Tag Archives: Moygashel linen

August 27, 2023 · 6:01 pm

A Tale of Two Dresses, Part 2

Whenever I am working with vintage fabric, it seems I either have more yardage than I need or, more frequently, less than I need. I have learned over the years there is usually a way to work around having less fabric than I really need. I just have to get creative. And that’s what I did when I made this dress.

I quickly determined there was no way I could get the dress I wanted by placing the pattern on the lengthwise straight-of-grain. The flare of the skirt, which I wanted to be mid-calf, precluded any notion of such a layout. At 45” wide, I knew I could just get the dress length I wanted if I laid out the pattern on the cross-grain, from selvedge to selvedge. Linen is a very stable fabric, so I was confident the cross-grain would work. In addition, there were no directional limitations in the floral design of the fabric. Barely fitting my pattern – from shoulder to hem – on the fabric from selvedge to selvedge, however, would leave no extra fabric to turn up for the hem – or even to face the hem. I decided to worry about that later. First I wanted to determine how I could get the four pieces for the dress and the two lengthened sleeves placed on the fabric, keeping in mind three important things: 1) although this was not a fabric to be matched per se, the all-over design of the fabric needed to be on the same plane in contiguous seams; 2) I wanted to space out the larger floral motifs so the dress would be balanced as best as possible (looking critically at the dress I made when I was 23, I clearly could have given this more thought!); and 3) I wanted to avoid large demonstrative blooms at the bust. Then, and only then, would I worry about the hem.

I transposed all the markings from my adjusted pattern onto the cotton batiste, then used those pieces as my pattern. I then basted the two layers together to be treated as one, before sewing any seams or darts.

Once I was happy with this placement, I had a eureka moment when I knew I could accomplish two things with a simple bias trim made from the yardage of deep pink linen which coordinated nicely with the floral. 1) I could preserve the full 45” of cross-grain length by applying bias trim to the hem edge instead of turning it under, and I could do the same with the sleeves. And 2) the trim would add interest to the dress, just as I had vaguely imagined. (A quick aside here – I have ample yardage of the solid deep pink linen to make a coordinating coat at some point. Every dress needs a coat, right?)

I underlined this dress in a very lightweight, pre-washed, cotton batiste, then I lined it in Bemberg rayon. Moygashel linen washes beautifully, as does Bemberg lining, which is why I chose Bemberg over silk for this dress. I eliminated the neckline facing, choosing instead to bring the lining up to the edge of the neckline seam, then under-stitching it to secure that edge in place.

I chose to do a hand-picked, lapped zipper, an application which I think looks so lovely. Interestingly, I hand-picked the zipper in the dress I made in 1973, although it is a centered application.

*And here is a back view of the 1973 dress. The zipper is metal, which certainly is a telltale sign of a vintage dress.*

When it came time to apply the bias-cut trim to the hem and sleeves, I had to experiment around a bit. I didn’t want it too wide, but it needed to be substantial enough to look like it was meant to be and not an afterthought or decision made in desperation! I finally settled on an exposure of 1/2”.

Now this is where it gets interesting. A few weeks ago I saw a vintage dress on a Facebook/Meta post by Xtabay Vintage Clothing Boutique. It is obviously Moygashel linen (I can tell by its weave and color), but what really caught my eye were the bias strips and low-profile bows adorning its sleeves. I tucked this idea in the back of my mind for future consideration. What I didn’t know was that the future was right around the corner! Yes – I “borrowed” this idea and added a single bias-cut bow to each sleeve. Somehow, it just seems to finish the dress.

*I never would have thought of adding a bow to each sleeve had I not seen this pretty vintage dress.*

*In this view, the princess seam which originates in a dart is visible. This is a nicely engineered, flattering pattern.*

Well, you may have guessed by now the reason for making this dress this year. I will wear it next week when my husband and I celebrate our 50^th Wedding Anniversary. I have changed a lot in those 50 years (and so has my husband!), but I still love pink in all its shades and I still love Moygashel linen (and I still love my husband, too!)

