Tag Archives: fashion sewing

Does Sewing Make Us Smarter?

Could it be that while we are planning, fitting, pinning, cutting, stitching, (and re-stitching), we are also using skills that can enhance the ability of our brains to process information and solve complex problems?

I have always loved the fact that sewing demands so many different skills and abilities, but I never thought of it as “brain-enhancing” until I read an article with the intriguing title “Which Professions Can Make You Smarter?” (by Sue Shellenbarger of The Wall Street Journal, December 9, 2015: search here.) The author identified five criteria that indicate the activity or job you are doing, can, according to some neuro-scientists, enhance the “elasticity” and cognitive ability of the brain. One by one, as these criteria were listed, I thought of how apropos they are to sewing. See what you think:

1) “You work at tasks that are difficult enough that you make some mistakes.”

As we all know only too well, mistakes are part of sewing. Why else would seam rippers have been invented?  Have you ever sewn a sleeve in backwards or failed to match a plaid? I immediately thought of this blouse which I made a couple of years ago; while sewing the collar/tie to the front of the bodice, I made the same mistake over and over until I finally got it right.

The Necessary Blouse

2) “You have a job [or avocation] that is continually challenging.”

Whether the challenge comes from the pattern you have chosen, the fabric, the fitting issues you are facing, your time constraints, or any other myriad of potential hazards or goals, sewing is inherently challenging. A good example of a sewing challenge is the use of Marfy patterns. With no written instructions, minimal marking on the pattern tissues, and often complex (but very exciting) designs, Marfy patterns are definitely for the dressmaker who relishes a challenge.

Here is a detail from a dress which I made using a Marfy pattern.

Here is a detail from a dress which I made using a Marfy pattern.

3) “Your work lets you progress to higher skill levels, but you are never able to master it.”

I am always amazed at people who, knowing that I have  taken numerous couture-sewing classes, comment to me that I “must know everything there is to know about sewing.”  I find that the more I learn, the more I realize I don’t know. Just take a look at the Table of Contents of this special Designer edition of Threads Magazine from Summer 2014.   So much to learn, and while every piece we finish expands our sewing knowledge – and abilities – we are still humbled by some of the amazing techniques that would take more than a lifetime to master.

Sewing makes us smarter - designer techniques

Click on the image to read the text.

Sewing makes us smarter - designer techniques - 2

4) “Improving your skills is rewarding enough that you want to keep trying to do better.”

I believe this is one of the most important aspects of sewing. The reward of using – and improving – your skills is something you can wear! Although I love a Classic French Jacket, and want more of them because of their wearability, style, and enduring appeal, I have to confess that after making my first one in a class with Susan Khalje, I immediately wanted to make another one to see if I could improve on the first one. Now I have two more in my queue – and yes, it does have at least some small part to do with making each one better than the one before.

I wanted to add working buttons and buttonholes on my second French jacket, so I devised a way to make slot-seam buttonholes. This definitely took some thinking and a bit of nerve, too!

I wanted to add working buttons and buttonholes to my second French jacket, so I devised a way to make slot-seam buttonholes. This definitely took some thinking and a bit of nerve, too!

5) “You have to pay attention to details while solving more complex problems.”

The details in sewing are legend! The darts, the seams, the proper alignment of your fabric, using the correct thread, choosing buttons, marking – well, the list goes on and on and on. We do all of this as a matter of course in our sewing, but we also know that if one of these details is not done well, it can affect the outcome of the entire garment. So, for example, while I am working my way through some complex instructions such as the sheet below, I have to be completing each detail, no matter how simple, with mindfulness and skill.

This is from one of the more complex patterns I have in my collection. It is a Jo Mattli Vogue Designer pattern for a coat and dress.

This is from one of the more complex patterns I have in my collection. It is a Jo Mattli Vogue Designer pattern for a coat and dress.

One of the sewing quotes I love so much is from the great American writer, Nathaniel Hawthorne:

“It is a token of healthy and gentle characteristics, when women of high thoughts and accomplishments love to sew; especially as they are never more at home with their hearts than while so occupied.”

It seems we are also at home with our minds while stitching away the hours.

 

 

34 Comments

Filed under Chanel-type jackets, Love of sewing, Marfy patterns, Quotes about sewing, Slot-seam buttonholes, Uncategorized

Something Old, Something New – and Pulling It All together

Every once in a while, a unique opportunity comes along in the form of fabric. We all know those times – when the end of the bolt is just the amount you need, or a single bolt of one-of-a-kind designer fabric comes to your favorite store, or a long-awaited re-order makes possible your dream of owning that exact piece. For me, it was an offer from a reader of my blog. She had two pieces of vintage wool which had belonged to her aunt, dating from probably the late 1950s or very early 1960s. Once I saw swatches of both fabrics, I immediately saw the possibilities inherent in each one, and the colors were not only yummy, but also ones that I can wear well (a fact which was correctly noted by my dear reader.) I purchased both pieces well over a year ago, and ever since, I have been dreaming about sewing with them, starting with this gray (what I believe to be) coat-weight cashmere.

