Tag Archives: Mendel Goldberg Fabrics

Classic French Jacket – Number 5

Never did I imagine that when I last wrote about the progress on this jacket, it would be an entire month before I could declare it “finished.”  But such is a fact of life with the construction of one of these jackets.  They always seem to take much longer to complete than ever imagined.  (I should remind myself that during that month, I also made a wool skirt and I was away twice on short trips, but still…)

As this is the fifth one I have made, I can safely say that I have developed my own set of tips for working my way through the lengthy construction process.  Of course, it all has to start with a pattern which is a perfect fit.  Fortunately my muslin pattern is from a Jackets Class I had with Susan Khalje over five years ago. With this pattern, I can go right to my boucle and get started.

While it is often recommended to cut out just the body of the jacket, minus the sleeves (the variegated weave of which is then checked with the constructed jacket body before cutting them out), I have developed enough confidence that I cut out my sleeves along with the body of the jacket.  This allows me to make the sleeves first.  For me there are two advantages to doing this: 1) there is a psychological benefit in knowing that the sleeves are lined, linings are fell-stitched in place, trim is on, and the sleeves are as finished as they can be before setting them into the body of the jacket, and 2) I like to trim the sleeves first, as a way of testing the trim I have chosen.  If I do not like it, I only have trim on one, or two, sleeves which must be removed.  It is also much easier to sew trim on a sleeve which is still separate from the jacket.

Another tip I have learned is to use my walking foot not only for the channel quilting of the lining and fashion fabric (a must), but also for all the seams.  I pin profusely, but the walking foot helps to keep the fabric from slipping, crucial when matching all those lines and plaids prevalent in a typical boucle weave.

I chose this navy and white silk charmeuse from Britex Fabrics for my lining fabric. The boucle is from Mendel Goldberg Fabrics.

I really went round and round with the trim for this jacket.  I knew I wanted to use self-fringe, but I also knew it would need some definition added to it.  After trying several colors of velvet and Petersham ribbon in the trough of the fringe, I realized I would have to go to a bright orange as an underlay for the navy twisted braid I wanted to place on top.

The trim was applied in three steps. Here the fringe is attached as the first step. Not too exciting all by itself.

The next step was to apply this bright orange velvet ribbon, also from Britex. It was really a leap of faith to use this very demonstrative color. It looks fairly garish like this! (I sewed each edge of this ribbon separately, so twice around for this part of the trim.)

But once the navy twisted braid is on, step number three, that bright orange underlay is fine.

One thing I have done with all my jackets – and this is a tip from Susan Khalje – is to add about 1/2 inch in length to the center back of the jacket, curving it up gently to the side seams. I love the effect that this little bit of extra curve gives to the back of the jacket.

I always wax and iron the thread which I use for applying the trim.  It adds strength, but also is easier with which to work.  For this jacket, I also carefully ironed each “level” of trim as I applied it.

A detail of the right pocket. Of course, and this is preaching to the choir, the pockets absolutely cannot be cut out until the body of the jacket is completed. Their placement is a visual determination which really depends upon the fit and appearance of the finished jacket.

I found these vintage buttons in one of my button boxes.  I knew I wanted to use dark blue buttons, and I kind of liked the appearance of these.

The only hesitation I had is that they are plastic!  It seems a bit of a sacrilege to put plastic buttons on one of these jackets, but I actually think they look okay.  If I find other navy blue buttons in my future travels, I might switch them at some point.  But right now, they work.

Because I had only 8 buttons, I was limited to two pockets, and three buttons on each sleeve. I probably would not have put four pockets on this jacket anyway, so that was not really a compromise.

I have enough of the boucle left over to make a simple straight skirt, I think.  However, that will not happen this year!  I am so ready to move on to my next project.  In fact, it may be well over a year before I plunge into another one of these jackets.  I have but one other boucle lurking about in my fabric closet right now, and I am content to let it stay there for a while.

It was much too cold for outdoor pictures, so these will have to do!

I like the jacket worn closed …

… or open.

The curve of the back hem is apparent here.

Now it’s time to tiptoe ever so quietly into the lighter shades and fabrics of early Spring, despite the snow that is currently falling. I am so happy to have this jacket in the “finished” column.

