Tag Archives: Moygashel linen

August 31, 2020 · 3:23 pm

Almost September

What? It is almost September and time to assess just exactly what I accomplished the last three months. I have a friend whose late mother always said, “A flurry of activity at the end of the day does not make up for earlier unfocused, unproductive hours.” I guess the same could be said for the waning days of a month or a season. However, despite my nagging feeling that I have not accomplished much this summer, I have actually made some progress on my never-ending list.

For one thing, I tackled the alterations on my silk floral dress about which I wrote earlier in the summer. I took out the hand-picked, lapped zipper to see if resetting it would give me enough ease over the tight bust and uncomfortable back. There was much to take out and then put back in: the lining, part of the neck ruffle, the understitching of the neck facing, and of course the entire zipper, in addition to reattaching the silk organza underlining back to the fashion fabric. Thank goodness for the ample seam allowances which, in true couture fashion, enabled me to add just enough extra across the back. Yes, it worked, and I am so much happier with the fit and the look of the dress. Now I can wear it or hope to wear it! (Someday?) I still think I will tweak the neckline a bit if I make this pattern again, but I do feel I salvaged this dress.

Well, these are not the shoes I intend to wear with this dress. They happen to be the only heels I have with me this summer.

This dress fits so much better… I’m so happy I did not put off “fixing” this dress until … who knows when!

Several weeks of the summer were devoted to home decorative sewing, including pillows, cushions, and a tailored bed skirt. I won’t bore you with that! But it was all very time-consuming, as those things tend to be. More weeks were spent, happily, with welcoming family for visits and extended stays and even some sewing for my granddaughters. I have never known two little girls who enjoy “playing dress-up” more than my two. In a weak moment a couple of years ago I purchased this amazing vintage pattern of the Chiquita Banana Señorita’s dress in girls’ size 6-8.

The Chiquita Banana copyright for this costume is from 1947. The pattern is undated, but it is undoubtably from the 1950s.

I knew this was the summer to make these dresses, so I was off to the races on them. I opted for rick rack rather than bias tape as the decorative trim. I ordered the fabric from Farmhouse Fabrics – a cotton/poly blend which was lovely, and in equally lovely colors. As the dresses got heavier and heavier as I worked on them, I decided to eliminate the third row of ruffles. As it turned out, the dresses were amply sized. My 5-year-old granddaughter reassured me that it was so good to have dresses with room to grow. And so, these fiesta dresses will serve them for at least a couple of years.

I wanted the girls to have different colored dresses, and I got creative with the colors, as I really think of these as “fiesta” dresses rather than Chiquita Banana. Lots of twirling ensued!

And then last week – yes the last full week of the month – I was finally able to focus on what will be my last make of Summer. Here is the pattern:

This pattern is dated 1957.

And here is the fabric:

I was fortunate to find this vintage piece of Moygashel linen several years ago. It is also from the 1950s.

And so my last minute flurry of sewing activity is well underway. Happy September!

22 Comments

Filed under hand-sewn zippers, Moygashel linen, Ruffles, Sewing for children, sewing in silk, Sheath dresses, Uncategorized, Vintage fabric, vintage Vogue patterns from the 1950s

Tagged as 1950's Vogue patterns, Farmhouse Fabrics, fashion sewing, Moygashel linen, sewing for children, sheath dress, silk, vintage Vogue patterns

September 9, 2018 · 6:39 pm

A Definite ‘60’s Vibe

“Unexpected,” “unusual,” “fascinating,” and even “a bit magical” are words used to describe some of the fabrics, prints and designs from the late ’60s/early ’70s (The Editor’s Letter, Vogue Pattern Book International, April/ May 1970.) Although I have no documentation, I am sure that this red and white Moygashel linen is from those last years of the 1960s or early years of the ’70s.

Of course, another clue to the age of this Moygashel linen is its width of 45″. Prior to about 1964, Moygashel was only available in 35 or 36″ width, as best as I can determine.

A quick look through some of my Vogue Pattern Book Magazines from this time period uncovered other fabric designs which have a similar feel to them.

This dress appeared in the April/May 1970 Vogue Pattern Book International, page 16.

This large, irregular leaf print was shown in the February/March 1968 issue of Vogue Pattern Book International, page 11.

Even this sewing machine ad features a dress with an abstract geometric fabric design. Again, this is from the February/March 1968 Vogue Pattern Book International, page 24.