The top part of the photo shows the right side of the fabric. It has a soft, luscious nap to it. The contrast of the weave on the underside is hopefully discernible.

The top part of the photo shows the right side of the fabric. It has a soft, luscious nap to it. The contrast of the weave on the underside is hopefully discernible.

As luck would have it, I had already picked up some swatches of (new) wool challis and various dress-weight silks one of the last times I was at Mendel Goldberg Fabrics in New York City. It did not take me long to pair this Swiss challis with the gray wool.

The gray in each little square is a perfect match to the cashmere.

The gray in each little square is a perfect match to the cashmere.

Both fabrics lend themselves to be beautifully complimented by a further pop of color as demonstrated by this silk bias ribbon:

I will definitely be accenting my outfit with something like this.

I will definitely be accenting my outfit with something in this color.

Before I go into patterns and process, I want to share the thoughts of Christian Dior on the color “gray” as written in his The Little Dictionary of Fashion, Abrams, New York, New York, 2007, page 50:

“The most convenient, useful, and elegant neutral color. Lovely in flannel, lovely in tweed, lovely in wool. And, if it suits your complexion, there is nothing more elegant than a wonderful, gray satin evening dress. For day frocks, suits and coats, it is ideal. I would always advise it. And many people who cannot wear black, can wear a dark gray. (Remember that if you are big you must choose a dark gray and if you are petite a light gray is better for you.)

“It is the most convenient color, too, for people who live half in town and half in the country because, with different accessories, a gray suit or coat may be equally suitable for both. It is a good color for accessories, too – almost anything goes with gray. White is perhaps the freshest and sweetest contrast but it is safe to say that whatever your favorite color is, you can safely wear it with gray.”

 Armed with this send-off, I immediately began to look in earnest for a coat pattern. I did not want to purchase the wool challis before I had a pattern, but my thought was to line the coat (except for the sleeves, of course) with it, and then make a coordinating dress or blouse as well. When I found this Guy Laroche coat (and dress) pattern, it seemed to be just what I was looking for, even though when I purchased it, I knew that the pocket flap pattern piece was missing. I was confident, however, that piece would be easy to recreate.

Early Guy Laroche (1921-1989) patterns are somewhat difficult to come by. A Parisian, he worked for Jean Desses (eventually becoming his assistant) from 1949 to 1957, at which time he opened his own atelier. In 1961, his fashion house was known as Guy Laroche Couture. It seems to be about this time that Vogue Patterns began to feature his designs in their Couturier Designer line (Jean Desses designs are also in this line of Vogue patterns). He was one of the featured designers in the 1963 New Vogue Sewing Book, which included “profiles of Europe’s great designers.” This gorgeous suit by him is shown on page 128 in that book:

The collar of this jacket extends so that it can be looped.

The collar of this jacket extends so that it can be looped.

Another one of his suits was shown in Vogue Printed Pattern News from March 15, 1961:

The Laroche design is in the lower lefthand corner. I have never seen this pattern available for purchase...

The Laroche design is in the lower lefthand corner. I have never seen this pattern available for purchase…  (Click on the image to read the caption.)

And a coat and dress ensemble was part of the “French Dressing” section of Vogue Pattern Fashion News from April 1965:

The diagonal direction of the weave in the jacket is a lovely foil for the dress.

The diagonal direction of the weave in the top part of the coat is a lovely contrast for the rest of the ensemble.

I believe the pattern I am using for my gray cashmere coat is from 1962 or 1963. (The patterns from 1961 were priced at $3.00 while my pattern and the ones I have found from 1964-65 were priced at $3.50. That’s one way to help determine a date, although my intuition suggests to me that my pattern is not as late as ’64.)

Once I had my pattern, I ordered the wool challis from Mendel Goldberg (still in stock, thank goodness!) Now, at this point, I did not know exactly how much to order. The body of the coat will be lined in the challis, while the sleeves will be lined in gray Bemberg. I couldn’t go by the yardage on the envelope for the lining since I was “mixing it up.” I think I may have enough of the gray cashmere to make a skirt, but the fabric might be too heavy for a skirt. I’ll know more once I start to sew with it. The rambling on in my head told me that I needed to get enough of the challis to either make a long-sleeved blouse to go with a “maybe” skirt – or enough challis to make an entire dress, as well as the coat lining. So – I ordered PLENTY!! Now I have options.

For some reason I always find coats to be a little intimidating – at least at the beginning. However, when you look at the few pattern pieces that go into this design, it seems to look more complicated than it really is (I hope I am not jinxing or deluding myself):

The main body of the coat really has just 8 pattern pieces (the facings you see are for the dress included in the pattern.) Of course, the lining adds more, but compared to the number of pieces in the coat I made two years ago, this is minimal!

The main body of the coat really has just 8 pattern pieces (the facings you see are for the dress included in the pattern.) Of course, the lining adds more, but compared to the number of pieces in the coat I made two years ago, this is minimal!

