Tag Archives: Choosing buttons

Tuesday is for Ironing

One might get the idea I love to iron should they take stock of how many cotton blouses I have made over the past few years. Now I do love a crisp cotton blouse, and I find them to be imminently wearable, neat and tidy, and versatile.  So I keep making them.  But do I love to iron?  Not really, although it is not my most dreaded household chore.  (I think that might be grocery shopping – or more precisely, lugging everything home and putting it all away.  I don’t like that.)  

Even wearing a pretty blouse, like this – my most recent make, to the grocery store doesn’t make that chore more bearable!

One advantage to having lots and lots of cotton blouses is that the ironing can pile up, yet I will still have blouses to go to in my closet, so there’s that.  I think – no, I know – another reason I keep making casual cotton blouses is that I love to sew with beautiful quality cotton (of course Liberty comes to mind!) The selection of quality cotton prints, checks, plaids, stripes, and solids available online is astoundingly diverse, making the temptation great to make “just one more blouse.”

And then there are the buttons. If you follow my sewing life through this blog, you know my fascination with and pursuit of vintage buttons to use on my blouses and other projects.  Yes, a white plastic button can perform the same function, but a beautiful pearl button adds a touch of class to a simple blouse like no other detail can.  

A simple pearl button, circa 1960, BGE Originals, “First in Fashions”

It also helps that I have a set of blouse patterns which fit well due to many alterations and tweaking over several years’ use.  It is a lovely feeling to start a new project, knowing I don’t have to fit the pattern and make a muslin before I can get started on the fashion fabric.  

Three of my favorite blouse patterns, for which I have fitted muslins.
And one which I feel sure will become a favorite once I make and fit a muslin for it! View A is a classic look and the sleeves are so elegant.

I had been eyeing this Liberty cotton lawn on the Farmhouse Fabrics website for quite a while when I decided last Spring to go ahead and indulge.  Having a floral among my blouse selections is something just a bit different for me, as I already have numerous ginghams, plaids, and stripes.  

Liberty Lawn is lovely to sew and lovely to wear.
These colors make me happy.

So – is Tuesday really for ironing?  There used to be a proscribed schedule for all those household chores – and it went like this:

Monday: Wash Day

Tuesday:  Ironing Day 

Wednesday:  Sewing Day

Thursday:  Market Day

Friday:  Cleaning Day

Saturday:  Baking Day

Sunday:  Day of Rest

Well, times have changed. Now, every day is Sewing Day.

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Filed under Blouse patterns from the 1950's, Blouses, Buttons - choosing the right ones, Liberty cotton, Mid-Century style, Uncategorized, vintage buttons, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1970s, Vogue patterns

A White Eyelet Blouse

Eyelet is one of those fabrics which can conjure up memories from one’s life.  So often associated with pinafores, eyelet is lovely for little girls’ dresses – and petticoats.  It is often used for lingerie or sleepwear for all ages, as well as dresses and blouses.  It is a summer fabric, with its “built-in” air conditioning – ie. all those little holes surrounded by embroidery.    Often eyelet trim – and sometimes eyelet yard goods – have one or two finished borders.  Such was the case with the eyelet I found earlier this year for the ruffled collars for sundresses for my granddaughters.  

This lace was a 14″ wide double scallop-edged panel, which I cut down the middle to use for the two collars.

It was working on those collars which convinced me I needed to make an eyelet bouse for myself.  I went back to Farmhouse Fabrics, from which I had purchased the double-sided eyelet panel for those collars, to find a suitable eyelet for a blouse.  Farmhouse Fabrics has quite an inventory of lovely eyelets, so it was difficult to decide.  But decide I did, and purchased this all-cotton eyelet made in Spain.  

I liked the meandering motif in this design.

For a pattern I used this vintage Vogue pattern from 1957.

I liked the convertible collar of this pattern, as shown in View B. A convertible collar is one which can be worn open or closed. The collar is sewn directly to the neckline.  I did, however, shorten the sleeves to below elbow-length.  I also chose to make plain, buttoned cuffs without the extra turn-back detail.  

Although the blouse is described on the pattern envelope as “tuck-in,” I liked the gently curved and split hem which would also allow me to wear the blouse as an over-blouse.  The thumbnail detail from the pattern envelope shows the curved hem.  

I lined the main body of the blouse with white cotton batiste, leaving the sleeves unlined.  To reduce bulk, I made the undercollar and the cuff facings from the white batiste.