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Filed under Boucle for French style jackets, Buttons - choosing the right ones, Chanel-type jackets, classic French jacket, couture construction, Linings, Uncategorized, vintage buttons

Another Rosy Outlook for the New Year

There is a fine art to planning ahead, and nowhere is this more obvious than in planning a new sewing year.  No matter how carefully I think it through, I still end up with some fabrics that never make it out of storage and some newly-purchased fabrics that quickly get moved to the head of the queue.  But no matter!  I still find it useful to make a list of intended projects, while at the same time reminding myself that being flexible and realistic about my intentions is what is really necessary.  (There are, after all, those unexpected special events which can’t be planned for, but which take top priority when the “save the date” card arrives in the mail.)

When I look back at what I accomplished in 2018, I happily find that about half my projects used fabrics which I had purchased at least a few years prior.  Some had actually been in my collection for more than a few years! Last year’s list was replete with rosy hues and rosy prints, and this year is not too different, especially considering three of my most favorite fabrics from last year are being forwarded onto my plans for 2019. Will this be the year that I finally get this vintage piece of Moygashel linen made into a dress?  I’ve only been trying to do this for at least three years now!

A very early 1950s’ linen, petite black flower silhouettes on a pale ecru background.

But for starters, and as with last year, I am first finishing up a project which I began, but did not have time to finish before the holidays took over my sewing room – and my life!

I am bound and determined to finish the Classic French Jacket I started in late 2018. While I am currently working on the body of the jacket, having completed its quilting, I am still undecided about trim.  I am auditioning different options, but have yet to find the perfect one.

However, I am anxious to get on with it, as the rest of my list includes:

1)  a wool coat

2)  3 cotton shirtwaist blouses

3)  1 boat-neck blouse (silk, maybe, or still undecided)

I love this French blouse-weight silk, so it is a heavy favorite for a boat-neck blouse to be made along with fellow dressmakers enrolled in Susan Khalje’s Couture Sewing Club.

4)  1 linen skirt

5)  2 wool skirts

6)  1 wool, two-piece dress

7)  1 cotton dress

I found this amazing cotton at Mulberry Silks in North Carolina when I was looking for fabric for the Christmas dresses for my granddaughters.

8)  1 linen dress – referenced above

9)  1 silk dress

10) birthday dresses for my two little granddaughters

11) play dresses for granddaughters

12) holiday/Christmas sewing for those same two little girls

and finally

13) some necessary home decorator sewing, which is not my favorite thing to do, until I see it finished and can enjoy living with it!

The wool coat will be my first major project in 2019 once the French jacket is finished.  I can’t wait to get started on this vintage Lesur wool from Paris, lined in a pink, gray and white silk purchased from Mendel Goldberg a few years ago.

I will probably make a simple wool skirt before starting the coat, as I know it will be a relatively quick project nestled between the jacket and the coat.  I found this wool when Promenade Fabrics was closing their Etsy shop a few months ago.  How I love a red and navy tartan.  I could not resist it, and I am glad I didn’t.

The hand of this wool is so lovely. I think it will make a beautiful skirt. And I have just the shoes to wear with it!

Life is, of course, filled with all kinds of non-sewing duties, and I have plenty on that list, too.  It will be a tricky balancing act to make significant progress in both realms, but my guess is that sewing wins out over cleaning out the attic.

Welcome, 2019, with all your grand opportunities!

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Filed under classic French jacket, Coats, Linen, Moygashel linen, Uncategorized, Vintage fabric, woolens

A Surfeit of Sewing

Do you ever have so many sewing plans that you don’t know where to begin?  Do you find yourself at a loss of how to prioritize your projects?  Do you look at the calendar and find yourself in disbelief that there are only two months left in the year?  How did that happen?

My answer to those first three questions is Yes, Yes, and Yes.  (My answer to the last question above is “I have no idea,” but that’s my reaction every year when the calendar is about to turn over to November.)

It is very unlike me to have more than one project going at a time.  I like to finish what I start before moving on to something else. However, four different “sewing adventures” are vying for my attention right now, so I think they are going to have to share space and time.

The first item is the one about which I am least concerned.  That is the skirt I am making as a member of the newly minted Susan Khalje Sewing Club (SKC Sewing Club).   Inaugurated in September, this online couture sewing club is by subscription only, but open to all who may already employ couture techniques in their fashion sewing or those who want to learn more about this remarkable method of creating beautiful apparel.  As a way of creating dialogue and offering fitting advice, Susan sent all members a copy of her “skirts” pattern.