I am currently working on my muslin, and I am so excited to be starting this project. Thank you, EG, for allowing me to purchase this beautiful vintage fabric. I feel a great responsibility to honor this “something old” wool in a coat worthy of its quality and provenance.

24 Comments

Filed under Coats, Mid-Century style, Uncategorized, Vintage fabric, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, woolens

The Calm before the Storm

Starting the new year with a “simple” project seemed like the way to go, knowing that I plan to spend the remainder of the winter on a coat and “related apparel.” More on that in my next post. I thought that if I didn’t get this “skirt that was meant to be” cut out and sewn in the first couple of weeks of January, it might not get finished this year.

I found the fabric on eBay – dubbed as a medium-weight wool in good condition – 58” wide, 1+ yard in length, which I figured was enough for a skirt.

Navy and white houndstooth.

Navy and white houndstooth.

There is always a bit of the unknown when one is bidding on fabric online, especially when it comes to the feel and hand of the fabric. For that reason, I kept my bid fairly low, especially as I seemed to be the only one bidding or even watching this lot. So, you can imagine my surprise when I was OUTBID! I was disappointed, but clearly it was my own fault for not making a stronger bid.

I went on with my day, trying not to think about how much I liked the look of this fabric. And then – eBay sent me a message saying I had a second chance at the fabric – it could be mine for the amount I had bid originally. Hurray! I will never know what happened to make this possible, but clearly the skirt I had planned in my mind was meant to be.

DSC_1090

When the fabric arrived, it was lovely, although a bit heavier than I thought it would be. I decided it would make up better if there were few – or no – darts. So I settled on the paneled skirt from this 1958 pattern.

The calm before the storm - pattern

These small drawings show the seams and shaping of the skirt quite well. Obviously, I shortened the length of the skirt.

These small drawings show the seams and shaping of the skirt quite well. Obviously, I shortened the length of the skirt.

The shaping is in the seams, and even though there are a lot of seams (6 of them to be precise), I knew I could control the bulk by using couture techniques.

I underlined the skirt with silk organza, and secured the raw edges of each seam with catch-stitching.

I underlined the skirt with silk organza, and secured the raw edges of each seam with catch-stitching.

I also lined the waistband, thereby reducing bulk in that area. I used Bemberg rayon for the lining.

It is a little difficult to see, but this photo shows the inside of the lined waistband.

It is a little difficult to see, but this photo shows the inside of the lined waistband.

Another look at the waistband.

Another look at the waistband.

DSC_1087

DSC_1091

DSC_1095

DSC_1080

I believe this skirt is going to be a staple in my winter wardrobe – classic houndstooth in navy and white wool is versatile, timeless, and warm. This was a calm and simple way to start the new sewing year. Now I can dig into something much more complicated, and I am excited to do so!

27 Comments

Filed under couture construction, paneled skirts, Uncategorized, Vintage fabric, vintage Vogue patterns from the 1950s, woolens

One Year at a Time

Let’s start with 2016. Although, truthfully, right now in January 2016, I could probably plan at least three years’ worth of sewing. That is how many patterns and fabrics I have tucked away, waiting for their turn. But it is time to concentrate on the year at hand and get on with it!

Some of the year is shaped by events that I know will be happening – such as weddings and fancy parties. Some of it will be devoted to little granddaughters who are already growing too fast for me to indulge all my sewing fantasies for them.   And some of it will be my own self-determined challenges – coats and dresses I want to make – that right now are looking like small Mt. Everests, waiting to be conquered!

I probably should be sewing right now for Spring and Summer, but I have wools that are too enticing to ignore during these current Winter months:

Wool challis on the left and vintage cashmere on the right.

Wool challis on the left and vintage cashmere on the right.

Navy and white houndstooth.

Navy and white houndstooth.

Some cute and classic cottons for little girls should be able to find themselves tucked in amongst my plans for Springtime.

The buzzy bee fabric is a vintage cotton. The blue gingham is new.

The buzzy bee fabric is a vintage cotton. The blue gingham is new.

Looking towards Spring weddings already on the calendar, I am excited for the opportunity to use this amazing printed silk for a dress and perhaps pairing it with the plain yellow silk taffeta left over from my fancy dress from last Summer.

One year at a time

I have so many vintage linens in my collection, that it is difficult to narrow down my focus, but here are four that just may see the sewing shears this year:

These are all vintage Moygashel linen.

These are all vintage Moygashel linen.

This vintage, authentic Diane von Furstenberg cotton blend knit has been calling my name for quite some time.

One year at a time = DvF

Hopefully this fabric and this pattern will finally find each other this year!

One year at a time - DvF pattern

The sewing year will no doubt end next Fall with a return to wool. The polka dotted wool is similar to the wool in a dress I made in Fall of 2015. It is from Mendel Goldberg Fabrics in NYC.

As one who loves polka dots, I could not pass up this wool/silk blend fabric.

As one who loves polka dots, I could not pass up this wool/silk blend fabric.