Buttons are always a favorite component of a blouse for me.  I had a card of vintage Lady Washington Pearls which seemed a lovely complement to the scale of the fabric embroidery.  

One button remaining!

I first wore this blouse on a very warm evening to attend an outdoor concert.  I was amazed at how cool the blouse was. The little breeze there was, did indeed feel like air-conditioning as it wafted through all those embroidered holes!

In my case, this collar is not “convertible” as I did not put a button and buttonhole at the neckline!
I made the cuffs with a bit more width than needed so I can push the sleeves up further if I want.
After I finished the blouse I went back and added two narrow fisheye darts to the back to make the fit a bit more streamlined.
I think this blouse might be a good pairing for the Liberty cotton skirt featured in my last post.

Finding beautiful eyelet fabric is now on my sewing radar.   I would like to make more with this timeless, feminine and versatile type of lace. 

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Filed under Blouses, Buttons - choosing the right ones, Eyelet, Lace, Mid-Century style, Sleeves, Uncategorized, vintage buttons, vintage Vogue patterns from the 1950s

The Last Dress of Summer

Or is it the first dress of Fall?  It depends on your point of view, apparently.  The Autumnal Equinox, here in the Northern Hemisphere, is September 22nd, officially the first day of (Astronomical) Fall.  Meteorological Fall began on September 1st, marking the point in the year when the temperatures begin to fall (pardon the pun.)  Either way one looks at it, I now have a finished dress which is either late for Summer or just under the wire.  I’m honestly just delighted to have it finished!

Although linen is traditionally thought to be a summertime fabric, I have long thought it is also the perfect fabric for early Fall.  Moygashel linen is especially well suited for this time of year.  Its natural fibers keep it cool for those days which continue to warm up, but its sturdy weave and heft give it a substantial enough look for these days of transition.

I purchased this piece of vintage linen from an Etsy shop years ago.

This particular piece of Moygashel, undoubtably a survivor from the mid-1950s, presented me with a couple of challenges.  First, it was only 35” wide.  And I only had 2½ yards.  Laying out pattern pieces on a single layer of fabric always allows me to maximize their placement, improving my ability to do the impossible – get a dress out of too little fabric.  (Here is another Moygashel linen dress which I was able to squeak out of 1 5/8 yards of 35” fabric.)

This vintage Vogue pattern gave me two sleeve options.  If I had opted for the very short sleeves, I would have had ample yardage.  But, for the seasonal reasons mentioned above, I particularly wanted to make this dress with the below-elbow-length sleeves.  So, I fiddled and figured and made it work by utilizing both the straight of grain and the cross grain for the bodice/sleeve pieces.  I was able to do this because of the allover floral design – ie., no directional limitations.

This pattern is dated 1957.

Interestingly enough, this dress with its cut-on sleeves does not have gussets.  Rather, the underarm seams of the dress sections are curved to add moveability.

This shows where the seams join under the arm close to the top of the side zipper.

I underlined this dress with white cotton batiste (from Farmhouse Fabrics) and I finished the seams with Hug Snug Rayon seam binding.

The buttoned upper back bodice is a real focal point of this pattern.  Being 1957, the pattern calls for “fabric buttonholes” – or bound buttonholes.  So that’s what I did.

When it came to buttons, I wanted to use some sort of faceted black buttons.  After searching online and coming up empty-handed for buttons of the correct size and look, I settled on these carved pearl buttons already in my button collection.

I love these buttons, but I still think black ones would be better …  so I will keep searching and switch them when I’m successful.  That will also allow me to use the “leaf” buttons (I have 6 of them) for something which will show them off to better advantage.

The final construction detail of note is the 10” side zipper.  I used a lapped, hand-picked application which lays inconspicuously below the left sleeve.

It is so inconspicuous, you can barely see it here!

I did not leave an opening on either side at the waist for a belt to slip through.  In fact, I did not have enough fabric to make a self-belt!  However, my intention was always to use a contrasting belt.  I think this fabric will lend itself to using belts of varying colors (red or yellow or pink?) as long as I can coordinate with shoes, handbags and/or jewelry.  That will have to wait until I am home from our Summer location.  Maybe I’ll even find black buttons back home!

I could wear this dress without a belt as well. (But I’m not sure I will…)

One final note about this pattern and dress:  it has to go over the head.  It was much more common for dresses from the 1950s and ‘60s to have side zippers and “over the head access”  only.  This can wreak havoc on hair (and make-up)!  So a little pre-planning is necessary – I will need to finish my primping after I have put on the dress.

