Tag Archives: Britex Fabrics

A Rosy Sewing Year

It seems that every new sewing year – at least for me – does not start right on time, as I am always finishing up a project from the month of December. Such is the case in this early January of 2018. However, that does not keep me from planning and dreaming about the coats and jackets, dresses and blouses to come. I can’t help but think of the new year at hand as a “rosy sewing year,” because the fabrics that are in my queue right now share a common theme – so many are predominantly red or pink or peach or floral, a bouquet of colors and textures.

First up is this red and black “hounds tooth” boucle which I found at Mendel Goldberg. Yes, it will be a Classic French jacket, with a sheath dress to match.

I am planning some variations in detail and trim for this jacket and dress, about which I am excited. It is a big project, so I hope January gives me lots of sewing time! No doubt this will spill over into February…

As I mentioned in one of my December posts, I hope to make a coat from this vintage purple boucle I am so fortunate to own.

A few years ago I found this silk charmeuse (also at Mendel Goldberg) which I intend to use for a coordinating dress with the coat.

Other silks I would love to concentrate on this year are purchases made several years ago from Britex Fabrics in San Francisco:

This is a French crepe de chine.

This silk helps satisfy my penchant for polka dots.

Then there are two linens I never got to in 2017, one a geometric red and the other a ecru and black floral. I assume they are waiting patiently for me. Add to all this my determination to sew for my two little granddaughters and – there’s the year! (And can I possibly finish another classic French jacket next Fall?  We will see.)

But let me complete 2017 first. Whatever made me think I should start (and could possibly finish) another dress for myself in December I will never know. But that’s exactly what went through my head. I had plans to make taffeta “Cinderella” dresses for my granddaughters for Christmas presents, but thought I would sneak in some personal sewing time before I started on that project. Perhaps it was the pattern that made me do it? Or was it the fabric?

When I purchased this pattern at the end of last summer, I really had no idea when I would be using it; I just did not want to miss the opportunity to own it, knowing that I would surely use it someday. Little did I know that someday would be just a couple of months later.

Now it just so happened that I had draped this fabric, below, over my dress form so I could admire it while I worked on other things. I purchased this silk charmeuse from Mendel Goldberg fabrics in 2016 as an end cut, three yards in length.

I knew with three yards I would be able to use a dress pattern which called for more than normal yardage, and I had found a pattern in my collection which I thought I would use:

My idea was to lengthen the sleeves to three-quarter length.

But something just did not seem right. I could not get excited about that pattern in that fabric, even with three-quarter sleeves. Well, I had one of those proverbial light bulb moments when it occurred to me to use the Guy Larouche pattern for the champagne-colored, floral silk. It seems to be a perfect match. The bodice of the pattern is cut on the diagonal, and the meandering flower and vine motif in the fabric lends itself to both straight of grain and diagonal placement. I made my muslin (with quite a few alterations) and was really quite excited about the draped back, shown here in muslin:

And here is the front, minus one sleeve. The front neckline is a bit unusual and I think it will be flattering.

I got as far as transferring the markings onto the silk organza underlining, cutting out the fashion fabric, and basting the two layers together, all ready to start sewing. Then reality hit like a sledgehammer! I had to get those dresses for my granddaughters finished in time for Christmas (which I did, after some frantic sewing – and they love them, which made it all worthwhile!)

Just in case anyone would like to see these dresses, here they are. Big bows in back, and the sleeves are adorned with little bows. Very girly!

So that’s how I am now at this point, finishing up 2017, with the hope of starting the new sewing year one of these days – with my Guy Laroche dress perched in my closet, awaiting its debut. May the New Year be rosy and kind to all of us, and may it end with many sewing dreams fulfilled!

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Filed under Boucle for French style jackets, Chanel-type jackets, Coats, Linen, Moygashel linen, Polka dots, Sewing for children, silk, Uncategorized, vintage Vogue patterns from the 1960s

A Three Piece Outfit for the Holidays, Part 3: The Sash

The sash started it all. After finishing this silk taffeta coat last year, I was left with about 1 and ½ yards of that luscious coral fabric.