When I purchased it, several swatches of boucle were in the package – and I was in a swoon over this blue and pink sample:

How wonderful that Pantone's two "colors of the year" - pink and blue - are the color way for this boucle.

How wonderful that Pantone’s two “colors of the year” – pink and blue – are the colorway for this boucle.

Lucky me to open a box on Christmas morning to find 2 yards of it (thank you to my dear children!) – enough for another Classic French Jacket.

2 full yards of this glorious boucle! What a wonderful gift!

Two full yards of this glorious boucle! What a wonderful gift!

Some of the patterns I might be using this year are all vintage ones that deserve attention. I tidied up the boxes where I keep my pattern collection and these just happened to be some which would NOT go back in silence, so here they are with all their wily temptations!

One of my big projects for this year is this coat.

One of my big projects for 2016 is this coat.

I have been wanting to make the dress on the right for quite a while - this may be the year it happens!

I have been wanting to make the dress on the right for quite a while – this may be the year it happens!

I really like this shirtwaist dress (a little shorter, of course) and I envision it made out of a lovely summer linen.

I really like this shirtwaist dress (a little shorter, of course) and I envision it made out of a lovely summer linen.

I think I could make either view of this dress over and over and not get tired of it.

I think I could make either view of this dress over and over and not get tired of it.

One thing I learned a long time ago is the importance of flexibility in planning my sewing year. Sometimes things happen that impede my sewing plans. Sometimes I change my mind. And always, always, I plan too much. And when (not if) that happens, there is always 2017 right around the corner.

17 Comments

Filed under Boucle for French style jackets, Diane von Furstenberg Vogue patterns, Linen, Moygashel linen, Polka dots, Sewing for children, Uncategorized, Vintage fabric, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s, woolens, Wrap dresses

Festive Attire

This time of year is not called The Festive Season without good reason. Replete with parties and holiday events, December is like no other month of the year. Particularly delightful are the parties which are given in someone’s home – and they deserve special attention to attire. I firmly believe it is a compliment to your host and/or hostess to dress up according to the season – which means Festive Attire.

When I am considering what to make (and wear) for a Christmas Party, I keep these things in mind:

1) It should be feminine – as in a party skirt or dress (not pants, with my apologies to those of you who prefer them).

2) If possible, all or some of it should be silk, that luxurious and elegant fabric which always makes a statement.

3) It should be fancy which leaves open many possibilies.

4) Something about it should be colorful – preferably red, the perfect hue for a bright holiday look.

So, how did I do?

Festive Attire

The lace for the overblouse is from Mendel Goldberg Fabrics. I found it online this past summer. Although at the time, I did not know what I was going to make, it was an end-cut, so the yardage was ample. I figured I’d make that decision later. The red fabric for the skirt is a silk faille. I purchased it several years ago and had it in my fabric storage closet. Now I can’t remember what I intended to use it for; I remember when it arrived, I thought it was too stiff for whatever that was. I kind of despaired that I’d never find a suitable use for it, until I got the idea for this outfit.

I used the same overblouse pattern that I worked from this past summer for an eyelet blouse – and set to work on this incredible lace.

I made lots of changes to this overblouse pattern, but it gave me the basics I needed.

I made lots of changes to this overblouse pattern, but it gave me the basics I needed.

With two scalloped “selvedge edges,” the lace is very versatile. I underlined the body of the blouse with a lightweight cotton/linen blend, and then I lined it with silk crepe de chine.

Festove attire - lace

Perhaps you can see the lovely detail in this small segment of the lace.

Here is an interior look at the silk lining sewn carefully to the armscye.

Here is an interior look at the silk lining sewn carefully to the armscye.

I used a tired and true skirt pattern for the red silk faille.

From Vogue's Designer series, ca 1970.

From Vogue’s Designer series, ca 1970.

Because of the stiffness of the fabric, I added about 1/8 of an inch to the side seams to give me a little more flexibility in movement, but now that it is finished, I really don’t think that was necessary. Even though the fabric is stiff-ish, it’s flexible – and I love the sheen it has.

With no construction photos to show you (too busy sewing to take pictures!), I have to be content showing you just the finished product.

DSC_1002

DSC_1000

 

 

 

 

 

 

 

 

 

DSC_1011

DSC_1013

Somehow I was able to cover all my “festive” criteria with this outfit: feminine, silk, fancy and colorful. I must remember this recipe for next year’s Festive Season.

33 Comments

Filed under Formal or fancy dresses, Lace, sewing in silk, Uncategorized

A Collection of Coats

When the weather turns wintry, warm coats become a wardrobe staple. One or two “practical – wear everywhere” coats are a must. (I just added years to the life of a 2+ decades-old cashmere, classic, double-breasted coat by having the tattered lining replaced by a local tailor – and I will continue to wear this coat often!) But how delightful to have a collection of coats – and how much better if they are not only warm, but also stylish. If you were sewing in the 1950s and 1960s you were fortunate to have many, many coat styles and patterns available to you – and if you are sewing now, you are also fortunate to have access to many of these same patterns through the internet – and they are just as stylish now as they were 50+ years ago. I am, of course, speaking of “dressmaker coats.”