And here is another spectacular Moygashel linen, advertised in the April/May 1970 Vogue Pattern Book International, page XXIV. Cute dresses!

Interestingly enough, these demonstrative and colorful fabric designs were often sewn from the same or similar patterns as their more demure pastel and solid counterparts. I kept that in mind as I contemplated which pattern to use for this “unusual” and “fascinating” linen. Additionally, I wanted to pair it with a red linen belt (which I ordered several years ago when I knew that Pat Mahoney was closing her custom belt and button business. The red linen is some I fortuitously had left over from some of my sewing in the early 1970s.)

Then, after the recent success of my fairly dramatic changes to this pattern – and knowing I had a great muslin from which to work – I went with it again.

Here is the result:

I definitely had some issues with the very uneven grid. I took a lot of pictures of the fabric arranged on my dress form before I started to lay out the pattern. This helped me to visualize the areas which needed some regularity (if you can call it that!) I realized quickly, in order to achieve a semblance of matching in the critical areas, I would have to accept way less than perfect in other areas. Because the entire geometric design is so irregular, I have, I think, made peace with this decision. (I haven’t worn the dress yet, so the proof of this is still to be determined.)

The bodice front seemed to me to be the most critical, and I wanted that three-striped horizontal motif to follow across the upper bustline.

The back proved to be a bit more problematic, as three quarters of it lined up fairly well, with one section off on the left side. Because the side piece wraps around the side (as in no side seam), there was only so much I could do in order to be able to “match” the front. Additionally, I thought it was more important to have the back center seam, rather than the side back seam, positioned correctly, so that’s what I did.

Am I going to have the nerve to wear this dress?

I may end up loving it??

I lined the entire dress with a very lightweight linen cotton blend, eliminated facings for the neck and armholes, and finished those areas with a typical couture treatment.

Because the skirt lining is unattached, I finished off the seams of the linen with Hug Snug rayon tape.

I did not use a silk organza underlining, as I like my linen dresses to be washable. Without that inner layer of organza, I had to be very careful with sewing the hem, to try to make it as unnoticeable as possible.

I doubt I will have a chance to wear this dress yet this Fall. The later it gets, the odder it will look. That’s okay. I’m ready to move on to something more subdued – but hopefully “a bit magical” will still be in the equation.

32 Comments

Filed under couture construction, Linen, Linings, Mid-Century style, Moygashel linen, Uncategorized, Vintage fabric, vintage Vogue Designer patterns

Tagged as couture construction, fashion sewing, Moygashel linen, vintage fabric, vintage fashion, vintage Vogue patterns

September 14, 2017 · 6:03 pm

Linen for Fall

Although Fall is undoubtedly my favorite season, I find it the most difficult one for which to dress. Bright Summer colors look out of place, it’s not chilly enough for wool yet, and the days can be very variable. And although linen is usually thought of as a Summer fabric, I believe there are some linens which lend themselves beautifully to this time of year. These are, of course, not lightweight, or handkerchief linens. These are linens with some heft to them, which can be cool to the skin if needed and add some warmth as the sun goes down (sweaters help, too!).

I was fortunate to find a length of Moygashel linen on eBay several years ago, which seemed to fit this bill, especially in its color combination. What could be more Fall-ish than burnt orange, chestnut brown and deep navy, all set on an ecru background?

Moygashel dress linen was produced in a few different weights. The pink dress I made in early Summer was fairly lightweight; this linen is heavier, but still dress-weight. It was 35” wide, which tells me it was produced not any later than about 1962 or 1963. (About that time, Moygashel seems to have switched to wider looms, thereafter producing 45” wide yard goods.) That “daisy” design also is a clue to its age of production, although it certainly does not scream 1960s. I had 2¼ yards so I had to find a pattern that would accommodate narrow fabric width and limited yardage. That pretty much eliminated the idea of sleeves! However, knowing how warm some of these Fall days can be, I was fine with a sleeveless dress. And I am an avid cardigan sweater-wearer, so I knew this fabric would lend itself to a pairing with a deep navy sweater.

With that in mind, I went searching through my pattern collection for a sheath dress with something more to it – and here is the winner:

This pattern is also from the early 1960s.

I really liked the half-belt, and the seaming detail of the bodice.

So I was off and running after making quite a few adjustments to the pattern for fit. I prefer to work with a 32” bust/34” hip pattern, but this was what I had. (I think if I make this pattern again, I will take it in just a bit more, especially in the bust.)