I just could not stand the thought of having that yardage sitting in my fabric closet, unused, as I found it so delightful to sew and to wear. That is when I got the idea to combine this fabric with the Guipure lace, also sharing space in that closet of wonders. However, my first thought was to make a blouse from the fabric and also use it as the fashion fabric for a lace skirt, knowing I would need at least one more yard to accomplish this plan. I contacted Britex Fabrics, from whence the fabric came, and to my dismay, they were sold out, with no more available to special order. Undeterred, I then came up with the idea of coordinating fabrics for the blouse and skirt, and using the coral silk to tie it all together. After receiving swatches of several silks from Britex, I settled on the bronzy brown and the apricot colored fabrics for the skirt and blouse, respectively.

A sash should really be straightforward, right? Well, yes; however, I thought it would be good if the sash had a slight curve to it to follow the curvature over the upper hip. That’s when I went to my closet and pulled out a silk sash that I purchased from J. Crew years ago. I had remembered correctly that it had a slight curve to it:

I often think of the tip in the book 101 Things I Learned in Fashion School, page 86: “When in doubt, look in your closet.” Looking at something that is “Ready to Wear” will often help you with construction methods or design ideas.

The J. Crew sash is 72 inches long. A trial tying of the bow proved to me that I needed to add more length to the sash if I wanted to tie a full bow at the waist, which was my intent. I determined that adding 12 inches would do the trick. Then I used that sash as a template to make a pattern, not quite knowing how sewing that long, slow curve was going to work (the sash has one long seam on the concave side of the curve, meaning that some give would need to be worked into that seam.) As it turned out, ironing was the trick to get it to behave correctly, as is so often the case!

84″ proved to be the perfect length to tie a complete bow.

I had to piece the sash in the center back, but I knew that ahead of time and it really does not bother me.

After trying on this completed outfit for the photos, I know that I need to somehow tighten up the interior waist of the skirt (you many recall from my last post, that I added what turned out to be unnecessary width to the circumference of the waist.) My blouse is not going to stay tucked in if I don’t, and the skirt feels like it is drooping on me. I am going to try adding interior waist elastic to straddle the side seams and see if that might do the trick. I am not about to take the skirt apart and remake it! And the sash should help conceal any bobbles in the waistline.

The “concealed zipper.”

It was cold and blustery when I took these photos! I could not wait to get back inside for a cup of hot tea!

Sewing for the holidays is such an anticipatory activity, and one that I love to do. There is already a festive feeling in the air here in late November, and so much more to sew…

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Filed under Blouses, Bows as design feature, Fashion commentary, Lace, Silk taffeta, Uncategorized

A Three-Piece Outfit for the Holidays: Part One, The Blouse

“Today blouses are not worn quite as much as they used to be and I think it is a pity.” So said Christian Dior in 1954. With that in mind, hopefully he would have approved of this Vogue blouse pattern from 1958:

You have already seen my toile of this blouse, where I worked out all the “kinks.” I liked it made up in muslin and now I am quite thrilled with it made up in silk dupioni, purchased from Britex Fabrics.

The iridescent quality of silk dupioni woven with two contrasting colors, such as this one, makes it an excellent fabric to use for “fancy” attire. The only reservation I had was whether it would be too stiff for use in a blouse. It is by nature rather “papery” in composition. I was a little concerned it might not have enough drapeability for this blouse, where a major focus is on the softly pleated sleeves. I did a little research, and of course, the first guideline I found was an admonishment not to wash dupioni! Doing so would diminish that papery nature. Well, that was exactly what I wanted to do – soften it a bit. Further research led me to an article in Threads Magazine from a few years back, where, indeed, a reader had successfully washed dupioni in her quest to make it suppler. Off to my washing machine I went with a large swatch for a (successful) trial run. Soon the entire two yards were gently swashing around in cold water on the delicate cycle. It took quite a bit of heavy steam to wrestle out the wrinkles, but I was left with a soft, drapeable fabric for my blouse.

Quite apparent in this image are the two contrasting threads, one fuchsia and the other bright yellow, which, woven together made a shimmery apricot color.

