Tag Archives: Etsy vintage patterns

A Newly Defined ‘50s’ Frock

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

An inside look at the buttonholes in progress

An inside look at the buttonholes in progress

And an outside look...

And an outside look…

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

My buttons of choice!

My buttons of choice!

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

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

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

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

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

Clover "fork" pins

Clover “fork” pins

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

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

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

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

The back view

With a touch of emerald green for the holiday season

With a touch of emerald green for the holiday season.

With green gloves for a '50s' look!

With green gloves for a ’50s’ look!

And another back view.

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

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

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

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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Filed under 1980's dress patterns, Asian-inspired dress designs, Uncategorized, vintage Vogue Designer patterns, Vogue patterns

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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Filed under Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1970s, Vogue patterns

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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Filed under Coats, kimono sleeves, Linen, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s, Vogue patterns

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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Filed under Uncategorized, vintage Vogue patterns from the 1970s, Vogue patterns

And – the winning number is 7503

Any serious dressmaker working in the 1950s must surely have known this four-digit number by heart.  This was the number of the Vogue pattern for “shoulder shapes,” what we now call shoulder pads (more on that nomenclature in a minute).   While 1940s’ fashion was dominated by the broad shoulder look, not so the 1950s’ – and that is what is so clever – and remarkably useful – about this pattern, which has a copyright date of 1953.

However, I am getting ahead of myself.  I first learned of Vogue 7503 when I purchased this dress pattern from an online shop called “Stitches and Loops” last Spring.

This pattern gave me my first clue to Vogue 7503

On the back of the envelope, it states:  Optional shoulder shapes  – Use Vogue Pattern 7503

Here is the statement which sent me on my search for Vogue 7503

My interest piqued,  I started looking at some of my other patterns for suits, dresses and blouses from the 1950s.  Some of them, too, had a reference to Vogue Pattern 7503.  Having just made an outfit which required shoulder pads – and for which I had purchased “ready-made” ones which just were not quite the right shape, thickness nor natural feel – I knew that Vogue 7503 was something I needed to find.  A quick Google search told me that I had just missed one that had been available on eBay.  Thus began a months’ long search which ended in early November, when an uncut, ff (factory folded) copy with original envelope was listed by a shop on Etsy.  Excited, I could barely get my order in quickly enough!  Here is my copy of this wonderful dressmaker’s aid:

Vogue 7503 - Copyright 1953

Now for the particulars:

1 – My copy is actually copyrighted as Revised 1953.  It is unprinted!  Those of you who follow this blog know that I’m not a fan of unprinted patterns, but this is a little different.  For one thing, the pattern pieces are all small, the directions simple, and each piece can easily be copied onto pattern tracing paper, where I can make all the notations I want.  Interestingly, I have since seen this pattern for sale in its 1957 printed and perforated version, so obviously The Conde Nast Publications, Inc. was keeping up with demand.

2 –The term “shoulder shapes” is so much more precise and useful than “shoulder pads”, as that is what these mini-creations do – they help to shape the shoulder line. I’m not sure why the term “shoulder shapes” was replaced by “shoulder pads.”  Patterns from 1958 still referred to “shapes,” but by 1959, they were being referred to as “pads.”  I guess it’s a minor thing, this particular “nomenclature,” but put me in the “shapes” fan club.

3 – Finally – the remarkable versatility of this pattern becomes apparent when you take the time to look closely at the pattern envelope.  Here you can see all the versions of shoulder shapes for different applications:  for coats and suits with set-in sleeves (two variations); for a coat, suit or dress with raglan sleeves or sleeves cut-in-one with garment; for suits and coats with a dropped shoulder line; and for blouses, sweaters or dresses with set-in sleeves.

Here is a close-up of two variant shapes for use with coats and suits. Notice the extra darts in View D, which add a gentle slope to the shoulder line.

Here is a very simple - "just enough" - shape for blouses, sweaters and dresses.

Then if you look in the lower left hand corner, you will see that this pattern also includes a “hip shape” for a coat, jacket, skirt or dress.  Very 1950s.   I guess this was used to accentuate one’s narrow waist – however, this is the only part of this pattern which I just can’t see myself using…

Hip shapes - for those who need it!