I considered adding some self-piping to the front seaming detail and around the perimeter of the belt, but I decided against it as I felt that would add too much bulk. So instead, I decided to top-stitch those areas.

Here is the front center seam detail. I used a light brown thread for the top-stitching.

I had this one lovely pearl button which seemed perfect for the belt with its concentric circle design. I did a bound buttonhole, just what the pattern instructions called for!

The belt follow the lines of the front bodice.

I did a lapped, hand-picked zipper, and I also lowered the neckline just a bit in the front.

And note those neat shoulder darts. Why don’t new patterns have such necessary details?

I lined the dress with a very lightweight linen/cotton blend. I eliminated the facings and brought the lining up to the neck and armscye edges, as in customary couture sewing. Although I did not underline this dress (I have found that linen usually does not benefit from underlining in silk organza. Also, machine washing is easier without an underlining), it is still possible to tack the lining around those areas to insure the edges stay put!

I know I am always going on and on about Moygashel linen (which is no longer being produced), but it really is such a delight to sew – and to wear!

Nice with a sweater…

So there you have it – my first dress made specifically for Fall! However the story does not end here. With any luck this dress will have a starring role in a more complete outfit, which is going to have to wait until next Fall before I can get to it. Do you have any idea what I might be planning?

45 Comments

Filed under bound buttonholes, Buttons - choosing the right ones, couture construction, hand-sewn zippers, Linen, Linings, Mid-Century style, Moygashel linen, Uncategorized, vintage buttons, Vintage fabric, vintage Vogue patterns from the 1960s

Tagged as Choosing buttons, fashion sewing, Mid-Century style, Moygashel linen, sheath dress, vintage fashion, vintage Vogue patterns

June 6, 2017 · 6:07 pm

Jacket AND Dress!

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

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

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

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

I ended up liking my two button vents!

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

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

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

Piping makes the sewn curve much easier to turn well.

So much better!

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

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

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

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

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

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

Soutache Braid and Buttons: M & J Trimming, NYC

Pink Petersham Ribbon: Britex Fabrics, San Francisco

Lining and Scarf silk: Britex Fabrics, San Francisco

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

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

Shoes: Ferragamo, old!

Handbag: Kate Spade, also old.

I do love pink!

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

33 Comments

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

Tagged as Boucle, Britex Fabrics, Chanel-inspired jackets, Choosing buttons, fashion sewing, Mendel Goldberg Fabrics, Mid-Century style, Moygashel linen, scarves, vintage fabric

March 8, 2017 · 9:53 pm

Do You Do Pink?

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

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

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

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

Click on the image to read it.

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

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

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

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

19 Comments

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

Tagged as Britex Fabrics, Mendel Goldberg Fabrics, Moygashel linen, silk, vintage fashion, Wall Street Journal Fashion coverage

January 20, 2017 · 6:27 pm

Focus on Fabric for 2017

Every new sewing year seems to have its own personality. Some of that depends on significant events that may be happening during the year, for which certain outfits must be sewn. Other influences might be travel, or the need to add some “basics” to your wardrobe, or, better yet, sewing classes, requiring planning/ muslin-making/special purchases. For me, this new year of 2017 – it is still new, isn’t it? – is going to have a focus on fabrics. I wish I could say I am resolved not to purchase new fabrics until I use some of what I already have, but I have already made that an impossibility, and the year is a scant three-weeks-old. (Thank you, Mendel Goldberg Fabrics, for tempting me beyond any recognition of reasonable doubt!) However, back to my premise – sometimes I have patterns which are just keeping me awake at night until I use them. Not so much of that this year; it is rather some of the gorgeous fabrics in my collection which are doing their best to disrupt my sleep.

Here are some of them, starting with Winter sewing.

I purchased this fabric from Mendel Goldberg in New York City. It is a wool/silk blend, and it is my current project.

My current bathrobe is in desperate need of replacement. This is the fabric I want to use for this new addition to my cozy home attire.

This boucle bridges the gap between Winter and Spring. Given to me for Christmas of 2015, it is a blend of wool, cotton and silk, tightly woven and lightweight. I will be trying to devote most of March to making this into a Classic French Jacket. I will be able to wear it well into Spring and then, of course, it will be perfect for next Fall and Winter, too.

2 full yards of this glorious boucle! I purchased a variety of trims to coordinate with this fabric this past summer in NYC and in San Francisco. Now I just have to decide which one(s) to use.