And everytime I put this dress on, I shall see the original Moygashel linen label which came with the fabric.

I suspect this dress will go right into the cedar closet for the months to come, as I switch out the wool skirts and dresses and coats and sweaters.  But hopefully, in March, at the Spring Equinox, it will creep out from its dark and quiet spot and maybe even actually be worn!

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Filed under bound buttonholes, Buttons - choosing the right ones, Day dresses, Moygashel linen, side-placed zippers, Uncategorized, vintage buttons, Vintage fabric, vintage Vogue patterns from the 1950s, Vogue patterns

“You Can’t Have Too Many Blouses”

My sentiments, exactly!  Whenever I start to question if I really need another blouse for casual wear, I remember this feature in the February/March 1954 Vogue Pattern Book Magazine. 

 

 

 

 

 

 

 

 

 

And while both casual and dressy blouses are shown in this 2-page spread, it just gives me more reason to love making blouses.  One of the aspects of a crisp cotton blouse which really appeals to me is how tidy they look, even when slightly wrinkled.  Knit tops, while comfortable and easy to wear (no ironing!) can, over time, sag and pull and cling.  Not so with fine quality cotton wovens.  They keep their shape, and they wear and wear and wear without looking worn out.  So is it any wonder I have added two more classic blouses to my summer wardrobe?

It always seems the process of making one of these blouses begins with Farmhouse Fabrics.  I see a fabric on their website I can’t live without, or one which is so classic, it begs my attention.  I know the quality will be superb, as that is what Farmhouse does.  So – two fabrics, which produced two very different looks from the same (old) pattern I have been using for quite a while.

The uneven plaid of the green and blue fabric posed some layout questions for me.  I even thought, briefly, of using the cross grain in order to balance that strong blue stripe, but once I saw a photo of it, I went back to the straight of grain.

Taking a photo of something always helps me make decisions. Those bold blue stripes on the horizontal made the fabric look completely different. The photo helped me determine which orientation would be best.

At that point it seemed logical to use that bold blue stripe for the center front and center back.

I used a spread collar for this blouse. I positioned the collar so the green blocks of the fabric would “point” to the green stripes to the right and left of center front.

The only way for the back yoke to look good was to place it on the bias.  I interfaced it so its stability would be intact.  I think this was a good solution for a situation where it would have been impossible to match plaids.

I will confess I had been looking for a narrow candy stripe, cotton shirting fabric (to pair, one day, with another fabric waiting its time!)  Peppermint stripe is another description often used for red stripes on white.  Both names tell you exactly what they are – red and white stripes of some variety.  There are a lot of wide candy stripes, or candy stripes with alternating widths of the red lines, but I had some difficulty finding a narrow-striped cotton.  So I grabbed it when I found it.

This blouse was very straightforward.  The only change I made from most of the previous blouses I have made from this old, altered pattern was to revert back to a pointed collar.

Here is the pattern which I have altered and used so many times.

I used 3/8” vintage pearl buttons for both blouses.  One really can’t go wrong with those.  And I used woven, non-fusible interfacing in the collars, cuffs, front facings and yokes.

I love this small 1950s silk neck scarf paired with this blouse.

Now I am thinking it is time to move on to another style of blouse and retire this pattern for a while.  Although I doubt I will ever have too many of these “men’s style” blouses, there are other ways of looking tidy and neat in a casual way.  Think I can do it?

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Filed under Blouses, Buttons - choosing the right ones, Uncategorized

Give Me Liberty – Again

It was not planned this way.  Not much so far this year has been planned in the way it is going, truth be told. Which makes my most recent make both tinged with nostalgia and hopeful.  Mostly hopeful, I think.

For over thirty years I have had this length of Liberty Lawn surface time and again from its storage basket in my fabric closet.  I never had the right pattern for it, not when I purchased it on the island of Bermuda back in the 1980s, nor over the ensuing years – that is, until this year.  After making my wool challis shirtdress earlier in the year, I realized that same pattern was how I had subconsciously – for years – envisioned this fabric being used.

