folded up, as they are supposed to be.

A close-up of the front, with the button detailing.

An even closer look at one of the buttons and loops.

This photo will make my daughter very happy! Here I am modeling my new tunic, with sash.

One more view of the sashed tunic. Picture this with a narrow skirt in that same solid pink…

I think it works – what do you think?

One final thought:  fortune cookies are a little like potato chips (or chocolate!) – it’s hard to eat just one.  Yes, my first cookie was followed by another one – and I was hoping for a similarly enticing fortune.

Imagine my surprise when my second fortune was exactly the same as the first one!

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June 19, 2012 · 6:14 pm

What should a button do?

The last several things I have sewn have been button-free, using zippers or hooks to accomplish that all-important task of “closure”.  I’ve discovered I can go button-free just so long, and then I have to indulge my passion for those small wonders, with their miraculous power to be both eye-catching and practical.

I will leave a serious discussion of vintage buttons to the experts, but looking anew at some of my still-carded vintage buttons has revealed some interesting tidbits, too good not to share.  For example, it seems a lot of attention was given to “presentation” of the buttons on their cards.  These Luckyday buttons not only have a sweet lady on the front of the card, there is also a “Handy Rule for Mending” on the back.

I am guessing these buttons are from the late 1930s or early ’40s.

I love this feature!

It also seems that patriotic themes were commonplace.  There is no company named on these buttons, just the American eagle on a shield with the words TRADE MARK.

These simple buttons are quite eye-catching on this deep red card.

This is one of my favorite button cards of all time, the Maid in America. I doubt I’ll ever use these buttons, as it would seem a shame to take them off this amazing card.

This button card is like a small piece of folk art!

La Mode buttons are still manufactured – and still “Superior Quality”, and Costumaker buttons were “made in the U. S. A.”.

Two well-known button companies!

La Mode advertised frequently in Vogue Pattern Book magazine.  This ad from the October/November 1956 issue has the byline:  “You can tell just from the buttons it’s an important outfit!”

An ad from February/March 1958 features a fashion picture which looks incredibly timely today!

The featured fashion colors are certainly right for 2012!

And by 1960, their ads were beginning to take on a more modern look.

This ad appeared in the October/November 1960 issue of Vogue Pattern Book magazine.

Costumaker buttons also advertised in Vogue Pattern Book magazine.  In August/September 1958, this ad had the byline “Buttons that are more than buttons.”

This ad from April/May 1963 asks the question:  “What should a button do?”  Read the ad to get the answer!

One thing I know a button CAN do is be small but powerful!  The real truth of the matter mentioned in my first paragraph is that I have a set of buttons which I must use, as they have occupied my mind for the past weeks since I received them – it’s really quite that simple.  But they are not simple – they are actually quite demonstrative, and therein lies the rub, to paraphrase from Shakespeare.

The buttons which won’t let me sleep! Notice the American eagle motif on the card!

I have been pondering how to use them and with what color and type of fabric to pair them.  They deserve the perfect venue for more reasons than one.  They were gifted to me by my dear friend, Nancy C., who, when we met for coffee a couple of months ago, met me with her family button box in tow.  She invited me to pick out any buttons which I thought I could use for future sewing projects!  When I got past my incredulity at her offer, I picked out a few amazing single buttons (which you will see eventually) and about three beautiful sets of loose buttons.  These orange shells, however, sewn neatly to their original card, kept catching my eye (how could they not??)  At first, they struck me as just too orange.  I wasn’t sure I would ever be able to use them. Nancy and I kept talking about them over our coffee, pondering their color and shape, and then, before I knew it – I was hooked.

So you know by now that they came home with me.  And something with so much personality moves up in priority on the sewing list!  You’ll soon see them sewn onto a “Fifty Dresses” creation.   Thank you, Nancy, for this amazing gift, which is only eclipsed by your generosity and friendship!!

A little closer look at these bright beauties!

Stay tuned to see them doing what good buttons should do…  Gulp!  I’m hoping to do them justice!

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June 11, 2012 · 6:25 pm

Destiny met – Pierre and me.

Back in November I wrote about finally locating some lovely pink and navy blue silk, which I had squirreled away after never making it up in the pattern I had purchased for it.  Both the fabric and that pattern date from the late 1980s, and I must have known even then that this beautiful silk deserved a better dress design than was available during that era of big shoulders and more big shoulders.

Pink and blue silk which I had never used.

So when I found this pattern in my size on eBay several months ago, it seemed destined to be interpreted in my pink and navy silk.

A Pierre Cardin design, circa 1970, in the Vogue Designer pattern series.

Specifically, I envisioned it made in the sleeveless version in pink, with a contrasting navy blue yoke (and without the side slits).  I had just the right yardage of navy silk to accomplish this feat, and plenty of pink.  Not only that, I knew an event was approaching when I would want to wear a dress of some elegance.  What could be more perfect than that?  The right fabric and pattern matched with incentive gets the project underway in a jiffy.  My affair with Pierre (as in Cardin) was about to begin.

(Interestingly enough, back on February 25, this article ran in The Wall Street Journal, featuring some Spring dress designs from Victoria Beckham.  Does the look of the pink and black dress seem familiar?):

A variation of the Pierre Cardin dress? No – a “new” design!

Well, as is often the case with sewing, nothing is quite as easy as it first appears.  The pattern called for an underlining and a lining.  (Hm-m-m-m, I thought, this could get time-intensive!)  Because I did not want to interfere with the fluidity of the silk fabric, I knew I needed an underlining fabric with minimal weight, but good stability.  I found just the perfect thing from Dharma Trading Co.:  rayon voile.   I ordered what I needed (and then some extra yardage for future projects), and it seemed like about two hours later it arrived.  Actually it was two days later, but considering it was being shipped across the continent from California to Pennsylvania, that’s what I call excellent service!