Quoting from Fairchild’s Dictionary of Fashion, (Third Edition, by Charlotte Mankey Calasibetta and Phyllis Tortora; Fairchild Publications, Inc, New York, New York, copyright 2003) a dressmaker coat is: “A woman’s coat designed with softer lines and more details than the average coat. May have a waistline and unusual details, e.g., tucks or pleats.” Such coats are so-called because they are styled more like a dress.

It doesn’t take very long to find examples of such coats in the Vogue Pattern Book Magazines from those two decades. The sheer numbers of patterns for such coats – and coat and dress ensembles – make me believe that home dressmakers from that period of time did not shy away from such sewing challenges. And why should we when so many gorgeous coats are waiting to be sewn?

Here are a few examples to tempt you:

“The Rectangle Coat: New Fashion Geometry” was a feature in the December 1958/January 1959 Vogue Pattern Book Magazine.

Dressmaker coats - rectangle #1

Both of these coats feature fur collars “added by your furrier.” The one on the left has a “slight oval to the back” – and a half belt.

Suggestions for suitable fabrics are given for each of these designs.

Suggestions for suitable fabrics are given for each of these designs.

Continuing with the theme of “New Fashion Geometry,” the following pages of the same Vogue Pattern Book Magazine show examples of “the triangle coat.” Other terminology for this style of coat is the A-line coat. First introduced in 1955 by Christian Dior, this coat was “made close and narrow at the shoulders, flaring gently from under the arms to hem; shaped like letter A, made in single-or double-breasted style with or without a collar,” according to Fairchild’s Dictionary of Fashion, page 85.

Dressmaker coats - triamgle coat #1

The coat on the right has unusual princess seaming.

The coat on the right has unusual princess seaming.

A few years later, the December 1962/January 1963 issue of Vogue Pattern Book Magazine featured “7 new ways to keep warm and look wonderful.”

Dressmaker coats - 7 coats 1

Several of the coats in this section feature "fullness" in the body of the coat.

Several of the designs in this section feature “fullness” in the body of the coat.

For me, however, it is the “ensembles” that make the ultimate fashion statement when speaking of coats. Christian Dior succinctly sums up their allure in The Little Dictionary of Fashion (Abrams, New York, New York, copyright 2007), page 40: “A very elegant way of dressing is to have a coat and dress matching together, making an ensemble… The frock should be fairly simple and the coat can be either fitted or loose, according to your taste. It can also be either long or short.” Vogue Patterns had no shortage of offerings for such ensembles. Here are four wonderful Vogue patterns – which are part of my pattern collection – and which are “ensembles.”

Note the "fullness" in this coat as well.

Note the “fullness” in this coat as well.

The princess seaming on this coat is similar to the red one mentioned above.

The princess seaming on this coat is similar to the red one mentioned above.

Somehow, this Guy Laroche pattern shows better in this photograph than in its drawing.

Another view of this  Guy Laroche pattern; it seems to show better in a photograph than in its pattern illustration.

This pattern was featured in that same VPB Magazine issue from December 1962/January 1963.

This pattern was featured in that same VPB Magazine issue from December 1962/January 1963.

And here it is in black and white in that issue. Stunning, isn't it?

And here it is in black and white in that issue. Stunning, isn’t it?

I love the knee length coat, although I may substitute another pattern for the coordinating dress.

The neckline on this coat is lovely and perfectly suited for a coordinating dress.

I actually have fabric for three of these patterns – with plans to sew them of course.  (Can you guess which one is the fabric-less orphan?)   However, all of them will remain part of my sewing dreams until after the holiday season – which “officially” begins this week with our American Thanksgiving celebration. I have festive attire and a few homemade gifts to fill my sewing days through December. Building my collection of coats will just have to wait.

Happy, Happy Thanksgiving to all my American readers – and my heartfelt thanks to my loyal readers worldwide in this season of gratitude.

11 Comments

Filed under Coats, Dressmaker coats, Mid-Century style, The Conde Nast Publications, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s

Because We Can’t Spend Every Waking Hour Sewing . . .

Or can we? If you are like me, you spend a lot of time thinking about sewing even when you aren’t actively engaged in the process. And how fortunate, for those of us who also enjoy a good read, to find a novel which speaks the language of couture fashion sewing.

The Pink Suit, by Nicole Mary Kelby, was published in April of 2014, so it is not a particularly new book – it took me a while to decide to read it. I knew it was about the iconic “Chanel” suit which Jackie Kennedy wore the day her husband was assassinated in November of 1963. Although I am truly a fan of historical fiction, for some reason I had my doubts about the supposed story line of this book. Could an author really convey the emotional and professional commitment that a “dressmaker to the Famous” would have to have? Well, yes. I finally succumbed to reading this novel and I am so happy I did. This is a wonderful story, on three important levels – as a narrative story, as a lesson in fashion history from a very specific period of the 1960s, and as an appreciation of couture sewing.