This pattern is available in Susan’s online store (see link above.) It is a beautifully drafted pattern, and very versatile. I will be using it often!

Those who choose to follow along (Susan posts video lessons online) are working through the process with their own choice of fabric.  I have chosen to use this lightweight wool herringbone tweed for my skirt:

With my skirt fitted, basted and underlined in silk organza, with darts and seams sewn, I am currently on hold, awaiting our next step.  Bit by bit, this skirt will be finished forthwith, of that I am confident.

An item I had every intention of getting to this Fall is another Classic French Jacket.  I am currently in the process of laying out the pattern on my boucle.

Here is a small swatch of the boucle I am using for the jacket, purchased from Mendel Goldberg Fabrics.

I have revised my expectations now to have, at the very least, the jacket cut out, the outline basting complete, and the lining pieces quilted onto the jacket pieces.  Actually finishing this jacket will no doubt happen in 2019.

For some reason, I have it in my mind to make a white cotton blouse.  Where that came from, I don’t know, but that’s what I want to do. I found this woven-in-stripe Swiss cotton at Britex Fabrics several years ago, and it keeps surfacing in my fabric closet.  I think it is time to make this blouse!

And then there are Christmas dresses for my two granddaughters, to be ready in time for December’s many pre-Christmas activities.  There is no negotiating on these.  They must be finished on time.  I have ordered fabric (kindly through Mulberry Silks and Fine Fabrics, which I had the pleasure to visit on a very recent trip to North Carolina.) Oh, the many (still secret) plans I have for these!

The last two months of 2018 are going to be . . . well . . . very busy indeed.

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Filed under Blouses, classic French jacket, couture construction, woolens

An A-Line Cocktail Dress

The A-Line silhouette is certainly a very recognizable and common style.  Although there is nothing spectacular about it, it does have a rather interesting origin in modern fashion history.  I had lots of time to think about this style as I worked through my most recent project, and I was surprised with what I discovered.

This entry in Fairchild’s Dictionary of Fashion gives a succinct history:

“Apparel styled close and narrow at the shoulders or waist and flaring gently away from the body to the hem in a line resembling the letter A.  Introduced in 1955 by Paris couturier Christian Dior, the term is used as an adjective in describing a wide variety of apparel with this shape, including coats, dresses, jumpers, and skirts.” (The Fairchild Dictionary of Fashion, by Charlotte Mankey Calasibetta and Phyllis Tortora, Third edition, Fairchild Publications, Inc., New York, New York, c2003, page 11)

A further entry adds “…Usually made with narrow shoulders, [and] a high neckline…” (Ibid, page 11)

Dior’s “A-Line” collection in the Spring of 1955 featured a “fingertip-length flared jacket worn over a dress with a very full, pleated skirt.” (“A-Line dress,” by Susan Ward; Encyclopedia of Clothing and Fashion, by Valerie Steele; Thomson Gale, Detroit, Michigan, pages 35-36) Fairchild’s Dictionary has a depiction of this very dress which was called “the most wanted silhouette in Paris.”

Obviously the A-Line shape then evolved into a less dramatic, and more ubiquitous style during the 1960s and ‘70s, much closer to  what we recognize today as A-Line.

When I was contemplating which pattern to use for my dress (I had purchased the fabric, 1½ yards, 54” wide,  from Mendel Goldberg Fabrics in April of this year), I wanted a style which would showcase the fabric. Although I originally thought I would go with a sheath dress silhouette for this fabric, when I found this pattern, it struck a chord.

The line drawing for the shorter length shows more detail of its seaming and darts. The description on the pattern envelope reads: “Evening or street length, high shaped, slightly A-line dress has short sleeves and scoop neckline with or without slit at center front…”

I liked that center front seam with its notched neckline, even though I knew it might be a little tricky to match the embroidered vines and flowers.  However, I thought  the semi-attached appliqués would be lovely overlapping the seams.

The small slit in the center front neckline.

It took me a full week to finish my muslin.  The bust needed to be dropped so those princess-seamed darts needed a lot of adjustment.  In the shoulder area I had some gaping in the front, and I also needed to reshape the top of the shoulders.  Instead of easing the sleevecaps to fit the armscye, I decided to replace that ease with a shaping dart to the top of the sleeves.  I really liked the fluid look that gave to the shoulder line. I drafted three-quarter sleeves as I was contemplating that change to the original pattern.