Buttons for a blouse such as this one are an important element. I knew they needed to be special, and what could be more special than vintage glass buttons from France? I found these listed in an Etsy store (YumYum Objects).

These glass buttons have silver accents, adding just a bit more depth to their appearance.

The listing was for a set of 6, and I needed 8 for this blouse. The French cuffs required two buttons each. These buttons were too perfect to pass up, however, so I decided I could use two buttons of another style for the rear-facing part of the cuff. I found a set of little, clear glass, ball buttons in my button box, which seemed appropriate and a good compromise!

The ball button on the back.

For some reason I always like to make sleeves first, so that is what I did. The French cuffs, by their very nature, of course, call for two buttonholes with two buttons looped together to thread through those openings, one on each side. However, I placed a buttonhole on the front part of the cuff only. I then sewed the two buttons together, back to back through the back part of the cuff, with the fancy button meant to thread through that single buttonhole and the other button to be stationary. I liked the idea that this method would hold the two sides of the cuff more tightly together.

The fancy glass button on the front.

This view shows the three pleats in the sleeve. In addition, there is a small amount of gathering which adds to the blouson effect of the lower sleeve.

Being a pattern from 1958, the instructions called for bound buttonholes, of course. However, due to the nature of the fabric, I decided machine buttonholes would make a nicer finish, so that is what I did (with a little hand-finishing on each one…)

The rest of the blouse was quite straightforward.

I took this picture with the sun streaming in one of my sewing room windows. It really shows the luminosity of the fabric.

I am so happy I decided to keep the released darts at the waistline. I think they will work beautifully with the skirt I have planned.

I gave my usual attention to hand-finishing the hem and facings (it just looks nicer!) and marveled again at the finesse added to this notched shawl collar by that small dart in the collar crease. Hopefully you can see this detail here:

That dart makes the collar turn beautifully.

Next up is a guipure lace skirt! I wonder what Christian Dior would have to say about that?

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Filed under Blouse patterns from the 1950's, Blouses, Buttons - choosing the right ones, sewing in silk, silk, Uncategorized, vintage buttons, vintage Vogue patterns from the 1950s

Tunic Time

Nothing says Summer quite like crisp white and bright navy blue. Pair those colors with an easy-wearing, dress-length tunic, and it is a recipe for comfort and versatility.

This is one of those projects which took a couple of years to evolve. I purchased the white polka-dotted cotton voile from Britex Fabrics about two years ago, thinking I would make a blouse. I considered patterns for it every once in a while, and then put it back in the cupboard. What was keeping me from moving forward on it was the fact I had over 2 yards of this 56” wide fabric, more than enough for a blouse. Using it for a dress seemed the more efficient way to proceed. All I needed was some inspiration.

Then last Fall, I purchased a copy of the then-newly-released The Tunic Bible by Sarah Gunn and Julie Starr.

Well, there is lots of inspiration in this book, and I especially was drawn to this style, but in a dress length.

Shown on page 65 in The Tunic Bible is this top. The combination of the wide split placket, the angled collar, and the split cuffs really appealed to me. All three are really lovely details. (I purchased my copy of this book on Amazon.)

(Now here’s a bit of trivia: a tunic dress is not the same as a dress-length tunic, according to the number one definition in Fairchild’s Dictionary of Fashion. A tunic dress is “a two-piece dress with a long overblouse worn over a separate narrow skirt,” although the definition was expanded a bit in the 1960s to cover a tunic mini-dress.)

Detail from page 459, The Fairchild Dictionary of Fashion, Third Edition, by Charlotte Mankey Calasibetta and Phyllis Tortora, Fairchild Publications, Inc., New York, New York, 2003

Back to my dress: I knew I wanted to embellish it with Petersham ribbon (which is so malleable and cooperative!) In choosing a color, I went for bright navy blue, also ordered from Britex Fabrics.

I actually have three tunic patterns in my collection, one just a couple of years old which I have used, one from the 1980s (also used), and this vintage one, not used yet:

The description on the envelope does not describe this as a dress length tunic, rather an “A-line dress with a caftan neckline.” But, of course, it has a tunic look.