The Pink Suit - book cover

The heroine of the story is Kate, an Irish immigrant dressmaker who works for the prestigious Chez Ninon boutique in New York City. Extremely skilled at couture sewing, Kate is always responsible for the creation of the fashions which First Lady Jackie Kennedy orders. Although Mrs. Kennedy’s tastes gravitate towards French style, she is savvy enough to realize that her clothes must be American made. So it is that Chez Ninon and Kate endeavor to provide her with the finest French styles, American made. As talented a dressmaker that Kate is, she balances between two worlds – that of the rich, famous, and beautifully dressed – and that of the “working class.” We do not find out until close to the end of the novel that Kate is exactly the same age as Mrs. Kennedy, which, for me, emphasized this dichotomy. (There is a parallel love story, in which Kate finally marries Patrick, who has a butcher shop business in Manhattan.) However, even though Kate is part of the “working class,” this does not mean that she does not want to dress as beautifully as those for whom she sews. I do not want to give away more of the narrative, but there is a wonderful scene where Kate is dressed in a couture suit and finds herself in the Carlyle Hotel where she deftly opines to herself “A woman in a beautiful suit can go anywhere.”

I love that the back cover of the book shows a hat and gloves - two essential ingredients to being well dressed in the early 1960s.

I love that the back cover of the book shows a hat and gloves – two essential ingredients to being well dressed in the early 1960s.

As a lesson in fashion history, The Pink Suit is beautifully composed. I learned things I never knew – such as Coco Chanel allowing line-by-line “copies” of her jackets and suits under certain circumstances. The pink boucle, the trim and the buttons for the First Lady’s suit were actually supplied by Chanel herself to Chez Ninon – at a hefty price, of course. Although Oleg Cassini was the “official” fashion designer to the White House, Mrs. Kennedy obviously had the ultimate say over what she wanted to wear – and what she wanted to have made for herself. There are hints in the book at the professional snobbery and envy, which certainly circled around some of her decisions. The inner workings of Chez Ninon are described with great detail, with especial emphasis placed on the two sisters who were the owners and “manipulators” of French fashion, done American style. (I was certainly thrilled to see a Chez Ninon gown in the Exhibit at Drexel University which I attended a few weeks ago. Although from a later period of time – and certainly not my favorite – simply the inclusion of such a gown speaks to the importance of this fashion boutique in the history of dress:)

Drexel - red Chez Ninon dress

How I would love to see the inside of this dress!

One of the more charming aspects of the novel is the inclusion of a “fashion” quote at the beginning of each chapter. For example:

From Diana Vreeland: “A new dress doesn’t get you anywhere; it’s the life you’re living in the dress, & the sort of life you had lived before, & what you will do in it later.”

From Karl Lagerfeld: “Fashion is a language that creates itself in clothes to interpret reality.”

From Oleg Cassini: “To be well dressed is a little like being in love.”

From Yves Saint Laurent: “Over the years I have learned that what is important in a dress is the woman who is wearing it.”

From Coco Chanel: “Adornment, what a science! Beauty, what a weapon! Modesty, what elegance!”

Finally, I cannot give the author of this novel enough credit for her understanding and interpretation of the thrill of couture sewing and appreciation of beautiful fabrics. One can feel the stress that Kate experiences when she is working on her “assignments” – the tremendous time involved in intricate, custom sewing, the dedication to excellence she feels for each piece. And when beautiful fabrics come into the boutique, the reader can almost feel the luxurious hand of each one, see the perfect color and imagine the beauty of it made up into an exquisite dress. There is one scene where Kate is given a piece of the Linton Tweeds “Chanel” pink boucle – and I could fully feel her overpowering emotion at receiving such a gift.

This book has actually been featured in Threads Magazine’s “Great Gifts” feature in the current January 2016 issue:

The Pink Suit - Threads

So – I suggest that if you have not already read this book, you do so. Give yourself a gift, or put it on your list – along with some pink boucle!

22 Comments

Filed under Book reviews, Coco Chanel, Mid-Century style, Uncategorized

Sweet November

The trickery, which defined my October sewing, finally floated away with the leaves and the goblins, leaving sweet November with her welcome reward, a new dress for Autumn and Winter.

Sweet November

So what made vintage Vogue 1395 such a tricky dress to make? I documented my efforts to get a workable muslin (toile) in a post from early October. Once I had my adjusted muslin pattern, I transferred it onto black silk organza to use as my cutting guide. It was then I realized that, because the design on the fabric, a silk and wool blend, was printed on it, not woven into it, I needed to work from the right side of the fabric in order to match the horizontal “lines.” This meant that I had to flip every piece that I cut out and then exchange the organza with its opposing side. (I hope this makes sense.) It added a bit of uncertainty to the process and I was fanatical with flipping and checking to make sure I kept the design in line. Something told me I should delay cutting out the sleeves until I had the body of the dress together – my sewing godmother at work, I guess – and I am glad I did, as I’ll detail in a bit.