During those two days, I headed off to Joann Fabrics to find lining fabric, thread, zipper and hem tape.  I was delighted to find Gutermann silk thread in a pink which perfectly matched my fabric. While a pink lining fabric to match was sadly elusive, I went with a navy blue lining fabric instead.

I made the dress lining first, and it was kind of nice to have this part of the dress sewn and set aside until needed.  I did my normal basting of the underlining to the silk as shown here.

Basting on the bodice yoke.

The scallop detail called for stuffing with lambs wool, but I used two layers of drapery weight flannel instead.  This small section of the dress took a long time to complete.

This shows the underlining and the facing for the scallop detail.

Here is what the inside of the scallop part of the dress looked like before I attached the lining.

I put the zipper in by hand, and understitched the neck and arm facings by hand as well, to make a nice, neat finish.  The pattern called for the lining to be sewn in place by hand, so my fingers were certainly doing a lot of stitching!  About this time I was beginning to wonder why I always make things so complicated.  Here is the hand sewn zipper application.

I love the look of hand-sewn zippers!

Here is the front of the dress

. . . and here is the back.

When I purchased the pattern it came complete with a Vogue label, which I was only too happy to apply to the inside neck edge as the finishing touch!

You can also see the hand-sewn-in lining in this photo.

Yes – I completed the dress in time to wear for the intended event!

The good news, other than the fact that this dress is finished?  Two things – one being that I still have enough pink silk to make a skirt or a blouse, not sure which yet.  The other is that I can start another project now that my fling with Pierre is happily over!

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June 4, 2012 · 1:36 pm

Strawberry Season

It is strawberry season here in southeastern Pennsylvania right now – the juicy red berries are available at farmers’ markets and local farm stands, begging for attention with their vibrant green caps and happy demeanors.  Although the season is short for these local fruits, it just happens to be strawberry season all year ‘round at my house.

Several years ago (I think in February, 1999 – yes, I’d say that was several years ago!), there was a crafts feature on “strawberry pincushions” in Martha Stewart Living magazine.

Here is the page from Martha Stewart Living Magazine which featured these “strawberry pincushions.”

I was immediately smitten with these tiny treasures.  However, instead of pincushions, I envisioned them strictly as little woolen fruits to put in baskets and on display in various corners of my house.

A plump woolen berry, inspired by the feature in Martha Stewart Living Magazine.

I made three variants of the pattern, small, medium and large, with corresponding sizes of “caps” .  After a few trials and errors, I had a routine in place to make these little whimsies.  First I cut out quite a few of the “curved triangle berry pieces.”  Next I sew the side seams all on the machine.  Then, working on one at at time,  I hand sew a running stitch around the open top.  Next comes the stuffing, which is simple fiberfill, although they could be stuffed with wool roving or even cotton balls!    Once they are nicely stuffed, I pull the thread to close them up, secure with a knot, but leave the thread and needle attached.  Next comes the beading, which is totally at random, and so much fun to do!  Just poke through the fiberfill with the needle out onto the surface of the berry – one loop through a bead is all you need.  Go from one bead to another, rethreading as needed. For the first few I made, I followed the magazine directions for “French knot” seeds, but I’ve never been able to make French knots that I am happy with.  I really like the little bit of glimmer that the beads add to the berries – kind of like the real thing!  Then after the beading, I stitch the tops on, making “veins” with thread.  Before you know it, you’ve got a plump strawberry which will last forever!

Here is a gathering of some of my woolen berries, showing the various colors of wools I used. I couldn’t resist making some yellow berries.

A small basket brimming with woolen berries.

And a top-down view of the same basket.  You can see the “veining” in the berry cap on the far right.

By now I have made so many of these woolen berries that I gave up counting a long time ago.  I have given bunches of them as gifts, I’ve even sold a few, and I still make batches of them on and off throughout the year.   I save any little scrap of red, pink, green, tan and yellow wool to use for these berries.

Then, for a change of pace,  a few years ago I made a strawberry penny rug from a kit.

Unlike my woolen berries which hang out all year round on display here and there in my house, I usually only use this table-top penny rug during the summer season.

Here is a detail of the penny rug. The pattern called for French knot seeds, but I used simple short stitches instead.

While I love decorating with my berries, the strawberry motif doesn’t translate very well into classic wearable fashion  – or does it?  Here is some ribbon I have had stashed away since the early 1980s.

Red and green berries on a navy blue background.

Red and green berries on navy blue.

Here is a detail of the motif on the ribbon.

With just about 2¼ yards of length, I am thinking about making a semi-tailored hatband and bow from it.  Backed by a wide red grosgrain ribbon, I think it could be quite effective on the right wide-brimmed straw hat.

The red grosgrain ribbon sets off the strawberry ribbon quite well!

Finally, I can’t end this post without sharing this pattern from the early 1970s, which I have admired for decades.

From the Vogue Designer series, circa 1972.

When I had the chance finally to buy it in my size from Sew Vintage Ladies, an Etsy shop, I pounced!  While I usually do not feel any great attachment to the fabric and color combinations featured on any particular pattern, this one is an exception to the rule.  It must be the stunning combination of red and green (a la strawberries??) which draws me to this dress, and makes me want to make one in just the same color scheme.  The only notable change I would make is to the collar, whose long points I would tame a bit.

Dare I dream to be wearing this dress by the time next strawberry season rolls around?

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