It has been satisfying to use this fabric, finally, as it deserves to be used.  Liberty is one of the world’s famous manufacturers of cotton.  Did you know it has its own entry in Fairchild’s Dictionary of Fashion?   Actually two entries – one under Liberty and another under Liberty Print.  Here is the latter entry: “Trademark of Liberty, London, for wide range of printed fabrics.  The best known are small multicolored floral designs.” (The Fairchild Dictionary of Fashion, by Charlotte Mankey Calasibetta and Phyllis Tortora, Third Edition, Fairchild Publications, Inc, New York, New York, c2003.) I wrote about Liberty cotton way back in 2012 when I was still pondering the use of this red and green floral print.  But voila!  Now I have used it!

Enough of the blah, blah, blah, here are the details:  I underlined the fabric with a very lightweight white cotton batiste, purchased from Farmhouse Fabrics.  Then I finished the raw edges of the seams with Hug Snug rayon seam binding.  I love this finish for garments which are underlined, but not lined.

Here is a detail of the cuff. I did not underline the sleeves.

As I mentioned in my post on the wool challis shirtdress, I added shoulder darts to the back of the bodice, and instead of using an eased-in sleeve, I converted the necessary fullness into a dart at the very top of the sleeve.  The button placement guide for this pattern indicates using 8 buttons.  I think next time I make this pattern (and I’m sure there will be a next time), I am going to increase that number to nine.  I think the distance between buttons on the bodice is just a bit too much, now that I have it finished.

Speaking of buttons, I found white pearl, metal shank buttons in my collection, and they seemed just perfect for this fabric, which has such a fresh appearance.  The only substitution I made was the button on the collar band, where I used a button which was 3/8” rather than 1/2”.  Fortunately I had a card of 4 buttons in this size which mimics the appearance of the other buttons.

A detail of one button on the bodice.

For the belt/sash, I got my inspiration from RTW which I detailed back in January.  My first thought was to use a red grosgrain ribbon sash.  But it just didn’t look right.  Fortuitously, in looking in Promenade Fabrics Etsy store for ribbons that might work, I came across a white Seersucker-look 2 ½” wide light weight ribbon which I thought looked wonderful.  I ordered three yards, and it was just as wonderful as it looked online.  However, in holding it up to my fabric, there was enough “show-through” to be problematic.

The ribbon was not opaque enough to cover sufficiently the print of the fashion fabric.

To remedy this, I used a fusible interfacing for the middle section of the sash which would be the initial circling of my waist.  (I rarely use fusible interfacings, although I keep some on hand for some of the sewing I do for my granddaughters, but this time it came in handy.)  This did the trick and also added just a bit of stiffness to that section of the sash.  Then the un-faced end sections of the sash are still soft and flowing.

This shows the sash with fusible interfacing applied to the mid-section of the length of the sash, but not to the top layer nor bow. It adds just enough coverage to minimize the appearance of the fashion fabric beneath it.

After I took photos, I got the idea to fold the interfaced part of the sash in half lengthwise to make it narrower and maybe a bit more flattering.  Here it is on my dress form:

One of our few warm, sunny days allowed me to get these following photos.


While I was making this dress, I could not help but remember the fun trip my husband and I took to Bermuda when I purchased this Liberty cotton.  I still remember trying to decide which piece of Liberty print to purchase (so many from which to choose), how many yards to get (it was still manufactured in 35” width at that point), and being delighted to get a label with it.  Those were the times when one dressed for dinner, had breakfast served in one’s room , and tea in the afternoon.  Yes, I could not help but be nostalgic.  But then I had so much fun bringing this fabric to life, I could not help but feel hopeful.  It was a lovely way to spend the hours in my sewing room. And how fitting to sew with fabric which perfectly expresses my sentiments right now.  Please, give me Liberty!

 

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Filed under Buttons - choosing the right ones, Liberty cotton, Uncategorized, underlinings, vintage buttons, Vintage fabric, Vogue patterns

Making a Parisian Jacket, Part 2 – and on to the Finish

Oh, lets’s just skip Part 2 and go right to the finish!  To be honest, a separate Part 2 was somehow lost in the midst of a flurry of sewing while I concentrated on “December Dresses” for my two granddaughters.  More on those another time.

When I returned to my Parisian Jacket, I was almost ready to tackle the gussets.  Sewing the bottom curved seam of the gussets was easy to do on the machine.  But when it came to the other two seams, working in such tight angles, I did not even try to sew them on my machine.  I went right to hand sewing them, using a small tight backstitch, and I ended up with good results.