But I decided to give the pattern included in The Tunic Bible a go. I transferred my size to pattern tracing paper and made my muslin. I knew I would have to line the main body of the dress (the fabric is translucent.) After considering two types of light-weight white linen, which I deemed not quite opaque enough, I went with white muslin.

The tapered darts in the back of the tunic are optional, but help to add some lovely shaping.

The first thing I did was make the stand collar, so that I could see how the blue Petersham ribbon would look; I was a little worried that the intensity of the blue color might be too much for the delicate white fabric, but I was pleasantly rewarded with a look I liked:

The first line of trim goes on…

The stand collar is such a flattering design, even from the back.

I used Dritz Wash-Away Wonder Tape to make the application of the ribbon precise. This was the first time I have used this product, and I thought it was wonderful! I haven’t washed my dress yet, but supposedly the Wonder Tape washes away without leaving a residue.

It is especially important to follow the sequence of construction when it comes to the front of the dress, as the neckline trim needs to be applied even before the bust darts are sewn. Once I had the front and back of the dress together, I decided it was a little too baggy (this did not show up in my fitting muslin, which sometimes happens…)   So, I added tapered darts to the front, which was an excellent solution.

Applying the trim to the hemlines required four mitered corners. One way to help get a precise corner is to use a straightedge to guide the miter. Here you can see I used the end of one of my little slide rulers which was the perfect width:

A nice, precise corner.

With the ribbon trim all applied.

And here is what the hem looks like on the wrong side.

One of the things I love about this color combination is its versatility. In these photos I have paired it with turquoise, but it looks equally good with accessories in orange, red, yellow, green, and of course, blue.

The darts I added to the front give the dress a nice fit. I also used a 12″ side zipper, or else I would not be able to get the dress on!

The dress is loose but not baggy.

Here I have the split cuffs hanging down. I think I prefer them folded back, as shown in all the other photos. However, it’s nice to have the option of wearing them either way.

I suspect there will be a couple more tunics to sew in my summers to come. If there will be in YOURS, I would definitely recommend picking up a copy of this book, if only for the abundance of photos and style options which are handsomely presented. I do recommend that you familiarize yourself with the layout of the book before starting your project. The layout is logical once you understand the formula, but it’s best to give the book a thorough study before you proceed.

And now, with my sights on Fall and Winter (I can’t believe I am saying that!), I think this will be the last of my sewing for Summer. However, I should end with this MEMO to family and friends: Expect to see me in this dress often over the next six/seven weeks.   It is Tunic Time, indeed!

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Filed under Book reviews, Linings, Tunics, Uncategorized, vintage Vogue patterns from the 1970s

Déjà vu

After completing my “Classic French Jacket” and its coordinating sheath dress, I wanted something easy – and relatively quick – for my next project. I didn’t think it was going to be another bathrobe, but that’s what it has turned out to be, to my great surprise.

Because we had such a chilly Spring, I was wearing my newly constructed Winter bathrobe into June. But, suddenly, Summer arrived in the middle of that month, with its humidity and often beastly temperatures. It was then I pulled out my old, lightweight Summer robe – you know, the one with the missing button – and the small tear – and the tea stain which somehow became a permanent fixture. Not such a pretty sight.  Having become used to my new Winter robe which makes me happy whenever I put it on, I decided maybe it was time to replace my Summer robe, too.

I already had a three-yard length of “water-color-designed cotton lawn” from Britex Fabrics.

I forgot to get a photo of the fabric before I cut into it.  This is a partial view of the back of the robe.  I purchased this Italian-produced, fine cotton during one of the online sales at Britex Fabrics in San Francisco.

At 56” wide, I thought it would be enough to make a robe, using the same wonderful pattern I had used for my Winter robe.

This pattern from 1959 is so well engineered, with subtle details which give it a polished appearance.

My only reservation was that the fabric makes quite a statement. I wondered if perhaps it was going to be too, too much in an ankle length robe. Truthfully, though, how many people see me in my bathrobe? I figured I’d go for it.