49 Comments

Filed under Bows as design feature, couture construction, Dressmaker details, Fashion history, hand-sewn zippers, Hems, Linen, Linings, Mid-Century style, Moygashel linen, Sleeves, Summer sewing, Uncategorized, underlinings, Vintage fabric, vintage Vogue patterns from the 1970s

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

August 27, 2023 · 12:34 pm

A Tale of Two Dresses, Part 1

Where to begin with this story? I have to go back 50 years – which sounds daunting and slightly surreal. As a 23-year-old about to be married, I had already made my wedding gown that summer of 1973. I still, however, needed a couple of dresses to take on our upcoming wedding trip in early September. With that intention, I ventured into Stapler’s Fabric Store on Walnut Street in Philadelphia, Pennsylvania (USA). Stapler’s was one of the old, notable, family-owned purveyors of fine fabrics and dress goods, and I loved going in the store. Most of the time I could only look and dream, so going in on a mission made this trip memorable.

Stapler’s carried high end fabrics and that included the newest offerings of Moygashel Irish linen. I have written several times about this storied brand of dressmaker linen, known for being wrinkle and crease resistant, known for its exquisite designs and colors, and highly sought after by women of good taste. I can still feel the excitement I had that Summer day when I saw a quintessential floral Moygashel in vibrant pinks and greens and whites.

I had already picked out a Very Easy, Very Vogue pattern (the pattern number is lost to the ages by now, as is the pattern itself) to make a long A-line dress with short cut-on sleeves and center front and center back seams. I purchased the yardage I needed and made this dress:

*Ankle-length dresses like this were very fashionable in 1973.*

I loved it. I felt beautiful in it, which has, over the years, become my litmus test for a successfully made garment. Several years ago I included this dress in a post I titled “Shopping in My Cedar Closet.” I posed a question to myself – should I take this dress apart and reuse the beautiful fabric – which I still loved – for something else? By asking myself this question, I knew I had the answer. Too many memories, too much of the younger me were in this dress for me to cut it apart. I placed it back in the closet and vowed to keep it as is.

A few years later a most amazing thing happened. While searching for vintage Moygashel linen on eBay, I found an offering for a length of the same pink, green and white floral fabric I had purchased so many years ago. The listing was for 2¼ yards of this 45”wide fabric. I purchased it immediately, its new rendition to be determined. In my mental sewing calendar, however, I hoped to bring life to this fabric 50 years after I made my first dress from its twin.

The planning began in earnest earlier this year. I had to decide exactly what silhouette dress I wanted my new dress to have. With only a little over two yards, I knew my choices were somewhat limited. And I also knew the fabric itself needed to be the star – with its demonstrative, large design, its medley of colors and its lustrous weave. It took me a while to realize I had already determined the correct formula 50 years ago. It needed to be another A-line dress, with some length to it. This time, however, I would make it using the couture techniques I have learned since then.

I also knew I wanted: a) longer sleeves, if possible, with the yardage I had; b) to underline and line this dress (but preserve its washability); and c) to add some minor embellishment in some way, perhaps buttons or trim of some sort.

*I had these deep pink buttons, one design of which I thought might be a possibility … In the end, I decided they would not work.*

*And, I had two lengths of Moygashel linen from the 1970s in this deep pink, from which I could make trim, if needed. This proved to be essential to the success of my endeavor.*

A suitable pattern happened to be one I had already used twice.

The line drawing for the shorter length shows more detail as to the seaming and the 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 first used this pattern for this dress:

And then a year or two later, I used it for this dress:

Having a pattern which fits, with pleasing lines and a certain finesse to it, is worth its weight in gold. Even better, the late 1960s’/early 1970s’ vintage aspect of this pattern made it a perfect fit with fabric from 1973. The only question I had was a big one. Did I have enough fabric to make a longer dress with longer sleeves? The answer: No – and then Yes.