2 full yards of this glorious boucle! This past summer, I purchased a variety of trims to coordinate with this fabric. Now I just have to decide which one(s) to use.

Spring and Summer sewing always poses the most difficult decisions for me. That is because I have so many gorgeous pieces of vintage linen, and trying to determine which ones to use is a frustrating exercise for me. I would love to make a simple sheath out of this baby blue Moygashel linen, as it would look so lovely with that jacket mentioned above.

Crisp, pale blue linen from the 1950s.

Then there is this amazing abstract design in red and white – also Moygashel – which somehow just has to wiggle its way into the sewing queue:

This fabric is from the mid to late 1960s, and it arrived with the label intact.

On the other extreme is this demure flower print, an early 1950s’ Moygashel linen. I have been wanting to make a dress from this for several years. Perhaps this will be the year I get it done.

Petite black flower silhouettes on a pale ecru background.

Another piece of vintage linen is this duo with lengths of plain and embroidered panels. Originally intended for an A-line shift, I envision it as a dress-length tunic, accented with the grass-green linen shown here. That would be one way I could honor the Pantone Color of the Year, Greenery, as well as make a unique and versatile dress.

How I will ever find the time to make a blouse out of this white dotted cotton, I don’t know, but hope springs eternal for this, too:

I backed this fabric with a piece of orange paper so that the polka dot design shows. The dots are woven into this fine cotton from Britex Fabrics.

With weeks of travel planned for parts of the final five months of the year, it will be folly to plan too much, but I do hope to make one more linen dress which will have wearing power into the Fall.

Navy, rust and brown – perfect for early Fall.

And can I possibly get one more Classic French Jacket completed before Thanksgiving? If so, it will be made from this boucle:

Sprinkled among all these projects will be sewing for my two little granddaughters, too. As usual, I have much more planned than I ever can hope to accomplish, but it is fun to think of the infinite possibilities that dwell in my fabric closet – and in my head.

PS – One fashion observation for 2017: DRESS GLOVES ARE BACK!

20 Comments

Filed under Boucle for French style jackets, Linen, Moygashel linen, Uncategorized, Vintage fabric

Tagged as Britex Fabrics, Chanel-inspired jackets, fashion sewing, Mendel Goldberg Fabrics, Moygashel linen, Pantone, vintage fabric

July 6, 2016 · 1:57 pm

Blame It on the Buttons

It can be a little overwhelming to look at my (growing) collection of beautiful summer linens, and then try to make a decision on which piece to select for my next project.

Fortunately, a random purchase of buttons helped me make up my mind this time around. I found these buttons at Britex Fabrics in San Francisco last year, and purchased them on a whim, not knowing when or how I would use them. I also don’t know what possessed me to purchase 6 of them, but that’s what I did.

Yes, those are interlocking “a la Chanel” Cs.

When I got them home, I realized they were a perfect match with a length of vintage, pale yellow, Moygashel linen in my possession. I tucked the fabric and the buttons away together, confident that the perfect pattern would also be found amongst my many vintage Vogue patterns.

It was a bit of a trick finding a pattern that needed 6 (or fewer) ¾” buttons. This one kept surfacing as the most ideal candidate:

Ideal, except for the yardage needed, that is. Many of you know by now that being a “little shy” of the prescribed fabric usually does not keep me from my desired goal! After making a fitting muslin and making the necessary adjustments, I cut out my underlining (light weight linen/cotton blend) and used that as my pattern. It was immediately evident that I did not have enough of that 35” width linen.

Or did I? I figured if I eliminated the center back box pleat and replaced it with just a slit in the back center seam, I’d save a bit of yardage requirements. I could make the sleeve hem facings out of the underlining, saving a bit more. And if I cut the collar on the horizontal straight of grain rather then the vertical, I could just fit the pattern pieces onto my yardage. It was a good thing I had already decided to eliminate the chest pockets (a little too 1950s.) And a self-belt? Out of the question!

A belt turned out to be a perplexing question. I had been fortunate enough for a few years to have my belts and covered buttons custom made by Pat Mahoney, but since her retirement last year, I have found no replacement for her services. I was dreading the prospect of making my own belt. The only good thing was I knew I had a piece of vintage Moygashel linen in a medium navy blue (see the button photo above) which would be a good contrasting color for the yellow dress. I decided I would think about actually making the belt after I had the dress itself finished.