Having the gussets finished meant that the basic body of the jacket was together.  Then it was on to the collar and the front facings.  Following Susan Khalje’s video instructions, I was able to get a very precise finish to the collar.

I had to be careful to match the weave of the fabric, up and down and across.

There are two bound buttonholes in the right front of the jacket, and this is where I deviated slightly from the order of construction that Susan was following.  Instead of partially sewing on the right front facing and then making the buttonholes, I did my buttonholes before I attached any part of the facing.  I felt like I had more control doing it this way.

The finish of the buttonhole on the ifacing.

The finish of the buttonhole on the facing. (Please pardon the cat fur!)

Whenever I have made a Classic French Jacket, I have added a slight curve to the back hem, and I find this to be very pleasing.  I decided to do the same with this jacket.  At the center back I marked the hemline at 5/8” below the marked hem, and then I gradually curved it up to the side point of the jacket.  It is quite subtle, but I think a nice addition.

I went round and round with buttons for this jacket.  Ideally I would have loved to find some pink ones, but the pink of this vintage Linton fabric is really not a clear pink.  It is a bit “dusty” and finding buttons to match proved too big a task.  So I opted for these vintage mother-of-pearl gray buttons, which happen to have pink overtones to them.

I expect to wear this jacket with gray quite a bit, so the gray buttons make sense to me.  I actually really like them now that they are on.

I chose a pink silk charmeuse from Emma One Sock Fabrics for my lining.  I would have loved to use a flowered silk, but the ‘see-through’ factor of the light pink wool prohibited that.  And actually the pink lining seems to add some vibrancy to the fashion fabric.  It makes a very pretty “inside”.

I sewed the lining in entirely by hand, which was an option. The front seams of the lining could also be machine stitched.

This was a very time-consuming project, even without making granddaughter dresses in the midst of it.  The video series is 13 parts long and Susan is extremely complete in her instructions.  I attribute my success with this jacket to three main facts:

  • I basted every seam before machine sewing them, even the seams in the lining.
  • Except for the bound buttonholes, I carefully followed Susan’s order of construction as she laid them out in her videos.
  • I viewed each lesson over and over to make sure I wasn’t missing anything.

There were many couture tips shared by Susan during the making of this jacket, but these four are ones I will use again and again:

  • Sew the sides of the pocket bags in by hand with a small fell-stitch rather than sewing them by machine. What a great finish this made.
  • Catch-stitch the upper curve of the pocket bags to the underlining of the jacket. This keeps them in place and prevents sagging of the bag inside the garment.
  • Use straight-of-grain silk organza strips to stabilize the on-bias cuffs of the bias sleeves. This keeps the lower edge of the sleeve from “growing” as bias is wont to do.
  • To add a center back pleat to the lining, which is necessary of course, place the back jacket pattern piece on the fold of your lining silk, set back from the edge by about one inch. (You will not have a center back seam in your lining with this method.)  The extra inch makes a natural pleat which can be secured at the neckline and at the waist or slightly below.

It may be a little difficult to see the center back pleat, as everything is so pink, but it is in the center of the photo.

I am already looking forward to making this jacket again.  I can visualize it in a vintage Moygashel linen – it would be beautiful for Spring and Summer and Fall.  I think this jacket may become as addictive to sew as a Classic French Jacket!

 

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Filed under bound buttonholes, Buttons - choosing the right ones, couture construction, Gussets, Linings, Uncategorized, vintage buttons, Vintage fabric, woolens

Making a Parisian Jacket, Part 1

Another title for this post could be “Sewing with Professional Instruction – the Parisian Jacket.”  One of the advantages of having a subscription to Susan Khalje’s online Couture Sewing Club is exclusive access to videos which take the viewer, step-by-step, through the process of making one of these jackets.  

When this pattern was released a few months ago, I was immediately interested in making one.  There are several details in this jacket which I find especially appealing.  The first – and salient one – is the cut-on sleeve, also called an all-in-one sleeve. This is a design feature which was prevalent in the 1950s, but no longer often seen.   Usually sewn with an underarm gusset to enhance moveability, this sleeve forms its own crease lines below the shoulder at the front and back.  You can see that detail in the diagram on the pattern envelope above.  Take a look at this magazine cover from November 1956.  You can see both the crease line and the coat’s gusset.  