It is difficult to see in this black fabric, but this is the top of the sleeve with its shaping dart.  If you look closely, you can see some loose edges of the larger appliqués.

Can you guess what is coming next?  As is often the case when I purchase fabric first and then choose a pattern, I created a challenge for myself.  It was almost immediately obvious to me that I would not be able to work on the lengthwise grain of fabric, as I could not begin to fit the pattern pieces onto the fabric and do any matching whatsoever. As luck would have it, I preferred the appearance of the meandering of the vines and flowers on the crossgrain, and I figured out how to stagger the pattern pieces to both fit the fabric, and match the seams.  But those three-quarter length sleeves?  No way were they going to happen!  I could just fit in the original short sleeves, so short they were going to be!

Here are the silk organza underlining (pattern) pieces laid out on my fabric. I had to stagger the four main pieces to fit it on the fabric. Fortunately I was still able to match the pattern of the vines and flowers. Whew! (I took pictures on my iPad to help with the matching.  You can see it in the upper right corner.)

I ended up basting by hand every single seam on this dress.  Even with great care, it was incredibly easy to catch corners of those loose appliqués by mistake, so it was much easier to make adjustments in basting rather than in the finished machine-sewn seams.  The basting also showed me I needed to take out a small bit of the width of the skirt from the waist down, about an inch total.  When is an inch more than an inch?  In this dress!  That one inch made a huge difference in its final appearance.

Because I was sewing this dress using couture techniques, the neck facing was eliminated, with the black crepe de chine lining fell-stitched to the edge of the neckline.  When I under-stitched the lining to secure it in place, I used an off-white silk buttonhole twist. It was so much easier to see light thread on the black lining, and also, I think it looks pretty.

I hand picked the zipper, which virtually disappears in this dark jacquard embroidered fabric.

I was able to arrange the hem of the skirt so the larger of the semi-attached appliqués would hang just beneath the fold-line.

This shows two of the appliqués at the hemline.

I love the graceful flow of this dress.

The simple look of this dress belies the hours and hours I spent on it!

And I am so pleased that I was unable to make three-quarter length sleeves. These short sleeves are just perfect!

I am quite happy with the way this dress turned out.  I do think its simple lines show off the fabric well – no need for anything too fussy when the fabric is so incredibly lovely!  I love that I can wear this 1960’s A-Line style and somehow feel – and hopefully look – very current.

 

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Filed under Cocktail dresses, couture construction, Fashion history, Formal or fancy dresses, hand-sewn zippers, Mid-Century style, Uncategorized, underlinings, vintage Vogue patterns from the 1960s

A Sewing Draught

The weather outside is frightful, as the popular Christmas song goes.  It has been too hot and too wet here in eastern Pennsylvania (USA) this summer.  Our family travels, however, took us to areas that were both too hot and much too dry. It was exactly those lengthy travels which helped determine the atmospheric conditions in my sewing room during the past weeks.  There has been a definite draught in that part of the house.  The sewing machines have been huddled under their covers, the fabric has lain folded and fallow, there has not been even a bubble of moisture from the steam iron, nor the slightest snip from the scissors.  It has been a place undisturbed and quite barren.

So, finally, it is time to change all that!  Now I am faced with the question – Do I try to squeeze in the making of one more summer dress (it certainly still feels like summer) – or do I forge ahead with a project which has a mid-October deadline?

If I go with one more summer dress, it will be one made from this vintage Moygashel linen, which has been in my queue for quite some time – and somehow never made it to the top.

Realistically, it would probably be wiser to focus on that mid-October dress, which is going to be a cocktail dress made from this amazing fabric, a lightweight brocade, embroidered and with with lace appliqués.  One of the perks of attending Susan Khalje’s Couture Sewing School in Baltimore (which I did last April) is the opportunity to see and purchase fabric from Mendel Goldberg Fabrics.  Alice Wildes, the proprietress, arrives at the beginning of each week-long class with a car full of her gorgeous, carefully selected yard goods, and that is where I purchased this piece.

The embroidered flower stems are a light gray, and the flowers themselves are a pale pink.

Getting this brocade was actually a last minute decision, as I already had one cotton piece selected – and I was trying to be circumspect in buying more fabric (remind me again of why I ever think this will work?) Anyway, I’m so glad I succumbed as I love it and have determined which pattern to use for its construction:

I will be making the shorter dress, without the jacket.