I had made the decision at the beginning of the project to cover the dress’s two buttons in the plain gray “wrong” side of the fabric. But once I “semi-made” a covered button, and tried it out, it was DULL. It added nothing to the dress. I went to my button box and all I could find was a small gray pearl that was close in color. But I loved the iridescence of it and determined that gray pearl buttons were what I needed. I seem to have such good luck with buttons from Britex – even though I am ordering online – and found 1” gray pearl buttons with a rhinestone in their centers. Although I am not a rhinestone-y type of person, something about them spoke to me. I remembered what Susan Khalje said in one of the classes I have taken with her – that couture often has a bit of “whimsy” to it. Well, I ordered those buttons as as fast as I could! I think they are just what was needed!

Sweet November

I had also made the decision to make the “dickey” part of the dress out of the side of the fabric with the printed design – so that the horizontal line would be uninterrupted across the bodice. Here is what it looked like once I had it done:

Sweet November

There was not enough definition between the dress and dickey to make it interesting.

I cut some scraps to see what it would look like with a play gray insert – and it was so much better!

Sweet November

So – I took the dickey all apart and flipped it over so it would be out of the plain gray “wrong side.” By now I was enjoying the versatility of this fabric (which I bought online from Mendel Goldberg Fabrics) and appreciating the serendipity of having this fabric for this pattern, giving me options.

However, the fabric posed another challenge when I got to the point of finishing the front opening in the bodice. This fabric frays enough that I was not comfortable following the directions given in the pattern instructions:

The instructions directed me to just turn back the seam allowance, but because of the ravel-ly nature of the fabric, I was certain it would pull out with wear.

The instructions directed me to just turn back the seam allowance, but because of the ravel-ly nature of the fabric, I was certain it would pull out with wear.

Instead, I opted to make a “facing” for the opening out of black organza. It is situations like this that make me feel so fortunate to have enough “sewing sense” to be able to recognize potential difficulties and then have the ability to work out creative solutions to them.

Sweet November

Silk organza pinned in place.

And here it is sewn in place.

And here it is sewn in place.

I took some pictures at this point to show the inside of the body of the dress:

Yes, those are pockets hanging on the front.

Yes, those are pockets hanging on the front.

This shows those darts with their slanted orientation.

This shows those bust darts with their slanted orientation.

The zipper is inserted by hand, as usual! Once I had it basted in place, I tried the dress on for fit and determined I had to take it in a bit at the waistline.

Then I tackled the sleeves. I had quite a time determining how to place the sleeve patterns on the remaining fabric. Some of those horizontal lines of “paintbrush strokes” change color across the fabric! And my adapted sleeve pattern has two elbow darts, which changed the horizontal line. I had to make a decision about where I wanted the best match to be, as I determined I could not match it across and up and down as I would normally want to do. I opted for a match across the shoulders – and I now believe that was the best decision.

DSC_0924

I also added a soft “cigarette” sleeve heading to each shoulder seam.

Next to the lining – and bless those vintage Vogue patterns – the lining for this dress included separate and distinct pattern pieces. I made the sizing and dart changes to the lining (in keeping with the dress) and it went together effortlessly. When I got to the point of inserting the lining by hand, I just could not resist adding silk piping to the inside neck edge. I know I am the only one who will ever see it, but it makes me happy!

Sweet November

I used a bias strip of lightweight silk for the piping.

I used a bias strip of lightweight silk for the piping.

How wonderful to have this dress completed!

Sweet November

The buttons really show in this picture.

The buttons really show in this picture.

Sweet November

Sweet November

Sweet November

There was one more aspect of serendipity to this project. Those of you who follow my blog know that part of my fascination with vintage Vogue patterns is making connections between the past and the present. I love to “place” a pattern in its correct year – and then wonder in amazement at how classic fashions are so enduring. It was my great good fortune to have this Vogue Pattern Fashion News from November 1964 in my collection of vintage fashion magazines:

Sweet November - flyer cover

Inside on page 3 is, yes, my dress!

Sweet November - flyer illustration

Just imagine – 51 years ago this month, this dress made its debut. Happy Sweet November Everyone!

38 Comments

Filed under Buttons - choosing the right ones, couture construction, Day dresses, hand-sewn zippers, Love of sewing, Mid-Century style, Uncategorized, underlinings, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, woolens

Shopping in My (Cedar) Closet – Again!

Some dresses – and patterns – just keep giving and giving. As the date approached for a “black tie/ masquerade” ball which my husband and I planned to attend, I decided I had better start to think about what I was going to wear. I reluctantly admitted that the fancy dress I made this past Summer was really too summery to wear to a mid-October event, so I went into my cedar closet in search of another party dress. Still looking like the day I made it 22 years ago was this dress, made from a Butterick pattern:

DSC_0904

And here is the pattern.

Here is the pattern.

The thumbnail drawings shoe the process lines in the bodice. The description explains the construction of the skirt. I made it in the ankle length version.

The thumbnail drawings show the princess lines in the bodice. The description explains the construction of the skirt. I made it in the ankle length version. And yes – it has a side zipper.