Once again, laying out the pattern was quite the task, done entirely on the floor. Although the pattern matching didn’t have to be quite as precise as working with an orderly plaid, I did have to pay attention to the large squares and where they would end up in relation to each other and in relation to the dimensions of the front and back of the robe.

The front of the robe, sans its sash.

And a back view. Without lining up the “watercolor blocks” in some relation to each other, the effect would really have been chaos!

The fineness of the fabric is apparent if you look closely at the collar, where there is some fade-through of the design. (The interfacing is attached to the under section of the collar.)

I did not have enough fabric to “match” the designs on the sleeves, but I rather like them not exactly alike.  Also, I shortened the sleeves to below elbow length, more appropriate for a Summer robe, but also necessary to save fabric!

I used flat felled seams for the body of the robe.

After just barely managing to get the two fronts, one back, the sleeves and collar and front facings placed on the fabric, I knew I was not going to have enough fabric left to match the pockets to their underlaying design. I did, however, have two fabric blocks featuring those quirky little birds, enough to make two pockets. The birds could even face each other.

But I knew they would look a little “lost in space” unless I set them off somehow. That’s when I went to my tried and true solution for all kinds of sewing fixes – piping! Yellow seemed to delineate the pockets the best – beating out green, red, pink and purple, all of which I “auditioned.”

I quite like those little birds, looking cheery and chirpy on the front of my robe.

 

Ready for its debut!

The fabric is so lovely, almost diaphanous in its effect. And that bold, colorful pattern which had given me pause? It has an exotic flair to it, quite acceptable for a summer robe. I just hope it doesn’t panic the cat.

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

Jacket AND Dress!

One of the aspects of fashion sewing that appeals to me so much is how projects seem to take on a life of their own. By the time I have it finished, a piece rarely ends up being exactly how I thought it might be when I started it. Most of the time, that’s a good thing. (There are those flops, which are bad things, but thankfully this post is not about a flop.)

When I did the planning and started the construction of my recent Classic French Jacket, I really thought I would be making a pale blue linen sheath to wear with it, using fabric already in my collection. But somehow that pink accent in the weave of the boucle, the trim I selected, and the buttons, all conspired together and changed my mind for me.

Fortunately, I also had a piece of pale pink linen in my fabric collection (at this point, I might ask myself, what color linen do I not have in my collection? But let’s not go there….) By this time I had already decided I needed to figure out a way to show that gorgeous lining silk in my jacket, rather than having it solely hidden inside. Having seen accent scarves paired with Chanel jackets on Pinterest gave me the idea to make a scarf. Then I thought it might be fun to “attach” the scarf to the pink (planned) dress in some fashion.

I came up with buttoned shoulder tabs as a possibility. I had purchased eight small buttons for my jacket – three for each sleeve and one for each pocket, long before I had this idea. You might recall in my last post, that I decided to make the sleeve vents for two buttons instead of three? That’s where I found/got the two buttons I needed for shoulder tabs.

I ended up liking my two button vents!

The first tabs I made just did not look right. First of all, they did not turn well, with a pleasing curve And when I placed them at the neckline of my dress, all I saw were the seams.

I even finished the bound buttonholes before deciding I didn’t like these.

I had to think through lots of possible solutions and finally had a eureka moment when I thought of piping the edges.

Piping makes the sewn curve much easier to turn well.

So much better!

I placed the tabs slightly forward rather than exactly on top of the shoulder seam.

The rest of the dress was very straightforward, as sheath dresses tend to be. It is lined with a lightweight, cotton/linen blend, but I did not underline it, as I like to preserve the washability of most of my linen garments (easier without an underlining.)  It is also cooler without an underlining.

Being a lover of pink, I already had pink pumps that match the dress exactly – and a handbag which brings out the peachy part of the pink in the boucle.

The tabs on this dress give it kind of a ’60s vibe. Unintended, but kind of a nice touch to go with the jacket.

Because these two pieces – and this look – came together from so many sources, I think it is a good idea to give credit where credit is due:

Boucle: Mendel Goldberg Fabrics , NYC, gift from my grown children.