I like the notched neck detail on the shorter dress. I may make below elbow length sleeves – still to be determined.

Although this dress appears to be a simple silhouette, I have plans to change it up a bit, which will add to its complexity, so it certainly cannot be rushed.

With any luck, the weather will start to change for the better no matter which project I embark on.  The only question is – which one will get the nod?

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Filed under Cocktail dresses, Formal or fancy dresses, Lace, Linen, Moygashel linen, Uncategorized, Vintage fabric, vintage Vogue patterns from the 1960s

Classic French Jacket – Number Four

Many of you, no doubt, are familiar with the “10,000 hour” theory. In a nutshell, it purports that to master something, artistically or technically, you must devote at least 10,000 hours to that endeavor (assuming you have a proclivity for it in the first place.) Well, cognitively I know I have a long way to go towards having 10,000 hours devoted to these Classic French Jackets, but it sure seems like I just devoted at least half of those hours to my current, just-finished jacket!

That said, I was aware of an interesting phenomenon as I plugged away on this project. I felt more confident in the process on this one – and more confident in my ability to execute it well. I noticed this especially when I got to the point of inserting the sleeves. The sleeves are, as many of you know, inserted entirely by hand. In previous jackets this has always been my least favorite part. For one thing, you are working within the confined area of the armhole, with lots of very wide seam allowances and “flapping” fabric. It is messy, but precision is necessary to get a beautiful shoulder line and a sleeve that fits well and feels comfortable.   This time it did not feel like an imperfect process; I actually felt like I knew what I was doing!

Getting ready to insert one sleeve.

Voila! It’s in.

Perhaps another of the clues to my feeling more confident in the process of this jacket is the fact that I felt I could take it in a little bit of a new direction. The most obvious departure from the norm is the fact that it has no buttons. Having seen some of the real Chanel jackets in my Pinterest feed that are embellished with bows instead of buttons, gave me the idea to change up this jacket. I really like bows, and I thought using bows would be the perfect foil to this rather regular, non-whimsical hounds-tooth boucle.

I also decided I would eliminate the sleeve extensions and go for curved hems, set off by the trim alone – no bows even for this professed lover of them, as I thought that would be just too much.

Before the trim is applied.

Here is what it looks like on the inside.

Another guiding principle I used for the embellishment of this jacket is the fact that I am planning a matching sheath dress for it. Obviously I want the two pieces to complement each other beyond the shared fabric, so the dress will be trimmed in a manner coordinating with the jacket. (These details will be shared in a future post when I have the dress underway. Eternally optimistic here!) Anyway, envisioning the jacket and dress worn together led me to add both the waistline trim and the trim above the bust (which is across the front only.)

First some details on the waistline trim: I set the pockets to follow this line; the trim is continuous across the top of the pockets (which pick up the curved hems of the sleeves.) I gradually dipped the back edge of the jacket by ½ inch in the center back (a couture technique I picked up from Susan Khalje) and had the waistline trim follow that contour, which I think adds a very graceful look.

I sewed the pocket linings by machine, as that gave the curved dip a better turn. I sewed first along the stitching lines and then cut the curve.

The slightly curved back of the jacket.

Second, I decided I needed the trim across the upper bust as an anchor for the bow I had planned. Obviously I had to set this trim in place before I inserted the sleeves.

The left sleeve pinned in place, the trim already applied.

It was a difficult decision for me to forego a printed lining for this jacket, but I am so glad I did. The black charmeuse has been tiring to work on for my blurry eyes, but it just seems right in this application. And just think – now I have an entire dress to concoct using more black lining!

The boucle is from Mendel Goldberg Fabrics; the trim is from Britex Fabrics, and the black silk charmeuse lining is from Emma One Sock Fabrics.

Until the matching dress is finished, a black sweater and black skirt will have to do.

A red handbag is just what this rather dark and dreary day needs.

I will definitely be ready for some bright Spring colors when this entire ensemble is finished.

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Filed under Boucle for French style jackets, Bows as design feature, Chanel-type jackets, classic French jacket, couture construction, Linings

A Rosy Sewing Year

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

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

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

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

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

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

This is a French crepe de chine.

This silk helps satisfy my penchant for polka dots.

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

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

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

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

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

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

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

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

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

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

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

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