I have “view F” cut out for the silk blouse which I am currently sewing – and now that I have this clever pattern, I doubt I will ever again use a purchased shoulder pad  – oops, I mean shoulder shape.

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Filed under Shoulder shapes (shoulder pads), The Conde Nast Publications, Unprinted patterns from the 1950s, Vogue pattern 7503 for shoulder shapes, Vogue patterns

Who has time for Resolutions when there is so much to be sewn?

Since my last post (before Christmas), my sewing room has gone from being Santa’s Workshop, wrapping station extraordinaire, and gift hiding space … back to SEWING ROOM (the seriousness of the subject demands the capital letters!).  All those satiny ribbons, and empty boxes (where can be found the occasional prickly tree needle or left over tissue paper), and straggly ends of wrapping paper rolls are all properly stored away for Christmas 2012, and all my sewing projects just marched out from the closets, jumped up on my work tables and are demanding attention – which I am only so happy to give!

So – here’s what’s happening:

In a switch from dressmaking, I am in the middle of making bed hangings to go on a “flying tester” (what is this??? you may ask), which will go in the master bedroom.  It’s a complicated project, which I’ve been working on for a while, and which will take a good bit longer to complete.  Once it’s done (and hanging), I’ll do a complete post on it, but here is a teaser for right now:

I have all the fabric panels and valances cut and ready to sew.  To make the pattern for the valances (these hangings will be structured ones rather than the more informal ones with gathered valances), I traced the scalloped headboard of our bed.  I copied the design exactly for the valance for the foot of the bed and added two more “scallops” to make the side valances fit the longer length properly.

This photo shows the scalloped design copied from the headboard of our bed.

Each valance will be three layers thick – the decorative fabric (Brunschwig and Fils Bird and Thistle pattern), an interlining of drapery flannel, and the lining, which is a linen/cotton blend.  This should give them the correct “heft.”

Here are the three layers for each valance. From left to right, the decorative fabric, then the flannel interlining, and the linen/cotton lining

I have cut out yards and yards of bias tape in a lovely red linen blend and will be hand-applying this tape to the three finished sides of each valance.   I know it has to be hand-sewn to look right, so beware – I may be blogging from the funny farm before I get all this done.

Because I don’t enjoy making curtains, bed hangings, pillows and such, as much as I enjoy dressmaking and personal sewing, I fit these projects in, in smaller segments of time.  My most successful trick is setting my “chicken” timer (thank you, Barby R. for giving it to me!) for 45-60 minutes once every day or two and devoting that time to these projects.  It’s amazing how much I can get done this way and it’s never overwhelming or too boring.

Here is my trusty chicken timer sitting on her big project!

Now  – on to other things.  My first personal project for January is to make a long-sleeved blouse out of that yellow and black polka dotted silk I showed you back in November.  I found this pattern, which I bought with that fabric in mind:

I purchased this 1957 pattern, thinking that View A would make up well in the polka dotted silk fabric.

Unfortunately, as is sometimes the case with buying vintage patterns, I had to buy it in a size larger than I wear, and I was also a little concerned about the kimono – or dolman – sleeves, so I made it up in muslin first.  This was a good move, as I decided I wasn’t quite ready to make up such an expensive fabric in a pattern without as much “shape” to the body of the blouse as I had envisioned.  However, I love the shape of the convertible collar.  In the meantime, I came across this pattern on Etsy:

This pattern is also from 1957. I love the tucks in the pink version, but they would not be appropriate to use with a polka dotted design. View B is constructed without tucks - perfect!

It has set-in sleeves, which I like; very petite French cuffs, which I love; a few darts to make the fit a little tidier; and it was available in my size, which takes some of the guess-work out of it.  The only thing I don’t like as much is the collar, which has a longer point than I want.  To fix that, I overlaid the one collar pattern on the other one and drew a new collar.  Voila!  I am ready to cut it out.

And – Yes, I actually do have some Resolutions for 2012 (besides all the normal ones).  For one, I’m going to use my chicken timer to help me get my kitchen cupboards and pantry shelves all cleaned and reorganized.   Cluck, Cluck!

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Filed under Blouse patterns from the 1950's, Polka dots, Uncategorized, Vogue patterns