Soutache Braid and Buttons: M & J Trimming, NYC

Pink Petersham Ribbon: Britex Fabrics, San Francisco

Lining and Scarf silk: Britex Fabrics, San Francisco

Pink Linen: vintage Moygashel, 35” wide, purchased on Etsy

Cotton/linen lining for the dress: JoAnn’s Fabrics, purchased in bulk a couple of years ago

Shoes: Ferragamo, old!

Handbag: Kate Spade, also old.

I do love pink!

So that’s it! One major project now residing in my closet rather than in my sewing room. Time to start something new…

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Filed under Boucle for French style jackets, bound buttonholes, Buttons - choosing the right ones, Chanel-type jackets, Linen, Linings, Mid-Century style, Moygashel linen, piping, Scarves, Shoes to make an outfit complete, Uncategorized, Vintage fabric

Do You Do Pink?

Apparently, pink is a controversial color. Or maybe “was a controversial color” is a better statement. A recent article by Nancy MacDonnell in the Off Duty section of The Wall Street Journal (“Making Peace with Pink” February 11-12, 2017) makes a case for the appropriateness – and timeliness – of pink even for those who think they don’t like it. While I am one who thinks pink is always in fashion, it turns out that this Spring, it really is in fashion! According to Ms. MacDonnell, “On this season’s runways, pink predominated.” The different fashion houses showed varying interpretations of pink: Michael Kors was “brisk, All-American, [and] cheery.” J. Crew was “equally upbeat,” while Valentino showed pink that was “lush and romantic, with intricate appliqués and historical references…”   The list goes on and on. The unifying thread (pardon the pun), as claimed by the designers, was the lack of traditional “sweetness” associated with pink, with emphasis on the feminine power inherent in the color.

Looming large on page 58 from the November 2016 WSJ Magazine is a Valentino coat, quite traditional in design, but made very special by its stunning appliquéd pink wool.

According to Dr. Valerie Steele, the Museum Director at the Fashion Institute of Technology in New York, who was quoted frequently in Ms. MacDonnell’s article, the idea of pink as a feminine color did not take hold until the 1950s. Back in 1954 when Christian Dior wrote The Little Dictionary of Fashion, his entry on “pink” stated: “The sweetest of all the colors. Every woman should have something pink in her wardrobe. It is the color of happiness and of femininity.”   He even used pink throughout his book for illustrations, chapter headings and the title page. He recommended pink “for blouses and scarves; … for a young girl’s frock; it can be charming for suits and coats; and it is wonderful for evening frocks.” Who can argue with that, be it 1954 or 2017?

The title page of Dior’s smart little dictionary. (Harry N. Abrams, Inc., NY, NY, copyright 2007)

This page from the June/July 2013 issue of Town and Country Magazine gives an interesting timeline of the color pink, “how the color of little girls and baby dolls came of age”:

Click on the image to read it.

I particularly like this statement from Laura Vinroot Poole, the founder of boutique Capitol in Charlotte, N. C., quoted in The Wall Street Journal article: “To wear pink, you have to be an interesting and smart person… You have to have things to say. In pink, you can’t hide.”   Nor would you want to.

Personally, pink is my favorite color. I am always drawn to it, regardless of its hue. And its hue covers a huge range from palest pink to deepest fuchsia, from bubblegum pink to raspberry red. In thinking about pink for this post, I gathered this stack of pink fabrics from my collection. Just looking at it makes me happy!

From top to bottom:
1) vintage Moygashel linen, purchased on eBay
2) silk charmeuse, purchased from Britex Fabrics
3) vintage Moygashel linen, purchased by me in the 1970s
4) linen, possibly Moygashel, purchased on etsy
5) silk jacquard purchased from Britex Fabrics
6) silk charmeuse, purchased from Mendel Goldberg Fabrics
7 & 8) coordinating silks, purchased from Mendel Goldberg Fabrics

The only controversy I have with pink is deciding which hue of it I like best.

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Filed under Fashion commentary, Moygashel linen, silk, Uncategorized, Vintage fabric