I suspect at least one of the reasons this particular type of sleeve fell out of favor is that the pattern pieces do take a sizeable amount of fabric to accommodate the width of the attached sleeve.  I also suspect sewing in those gussets demanded a certain expertise to be finished successfully, adding time to both home sewing and to ready-to-wear.  But I love the look of the cut-on sleeve.  It really is a classic style, and one which I am happy to have the opportunity to incorporate into my sewing.  It is worth mentioning here that this sleeve is similar to a “kimono” sleeve, but it is not cut as full under the arm.  (This seems like a good time to show the pattern piece for the jacket’s gusset.  Rather than diamond shaped, it is a triangle with a curved top edge.  Pretty clever!)

Another design feature of the jacket which appeals to me is the prominence of the buttons.  The jacket is shown with just two buttons, although certainly a third one could be added.  However, with two larger ones, it is really possible to use showcase buttons, if desired.  And if you follow my blog, you already know that vintage buttons – and unique new ones – are one of my weaknesses.  I am always looking for opportunities to use beautiful buttons.

A third construction detail I find appealing is the center back seam.  This allows the opportunity for lovely shaping and more precise fitting than if the back piece were cut without a seam. 

With all this in mind, I was anxious to get started on this project.  As I already had several lovely woolens waiting for their turn, I decided to use one of them rather than buy new fabric.  And my attention kept coming back to this vintage piece of Linton wool which I purchased from an Etsy shop about a year ago.  

It is entirely coincidental that the jacket Susan is making in her instructional videos is also pink!  Of course, I love pink.  I would describe this particular hue of pink as a “Winter pink.”  It has a bit of a dusty appearance to it, making it ideal for a November project.  The best thing is that I have enough fabric to make a matching sheath dress to go with my jacket.  (Although I feel sure that particular project will have to wait until after the new year.) 

Well, back to Susan’s video instruction…  She is very thorough in what she includes, so much so, that those of us who have taken classes from her already, are able to whiz through the early lessons for the most part.  However, one suggestion she made was to use pins rather than machine sewing to fit the muslin together.  Here is what I mean by that:

The seam lines are pinned together horizontally throughout, and then the muslin is ready to try on. No stabbing occurred during the process!

I found this method far superior to putting the muslin together by machine.  It was much easier to make changes and alterations, and I felt like the “seams” laid flatter, enabling me to ascertain the fit, on me, more precisely.  

Once I had my muslin perfected (as much as possible), I transferred all the markings onto white silk organza, to be used as my underlining and also as the pattern pieces from which to cut the fashion fabric.  I had to move to my dining room table to accommodate the expanse of the wool. 

It is easy to see here the amount of fabric needed for the cut-on sleeves. (I use my candlesticks as weights to keep the fabric from slipping.)

Once I started assembling some of the jacket pieces, I realized I had not perfectly matched the facings.  Although the wool is solid pink, there is that very distinct weave in it which needs to be matched.  Fortunately, because I had left such wide seam allowances, I did not need to cut a new facing.  I just needed to readjust the organza on the one facing which was a bit askew.  

You can see the organza adjusted on the righthand facing, before I had re-basted it.

I still have a long way to go on this jacket, but here are two “work-in-progress” shots, with the seams sewn but nothing trimmed, ironed or catch-stitched yet.  It is fun to see it taking shape, however.  

I have a pink button pinned onto the front to see how it looks, but I have already decided against it.

Two more things need to take shape very soon – namely Holiday dresses for my granddaughters.  Somehow, I think they will be finished before my jacket!  

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Filed under Buttons - choosing the right ones, Sleeves, woolens

A Stripe is a Stripe is a Stripe

Or, is it? Fashion terminology tends to be very precise and descriptive, so I was not surprised when I discovered all the various stripes that can be described in specific terms.  What prompted my interest in stripes was my most recent addition to my casual blouse wardrobe.

There is something just so classic about navy blue and white, and a navy and white striped shirt is almost a necessity.   When I saw this Italian cotton shirt fabric on the website of Farmhouse Fabrics, I wasted no time in ordering it.

Farmhouse Fabrics has the most amazing selection of fine shirting cottons, and their service is superb!

I place stripes in the same category as checks and polka dots – timeless, varied and versatile. When I did a little exploring into the nomenclature of stripes, to confirm my thought that this was a “pencil stripe” on which I was working, I not only found this to be correct, I also was introduced to a whole descriptive world of stripes.  There are awning stripes, bayadere stripes, candy stripes, chalk stripes, hickory (or Liberty) stripes, ombre stripes, pinstripes, regimental stripes, ticking stripes, and the list goes on and on.  What designates a pencil stripe is that the background color (for example, white) between the stripes is wider than the stripes in the foreground color (navy blue), which can be as narrow as a pencil line, or bolder.