Although I have actually made just one dress from this pattern, I have used the bow pattern (or some “sized-up” or “sized-down” variation of it) again and again. My most recent use of it was for the waist bow on my Summer dress:

 I enlarged the pattern a bit to make this bow.

I enlarged the pattern a bit to make this bow.

With a black velvet bodice, the dress from my cedar closet is definitely more suitable for cooler weather, and I didn’t think it looked too dated to wear.

GD Ball 3

I like the dropped front waistline – a detail not often seen in current patterns – at least to my knowledge.

Black and pink fancy dress

The pink fabric is polyester, although it certainly resembles silk. I never forgot the “name” of this fabric – it was called “Eyelash”! It has a crinkled effect to it, but is soft and wrinkle resistant.

This is a view of the back of the dress.

And, as luck would have it, several years ago I made a mask to wear to some other event, the purpose of which now is lost to the ages! Fortunately I had used some left over fabric from my “cedar closet” dress – so it matched perfectly.

Mask Pink

I love a mask on a stick – it doesn’t muss one’s hair! I added that vintage flower to give it extra allure. The stick is just that – a skinny dowel which I covered with ribbon.

Those are sequins around the eyes!

Those are sequins around the eyes!

When I made the dress back in the 1990s, I found this evening bag to use with it, so, of course, I wanted to use it again. How times do change! I tried every which way to fit my smartphone in it, and no amount of “schmushing” or angling allowed me to do so. Fortunately, my husband’s tux has lots of pockets, so he toted my phone for me!

Black and pink fancy dress

The final touch to my outfit was long black velvet gloves. I adore long gloves; they are elegant, fetching and … warm! I did not see another pair of formal gloves the entire evening, which to me is a little sad. Accessories like that add so much to our attire and to our “presentation” and unfortunately are one of those fashion niceties being lost in an increasingly casual world.

GD Ball 1

Click on the photo for a closer look…

GD Ball 2

Some of the people in attendance at the Ball were in costume, but I loved the fact that I could get one more wearing out of a formal dress made so long ago. Back into the cedar closet it has gone – sharing space with other out-of-season or “too sentimental-to-give-away” pieces. It is anybody’s guess whether I will ever have another opportunity to wear it. But those gloves? I am keeping those handy!

 

26 Comments

Filed under Bows as design feature, Formal or fancy dresses, side-placed zippers, Uncategorized

Scrap

This particular word seems to sum up my experience – so far – with my new project of the month. I have had to “scrap” three complete muslins – as in “throw away” and “discard.” I rather like one of the other definitions for this particular word to sum up my past week of sewing – “a fight or quarrel.”   Yes, it’s been a battle, but I believe I am winning! It all started with this fabric – a soft, lovely, light-weight wool and silk blend – from Mendel Goldberg Fabrics.

Scrap

Here it is draped over my dress form.

Here it is draped over my dress form.

Although I knew I wanted to make a dress with a slim profile – to minimize the fabric’s horizontal design – it took me a while to find the right pattern. I started with one that had curved lines in its bodice and “scraped” that idea after my muslin (toile) revealed many fitting issues. I took that as a sign that the pattern wasn’t the best one to use anyway (which I suspected all along. It’s really important to listen to one’s intuition in things like this!) After another search in my pattern collection, I settled on this dress.

Gray painterly dress - Lanvin pattern

However, I want below-elbow length sleeves so I did a little sketch to try out the look:

Gray painterly dress - sketchAfter finding a sleeve pattern from another dress which sports two elbow darts, I figured I was in business. Ah, the battle was just beginning. The first muslin I made revealed bust darts that were two inches (two!!) too high. And although I wanted a slim profile, I do have to be able to move in the dress!  I figured I needed to add two inches in total width from the lower armscye down.  Here is a diagram of the pattern pieces. The angle of the bust darts is vital to the fit of the dress so I could not just pivot the apex of the bust. I had to reposition the entire dart, which was getting it awfully close to the pocket.

Gray painterly dress - pattern diagram

Making changes in that first muslin was just a study in frustration, so I scraped it and made a new one. My second one was better, but still had some kinks in it. The armscye seemed to be off kilter, the reason for which I could not figure out. I’m telling you these are the things that keep me up at night. At this point I went to JoAnn’s and bought more muslin. I was determined to win this fight! A whole new muslin and finally I had one that fit. I was even happy with my mish-mash sleeve (after making a few minor adjustments.)

Scrap

Scrap

I have now progressed to the silk-organza underlining stage of construction.   Matching the horizontal design of the fabric across the various components of the pattern will take concentration, but that’s a task that always intrigues me.

Scrap

A decision about those two buttons, such an important focal point of the dress, is still to be made. The wrong side of the fabric is plain gray, so I might end up using that side for covered buttons. Suggestions, anyone??

DSC_0900

Other than these challenges, I am feeling fairly confident that my next post will not have to be entitled “Scrap – Continued.”

20 Comments

Filed under Buttons - choosing the right ones, Uncategorized, underlinings, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, woolens