(The story continues in the next post…)

25 Comments

Filed under Fashion history, Linen, Mid-Century style, Moygashel linen, Uncategorized, vintage buttons, Vintage fabric, vintage Vogue patterns from the 1970s

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

September 14, 2021 · 2:36 pm

A Summer Dress

Summer is quickly slipping away, but before it does, I will share one quintessentially summer dress which I made back in July. It ticks off a number of features which make it “Summer Seasonal”: it is sleeveless, it is a bright color, and it is linen.

I found this vintage piece of Moygashel linen a few years ago on eBay. Always a pushover for vintage Moygashel, I purchased it, not quite knowing what shade of green it would be. I was expecting a lime green, but when it arrived it was “lime green meets mint,” a color reminiscent of the early 1960s. Actually, not just reminiscent – an actual survivor from that period of time. The width of the fabric was only 35” which was a dead giveaway that this fabric is from the early part of that decade. Shortly thereafter, Moygashel began to be woven in 45” widths. Fortunately I had three yards, which compensated for the dearth of width.

To keep with the early ‘60’s vibe, I decided to line it in pink. Although I usually line linen with a cotton batiste or cotton/linen lightweight blend, I decided to treat this dress a little bit differently. I do not often use Bemberg for lining, usually preferring silk, but this lovely, time-tested 100% rayon lining just seemed to be the right choice. (Why? I knew the seam allowances of the bright green linen would not show through the tightly woven Bemberg lining, AND it would be a comfortable, lightweight and slinky fabric with which to line a summer dress.) I ordered what I thought would be a medium pink, but when it arrived, it was more of a very deep rose. What to do? I hemmed and hawed, I thought about ordering a different hue of pink, I even thought about abandoning the pink idea and just using a white crepe de chine I had on hand. Why I was agonizing so much over the color of the lining had to do with my thought if the dress turned out well, I would enter it in the County Fair. I knew not everyone would “understand” such a deeply contrasted lining. But not wanting to waste money and fabric – and time! – I finally decided just to go with the dark pink, shown a few pictures below.

I used this sheath dress pattern again, as I am so fond of the double shaping darts in the bodice front and the real kick-pleat.

The sheath dress pattern I like is the one on the right, underneath its matching plaid coat.

Here is the kick-pleat on the inside of the dress.

I underlined the dress in silk organza so that I could eliminate facings and have an invisible application of the lining. (The silk organza underlining gives one a base upon which to tack and secure stitches which do not show on the fashion fabric.)

The neck and armhole edges are stay stitched by machine close to the seam line, then clipped and tacked in place by hand to the silk organza underlining.

Here is one of the side seams, clipped and then also tacked in place by catch-stitches.

A beautiful lining hides all those interior stitches and seams.

I surprisingly found a zipper which was almost a perfect match to the green linen, and I did a hand-picked lapped application.

Once I had the lining fell-stitched in place around the neckline and the armholes, I under-stitched those areas in waxed and ironed white thread. (I used white to quiet down the deep pink!) Using this technique keeps the lining in place. The under-stitching is attached to the silk organza underlining only, not the fashion fabric, as explained above.

I used Hug Snug rayon tape to construct the strap holders.

To complete the early 1960s’ essence of this dress, I can pair it with a vintage ‘60s’ Guillemin scarf, also found on eBay. The pink in the scarf doesn’t match the pink lining, but since the lining does not show, it only matters to me (and now all of you also know this little fact!)

So how did I do with this dress as an entry in the County Fair? It was awarded a Red Ribbon in the Adult Division, which was lovely. The day was “saved” however, when dresses I made for my granddaughters each won Blue Ribbons (and one of them won Best of Division).

(Those of you who follow me on Instagram @fiftydresses have seen this picture already…)

Good Summer memories, all of them.

29 Comments

Filed under couture construction, Linen, Linings, Mid-Century style, Moygashel linen, Scarves, Sheath dresses, Uncategorized, underlinings, Vintage fabric, vintage Vogue patterns from the 1960s

Tagged as 1960s Vogue patterns, couture construction, fashion sewing, Moygashel linen, vintage fashion, vintage Vogue patterns

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!

23 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?

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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…

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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.

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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!

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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!):