This is the fifth blouse I have made in the last year, using this simple pattern from 1972, and I would not be surprised to find myself making five more of this style.

The many alterations and refinements I have made to this pattern include 1) a shoulder adjustment to give more ease at the top of the sleeve, 2) an inverted pleat in the center back, mimicking a detail on a RTW which I particularly like, 3) fisheye darts in the back of the bodice to tame some of its fullness, 4) lengthening of the sleeve placket, making it easier to roll up the sleeves, and 5) re-cutting of the collar from pointed ends to a spread collar.

I particularly like the way this collar looks.

Every one of these blouses needs buttons, of course, and as long as I keep finding vintage buttons like these, I will keep using them.

Ultra Kraft made quality buttons. I feel so fortunate to have access to so many of their beautiful buttons on eBay and Etsy.

I tend to wear my sleeves rolled up, more often than down.

A very windy day, but the sun is shining!

How much summer sewing do I see on the horizon???

There is not much more which can be said about this blouse.  I expect to wear it casually all summer long, which is a lovely thought indeed.

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Filed under Blouses, Buttons - choosing the right ones, Uncategorized, vintage buttons

The Pink Coat Odyssey, The Finish!

Is it possible to fall in love with a coat?  If so, then that is what has happened with my pink coat.  It was a relationship which grew over several years.

First, I found the pattern, this Vogue Paris Original Designer Pattern from 1965.  It was an eBay purchase made several years ago, with a promise to myself that one day, when I found the right fabric, I would make it.

Next I found this silk charmeuse couture fabric on the website of Mendel Goldberg Fabrics. It was an end cut, 2.25 yards, and when I purchased it, I envisioned another wrap dress, not the lining of a coat.  Luckily I had no urgent plans to use it, and thus it eventually found its way inside the pink coat.

I am showing the lining silk here along with the pink wool to show how well they complement each other.

And then – I found the pink wool.  Also an eBay purchase, this wool was not inexpensively priced, but I recognized its rarity and its “presence” in the posted pictures.  Then I hoped it would live up to its promise once I received it and saw it in person.  Over the years I have found some amazing things on eBay, but this wool is one of the real treasures.

Because I have already posted quite a bit about the coat’s muslin/toile and certain salient details, I will not go into too much more description about the coat’s construction.  But I do want to point out some of this pattern’s engineering charms.

1) On the photo on the pattern envelope, I believe the soft shoulder of the coat is evident.  I used a “cigarette-type” sleeve heading in each shoulder to enhance the smooth transition from the shoulder to the top of the sleeve.  Not so evident on the pattern illustration is the drape of the back of the coat from the shoulder line.  I realized this drape works so well because of the two neckline darts.  They are in the neckline, not the shoulder seam; they add necessary shaping without disturbing the drape.

Can you see how the dart comes off from the neckline, not the shoulder seam?

2) The collar is an engineering marvel in my mind.  The under-collar  is constructed from four pieces, two main sections cut on the bias, and a 2-piece collar band, seamed at the center back.  The band helps the collar to turn beautifully.

This photo clearly shows the components of the under-collar. You can also see the under-stitching I did in silk buttonhole twist.

3) When I made the toile, I was concerned about the fullness of the back of the coat.  It seemed a bit much, and I have already written about my intention to add a half belt to draw in the fullness, if needed. Nope!   I am so happy with the finished look – it has that 1960s’ vibe without being overwhelming.  I did move the vertical back seam line up 1.25” to rest at my natural waistline, rather than below it.  For me, this was the correct alteration.  It may not be on someone else who has more height than I do.  Another consideration was that a half belt would have concealed the seam detailing which is so lovely on the back of the coat.

An inside look at the back of the coat, showing its drape from the shoulder seams.

The other significant alteration I made was to remove 1.5″ of width from each sleeve.  I possibly could have taken out even more, but I will be wearing this coat over sweaters and perhaps even a jacket, so the sleeves as I cut them will still accommodate that bulk.  But I would not want them any fuller!

Although the pattern did not call for it, I added flat piping to the edge of the lining.  I chose white silk crepe de chine for this contrast detail.  I felt any other color would have been too demonstrative.