For a simple shirtwaist dress, there were a number of time-consuming details, like the gussets I covered in my last post. There were also six bound buttonholes to work.

It always amazes me how long these buttonholes take to make!

There were separate front bodice facings, and a front skirt placket with separate facings. There were sleeve hem facings (as mentioned above), and lots of trimming, clipping, and grading of seams! And then the dress was done. Except for the belt, of course.

After giving myself a pep talk, I took out one of Pat’s belts and studied it, vowing to duplicate as closely as possible her techniques and precision. Fortunately I had a belt buckle from long ago, which I had saved. It was for a 1.25” width belt, which is exactly what I wanted. I plunged ahead and this what I made, working the eyelets by hand (which fortunately don’t show much on the dark linen!):

Although not my favorite dress of all time, I think I’ll get good use out of it, and I do love its pairing with “summer” blue.

The clutch is a perfect match with the belt – how lucky is that?

Cool linen for a hot summer!

Best of all, the buttons add just the right, somewhat mysterious, touch.

19 Comments

Filed under bound buttonholes, Day dresses, kimono sleeves, Linen, Mid-Century style, Moygashel linen, Uncategorized, Vintage fabric, vintage Vogue patterns from the 1950s

Tagged as 1950's Vogue patterns, Britex Fabrics, Choosing buttons, fashion sewing, Moygashel linen, vintage fashion, vintage Vogue patterns

June 5, 2016 · 5:43 pm

“To the Most Imaginative Woman in the World”

“You see her leafing through pattern books – picking out a collar here, a cuff there, a new way of pleating a skirt . . . You see her fingering a tiny swatch of fabric, Yet she’s seeing it as a whole dress, or a blouse, or a jacket . . . Who is she – this lady with the limitless imagination? She’s the woman who sews. YOU . . .”

This is just one of many ads placed by manufacturers of fabric in the April-May 1950 Vogue Pattern Book Magazine. Ordinarily I would not have purchased this issue, as most Vogue patterns available before 1955 were not printed, and I rarely buy a vintage pattern which is not printed! My particular interest in these vintage magazines is the opportunity they provide to identify dates for patterns, fabrics and style trends, making the experience of sewing with vintage patterns (and fabrics) even more enjoyable. However, when this issue was available in an Etsy store, I succumbed. I was born in May of 1950, and my curiosity just got the better of me.

I find the haughty expression on the cover model somewhat amusing.

An early haughty expression on a model!

Looking at this issue made me realize how old I am… NO, NO, NO! Just kidding, I think. Actually, what really popped out at me was how exciting it must have been to be a home dressmaker at this point in time, with the home sewing business booming, post-war, and fine fashion – and the desire to look wonderful – such important aspects of a woman’s life.

And then, as I was leafing through the magazine, I found an unexpected surprise. Tucked in between two pages was Vogue Patterns April 15 Collection, an 8-page flyer, available at pattern counters and easily something that could be tossed away. I find it remarkable that this slim printed piece survived.

The format is larger than what I am used to seeing in later Vogue pattern flyers from the 1960s and 1970s. When one looks at the fashions and patterns detailed, it is easy to imagine the woman who picked this up, looking at it again and again.

This is one of the inside pages of the flyer.

Not only that, also tucked in with this flyer was this page from Harper’s Bazaar, March 1^st, 1950.

How many of you save pictures of dresses/blouses/coats you would like to copy? Pinterest, anyone? I certainly do!

Clearly she had in mind making the dress pictured on the back cover of the flyer:

“Consider them two by two – the pattern and the fabric, and you will always have a happy result.” Timeless advice!

Some of my favorite pages in this, my “birthday” issue? I was delighted to find an ad for Moygashel linen, for which I have a particular passion:

A lover of polka dots makes me partial to this gorgeous blouse:

This blouse is very similar to one I made a few years ago.

And how can I resist this stunning “moulded sheath dress with a draped cascade”?

I am so struck by the sophistication of the styling of the fashions and illustrations, the emphasis on Designer offerings, and the exciting abundance of piece goods being sold by manufacturer’s name to the home sewing population. Times and fashions change, but I believe we have much in common with these mid-century home dressmakers plotting their wardrobes with creativity and skill – pairing fabric and pattern. We are the women who sew – and are still the ones with the limitless imaginations!

