Tag Archives: Overblouses

Festive Attire

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

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

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

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

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

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

So, how did I do?

Festive Attire

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

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

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

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

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

Festove attire - lace

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

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

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

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

From Vogue's Designer series, ca 1970.

From Vogue’s Designer series, ca 1970.

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

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

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

33 Comments

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

Mellow Yellow

How did I go from this . . .

A collared overblouse.

A collared overblouse.

to this?

Mellow YellowIt all started about a year ago when I saw this fabric – called Devonshire Cream Geometric Cotton Eyelet Batiste on the Britex Fabrics website. I sent off for a swatch and then ordered enough for a “blouse” although at the time, I wasn’t so sure what kind of a blouse it would be. I knew I would want sleeves in it. While the body of the blouse would need to be lined, the sleeves could be unlined to show off the gauzy design in the eyelet.

Eyelet overblouse - fabric

Inspiration finally struck a short few weeks ago when I got a small catalogue from J McLaughlin clothing company. Pictured in it was this “Lotus Blouse”:

Eyelet overblouse - JMcL #2-2

Eyelet overblouse - JMcL #2-3

As soon as I saw the “square” design in the fabric, I thought of my eyelet – and then it did not take long for me to decide to make my own version of that blouse. The construction details? Well, I knew I would have to make those up as I went along. I started with the pattern shown above, a classic early 1960s short overblouse that zipped up the back. What could be better? It really didn’t matter that the neckline would be changed, sleeves added, inches added to the length – the basics were there and so I made a muslin/toile.

I cut an underlining for the body of the blouse from a lightweight linen/cotton blend that I always keep on hand. I marked the seam lines of that underlining with waxed tracing paper and then used it as my “pattern” for the eyelet, which allowed me to make sure that all the lines and corners of the eyelet matched across seams. I hand basted the underlining and the eyelet together which made machine sewing the darts and seams very precise.

In order to put a sawtooth edge on the sleeves and the bottom of the blouse, I knew I would have to cut fabric on the bias. But first I had to decide how deep to make this self-trim. I did some experimenting to figure that out:

Should it be this narrow?

Should it be this narrow?

Or would a wider trim be   better?

Or would a wider trim be better?

I decided the wider trim was necessary to make the proper impact.  Here it is pinned onto one sleeve.

I decided the wider trim was necessary to make the proper impact. Here is a sample of it pinned onto one sleeve.

Once I decided the proper width of the trim, I set about hemming it by hand.  Here is a photo of that “hemming” process.

On the right you can see one "peak" already stitched.

On the right you can see one “peak” already stitched.

Having the trim cut on the bias gave me flexibility in attaching it to the sleeve and bottom edges. Then finishing the inside raw edges provided its own challenge. I had already used Hug Snug rayon tape to finish the interior seams. The soft, non-bulky nature of this wonder tape gave me the idea to use it for finishing the armscyes and the interior sleeve edges.

I made a bias tape out of the underlings fabric to bind the neck edge.  Seam edges are encased in Hug Snug.

I made a bias tape out of the underling fabric to bind the neck edge. Seam edges are encased in Hug Snug. Click on the photo to see more detail.

The actual hem on the blouse presented me with three edges (the fashion fabric, the underlining, and the bias trim) to control and hold together. I used Hug Snug again, this time flat and sewn with a catchstitch (a fabulous idea I just got from Lilacs and Lace blog, which I will use again and again! Thanks, Laura Mae!)

The catch stitch is done across the width of the Snug Hug tape.  It is the perfect technique for this application.

The catch stitch is done across the width of the Snug Hug tape. It is the perfect technique for this application.  Again, click on the photo for more detail.

I had some difficulty finding an 18” separating zipper that was lightweight enough for this blouse. I still think the one I finally ended up using is a bit heavy, but until I find another one, this one will have to do.

Mellow Yellow

I still need to add a hook and eye at the top!

I have always loved overblouses. They are comfortable, classic, versatile, and just a little bit different of a look. I think this one fits that description well – I like it!

I could not resist styling this blouse with a hat!

I could not resist styling this blouse with a hat!

Mellow Yellow

Mellow Yellow

Mellow Yellow

Pale yellow shoes help complete the outfit!

Pale yellow shoes help complete the outfit!

After Mellow Yellow, where do I go? My next project is anything but mellow – or yellow, for that matter.  June will find me thinking – and making – fancy, but not frilly. Details soon . . .

35 Comments

Filed under Blouses, Eyelet, Mid-Century style, Uncategorized, underlinings, vintage Vogue patterns from the 1960s