The coat kind of looks like a sack of potatoes in this photo of its front edge!

The finished look of the lining edge.

I had some difficulty finding pink buttons.  I ended up with two varieties found in two Etsy shops.  I used a larger pink-swirly one for the looped closure, and smaller pink pearl-y ones for the concealed opening.  If I ever find ones I like better, that’s a easy switch.  But the more I see these, the more I like this combination.

Basting threads are still evident in this photo.

Alas, it is much too warm for wearing wool coats now, but it is ready for next Fall’s cooler days.  By then I hope to have a  windowpane checked skirt, in delicate gray, white and pink wool, specially made to wear with this coat.

It is always interesting what photos reveal. I am thinking I may need to redo the hem to get a softer look to it. It looks like it has crinkles in it!

I will take any excuse to show the inside of this coat!

I cut a piece of the selvedge with the Lesur name on it and attached it to the right front facing of the coat right below the placket.  I think this is an important part of the story of this project.

There is a very slight bow to the back of the coat, again reminiscent of the ’60s.

This coat is almost making me anxious for next Fall!

As I worked on this coat, I came to realize how perfectly suited the pattern and the wool were for each other.   It was such a privilege to spend so many hours with such quality.  No wonder I fell in love!

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Filed under Buttons - choosing the right ones, Christian Dior, Coats, couture construction, Dressmaker coats, Linings, Mid-Century style, Uncategorized, Vintage fabric, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, woolens

Seeing Double – No, Triple!

When I saw this dress pictured on the website of Farmhouse Fabrics, I knew I wanted to use this pattern and this fabric for my granddaughters’ birthday dresses.

Fortunately, the pattern was included in the  Summer 2018 issue of Classic Sewing Magazine, available from Farmhouse Fabrics, as were the fabric and all the trimmings.

This pattern allows for many variations; here is one page from the featured article on this dress in Classic Sewing Magazine.

With birthdays three weeks apart from each other, one in March and one in April, my granddaughters bridge that small gap between Winter and Spring.  Presenting them each with a special Springtime birthday dress has become a real focus for me in planning my annual sewing.  What amazes me is how quickly the time for this particular sewing comes up in the new year.  But somehow I always get them finished in time for the birthday celebrations.

 

I decided to forego the white eyelet collar shown in the example and make the collars out of the dress fabric.  My thought was this change made the dresses more “everyday,” albeit fancy, nice everyday!  Because Farmhouse Fabrics carried this wonderful bias, picot-embellished edging, I chose to trim the collars with it.

In the back of my mind, I had the thought of also embellishing the dresses with rick rack (when do I not have the notion to embellish with rick rack?).  However, I did not want to overdo it, leaving the lovely fabric to carry most of the impact of the dresses.  When I found pale pink jumbo rick rack, I thought it might be the perfect anchor to the skirts, pickling up the zigzag motif on the picot collar edging.

Here is one of the dresses before the rick rack was applied.

I think the rick rack is a very nice addition.

I determined that a single row of rickrack was all I needed.  Of course, to be done correctly, it had to be hand-sewn in place, which took a bit of time.

The final finishing touch was the placement of two pink buttons at the back opening.

I self-lined the bodices.

Another close-up.

This diagram helps to show the details of the pattern. Notice the narrow darts in the bodice, which gives such a nice degree of shaping. This is the type of detail found on well-engineered patterns.

The backs of these dresses are so pretty!

So, two dresses done – and two+ yards of fabric left over!  What would you do?  Silky soft cotton, beautiful Spring colors, an even plaid.  How could I not use it for something?

What do you think of a blouse?  A casual, everyday type of blouse, hopefully perfect for the upcoming casual Summer?  Yep – that’s what I did!

I have already altered, “perfected,” and made this vintage Simplicity pattern from the early 1970s several times, and I must say, I never get tired of making it.

The pattern art here is so dated!

About halfway through the construction of this blouse, I had a moment of questioning my choice.  Was this blouse going to look just a little too “country with a piece of straw in my mouth?”  Or was it just going to look fresh and bright?  But at that point there was no turning back.

I combined two sets of buttons remaining from two previous blouses for the eight buttons I needed here.

Identical size and same look made combining these two sets of buttons an easy decision.

Now that the blouse is finished, I really like it.  We’ll see what my granddaughters think when they see me in it!

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Filed under Blouses, Buttons - choosing the right ones, Sewing for children, Uncategorized