21 Comments

Filed under Messages from past owners of vintage patterns, Mid-Century style, Moygashel linen, Pattern Art, Polka dots, The Conde Nast Publications, Uncategorized, vintage Vogue patterns from the 1950s

Tagged as 1950's Vogue patterns, fashion sewing, love of sewing, Moygashel linen, polka dots, sewing, The Conde Nast Publications, vintage fashion, vintage Vogue patterns

January 11, 2016 · 1:35 pm

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.

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.

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.

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.

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

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

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.

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 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 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.

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.

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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

Tagged as Boucle, Diane von Furstenberg, Etsy vintage patterns, fashion sewing, Mendel Goldberg Fabrics, Moygashel linen, Pantone, polka dots, vintage Vogue patterns

September 26, 2015 · 6:38 pm

A Fitting Finish to Summer Sewing

Summer slipped quietly away this week with nary a peep except for the sighs coming from my sewing room. No matter how hard I tried, I could not keep up with the calendar to finish my final Summer project. However, a few days late on “delivery” doesn’t really upset me, as I can look forward to wearing my Madame Gres-designed coat next Spring.

I am not sure I can remember a sewing project which I have enjoyed more. The coat pattern is actually quite a simple design, imaginatively shaped with unusual darts and seams. Perhaps the fact that I made it from vintage Moygashel linen helped make the sewing of it enjoyable, as the linen is so stable. Darts and seams can be crisply sewn and ironed, the grain of the fabric is so easy to see, and the fabric drapes with a fluid sturdiness, if that makes sense.

This shows the side darts which shape the coat and the dart/seam at the front of the kimono sleeve.

I covered the changes I made to those front darts in an earlier post; those were the only alterations I made to the final design except for lengthening the sleeves by one inch and the length of the coat by 1½ inches. Besides those shaping darts, there is one other feature of this coat which defines it. Do you know what it is? Yes, it is the bound buttonholes and their buttons. Seven of them, to be precise.

The pattern instruction sheets call for bound buttonholes, as shown here:

I love how these vintage Vogue patterns give such precise instructions; there are various ways to make bound buttonholes, but the method described here is my favorite.

I have made a lot of bound buttonholes in my sewing life, but seven of them lined up as the focal point of the front of my coat is still a little intimidating. First of all, I had to find buttons that were “perfect.” I found some lavender buttons on the Britex website, and although they looked like a good match in color and appearance, ordering something like that online is always imprecise. However, when they arrived, they were, indeed, “perfect!” With buttons in hand, I made a sample buttonhole, as I always do.

This photo shows the “monkey’s knot” design in the buttons, which compliments the linen weave, I think.

Then it was on to a marathon buttonhole session one afternoon.

The most important ingredient in making successful bound buttonholes is precise marking.

I finished the underside (on the facing) of the buttonholes using organza patches, which makes a beautiful, sturdy finish.

Here is the underside of the buttonholes before I finished the edges.

And here is the facing side, finished.

Another charm of this pattern is the coat collar, which is seamed in the center back on the bias, causing it to “turn” beautifully. I under-stitched the undercollar to help keep the perimeter seam properly in line (this is a trick I learned from one of Susan Khalje’s classes):

This is the undercover, showing center back seam and the under-stitching I used to secure the perimeter seam.

This is the undercollar, showing center back seam and the under-stitching I used to secure the perimeter seam.

When it came to the lining, I knew I wanted to use silk crepe de chine. I ordered some swatches from Emma One Sock fabrics:

Fortunately my sister was visiting and so I could get her opinion on which one to order. I was a bit smitten with the idea of a bright pink lining, but she wisely asked if I hoped to wear this Spring coat with dresses other than the pink flowered one which had inspired it. Well, yes, I do want that flexibility! That made the decision easy – I chose the pale lavender silk, which is just about a perfect match. I added a bias, flat piped edge to the lining, which is now something I always do with coats and jackets I make. It is so easy and adds so much!

Some of you may recall that I had to piece one of the facings because I was just a little short of the fabric I needed. Here is the seam on the left facing. I really don't think anyone will ever see it! (Except all of you, of course!)

Some of you may recall that I had to piece one of the facings because I was just a little short of fabric. Here is the seam on the left facing. I really don’t think anyone will ever see it (except all of you, of course!)

This is a good look at the bound buttonholes and what they add to the overall look of the coat. If you visualize machine made buttonholes in their place, you will get an idea of how vital the bound ones are to the design of the coat.

Another thing that will add to the total look of my 2016 Spring ensemble is this Kate Spade handbag which my grown children gave to me: