Tag Archives: Susan Khalje Couture

“Secret” Ingredients

Like that extra dash of nutmeg, which makes a dish sparkle in an indecipherable way, Classic French Jackets also have some secret ingredients. Except, they really are not secrets at all. They are, however, a few of the components which help to make these jackets so “classic” and just a step above ordinary.

Before I get to those details, however, let me show you my finished – yes, finished! – jacket.

To start with, one of the main features of a classic French jacket is the three-piece sleeve. The seam placed along the center point of the shoulder and running down along the outside of the arm does two things: it allows for the all-important vent and it provides a gentle curved shaping of the sleeve. The under-sleeve piece, which straddles the underarm area reduces bulk in the lower armscye and also contributes to the shaping of the sleeve.

The depth and width of the extension on the vent is entirely subject to the decision of the dressmaker. I opted to make my vents and their extensions suitable for two buttons. I originally planned on making a three-button vent, but I changed my mind, for reasons you will see in a future post.

Probably the most visible component of one of these jackets is the trim. This is such a personal choice, and the selection of the trim can really change the entire complexion of the jacket. As you all may know by now, I decided to use a layer of Petersham ribbon under the braid I selected. Once the Petersham was on, and I had started applying the soutache braid, I took this picture to illustrate how combining two layers of trim can effect such a different look.

On this jacket I placed my trim right on the outside edges of the parts being adorned, but this is also a personal choice.   Yes, there are “rules” to making these jackets, but the way you trim your jacket is not one of them! I also like to apply my trim after the interior of the jacket is finished, but I have seen a number of very successful jackets where the trim was applied before the edges were finished in the interior.

In the Classic French Jacket Class I took with Susan Khalje a few summers ago (which I cannot recommend highly enough!), she made the point that a lot of couture jackets are hemmed slightly longer in back, allowing for a gentle curve that is flattering and feminine. I love this look and used it again for this jacket. I think it is particularly effective with contrasting trim.

The gentle slope of the back hem is a little more apparent in this side view.

Obviously the trim has to have a starting point and an ending point somewhere on the jacket, right? Common sense tells us it should be in the most inconspicuous place – which, for the most part, happens to be in the side seam under your non-dominant arm. I am right-handed, so I made my starting and ending spot under my left arm.

I decided to make a double continuous loop of the soutache braid in order to reduce the bulk at the beginning and ending spot. Here you can see how I looped it in order to apply it this way.

From a little farther away, it is barely perceptible. By the way, do you see how that pocket is buckling?  I realized I had sewn the button on a little too low, so I had to do that over.  Seems there is always something to “tweak” at the end!

Because the boucle I used for this jacket is more of a lightweight weave, I decided I needed to anchor the buttons in some way. So I sewed them on (with waxed and ironed, double thread, of course), attaching them on the lining side with small white buttons.

While we are looking inside, here are photos of the jacket turned inside out.

I did not make any attempt to “match” the print because I did not think it would have made any difference.

Another key, necessary ingredient to one of these jackets is the chain which weights the jacket and keeps it looking neat and tidy. Sewing on the chain has to follow the Goldilocks rule: not too tight and not too loose.

I chose a silver-toned chain for this color combination.

The lining fabric I used for this jacket is such a lovely silk twill print. It seems a shame to hide such a beauty on the inside, although the interiors of these jackets are one of their most delightful secret ingredients. You will, however, be seeing more of this silk, along with photos of me wearing my jacket – all in a post to come soon!

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Filed under Boucle for French style jackets, Chanel-type jackets, couture construction, Linings, Uncategorized

More on Making a Classic French Jacket

What more can be said about the process of making a classic French jacket? Well, actually, quite a lot! These jackets look deceptively simple (and elegant) when finished, but their looks belie the hours involved in their construction.

One of their sneaky little secrets is the sewing of the sleeves onto the body of the jacket. The shoulder seam is one of the few areas of the jacket which requires interior reinforcement. The selvedge edge of the lining fabric can be used for this, but I prefer to use a selvedge edge of silk organza.

The strip of organza is sewn on the seam line by hand.

Once that is in place, the sleeve is ready to be inserted – all by hand! Pinning the sleeve in place accurately is so important, as the grainline of the boucle needs to hang perfectly both vertically and horizontally (and match, too, of course.) The top half of the sleeve is sewn from the outside with small, tight fell stitches. Then the lower half of the sleeve is sewn on the inside with small backstitches, both segments using waxed, double thread. If done correctly, the cap of the sleeve will curve nicely.

Looking at the sleeve head from the back of the jacket

And from the front.

Finishing the sleeve insertion is, for me, the last big hurdle to get over before the really fun part starts. That, of course, is the trim. I deliberated quite a bit over the trim for this jacket. I originally thought I would emphasize the blue in the boucle, using pink as a small accent. When I could not find a “demonstrative, stand-alone” trim I liked, I determined to use an underlay of Petersham ribbon, with a coordinating, narrower trim on top.

For those of you who are not familiar with Petersham ribbon, take a look at this cover from Threads Magazine, May 2016.

In the accompanying article by Susan Khalje, one of her suggestions is to use Petersham ribbon to frame a trim.

I used Petersham ribbon on my last French Jacket, and was really delighted with the effect.

Red Petersham ribbon under the frilly trim gives it more dimension.

The more I looked at the blue, the more I thought it did not give the effect I wanted. I then decided to try Petersham ribbon in a pink hue.

There are actually two pinks in the weave of the boucle, one peachy and one clear pink. Doing the trim this way brings out both hues, which I really like.

The Petersham ribbon is peachy, while the soutache trim has a clear pink intertwined with white and navy blue. The buttons take either hue!

Of course, this application of trims means four times around the perimeter of the jacket by hand to apply first the Petersham and then the double row of soutache trim. I never make things easy. Is it any wonder this jacket isn’t finished yet?

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Filed under Boucle for French style jackets, Chanel-type jackets, couture construction, Uncategorized

Timeless: The Classic French Jacket

So much has been written and illustrated about Coco Chanel’s classic cardigan jacket, it is difficult to imagine more can be said, but that won’t keep me from trying. Of course, only Chanel is Chanel, and that fashion house rightly owns the claim to the mystique and allure of its trademark design. However, interpretations of that classic French jacket – and those who are making them – have added to the jacket’s lexicon over the years. In many ways, I think the advanced (in skill level, not age) sewing community has been instrumental in adding a whole new dimension to the way we look at the jacket and then personalize it.

Interest by home dressmakers in the classic Chanel jacket has been evident for decades. This Vogue Pattern Book Magazine from October/November 1962 is a prime example. To quote precisely, the caption for the cover says: “the new after-dark dazzle involves a certain amount of alchemy. Take a clean-lined suit design (shades of Chanel) and make it shimmer: a springy white suit wool scored with gold metallic and red braid…”

The June/July 1989 issue of Threads Magazine has one of the most iconic covers ever, described above the masthead as “Inside a Chanel jacket.” The extensive article by Claire Shaeffer covers the history of the jacket, idiosyncrasies of its construction and tips for the home dressmaker wishing to make her own Chanel-inspired jacket.

In more recent years, books and instructions for making the classic French jacket have been joined by classes, most notably on Craftsy and by couture teachers such as Susan Khalje, who, in my opinion, teaches the purest jacket construction interpretation available to the sewing community. If you are unable to attend one of her Classic French Jacket classes, then by all means, subscribe to her video for the next best thing.

There are several reasons, I believe, why the classic French jacket appeals to home dressmakers, particularly to those of us who delight in couture procedures, hand work, and artistic license. It is we who have the ability to chose from such a broad array of beautiful boucles and silk charmeuses, both at select fabric shops and online. Therefore, we are not limited to the fabric selections of a particular fashion house. Furthermore, we can adapt the jacket to our own individual preferences, for example, fitted or boxy, longer or shorter, collarless or not, to mention just a few potential changes. Finally, the finishing components of trim and buttons make it unique and uniquely our own.

This quote from Oscar Wilde is an appropriate summation of how home dressmakers, privileged as we are to know the “recipe” of jacket construction, approach the making of our classic French jackets: “To look at a thing is very different from seeing a thing.” We dressmakers see the jacket from various viewpoints:

1) construction techniques; including, but not limited to, the unique method of marking seamlines, quilting the layers of boucle and lining silk together, and hand-finishing the raw interior seams.

2) as already stated, the privilege of selecting our own fabrics, trims and buttons.

3) stylistic details which enhance the ability of the jacket to flatter ones particular form, such as altering the length of the sleeves, pocket details, front neckline variations, adding bust darts in certain situations, etc.

4) an appreciation for – and knowledge of – the engineering magic of invisibly quilting two fabrics together to produce an entirely new medium.

In my opinion, it is this ability to see – and appreciate firsthand- the complexities of the jacket which makes it such a worthy undertaking.

You may ask at this point why I am thinking so much about classic French jackets. Could there be any other reason than the fact that I have started work on my third, but far from final, one? Using boucle gifted to me by my grown children a little over a year ago, I am intently working through the “process.” Because I am fortunate enough to have a fitted pattern muslin template from my class with Susan Khalje 3½ years ago, my initial progress has been speedier than normal.

Here are my muslin pattern pieces freshly ironed and ready to start.

My muslin pattern arranged on the boucle, ready to double-check and cut out.

Allowing for wide seam allowances…

Pieces cut and thread-traced.  Next step:  the lining fabric.

Stay tuned as I make further posts about my time-consuming progress on this timeless style.

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Filed under Chanel-type jackets, Coco Chanel, couture construction, Mid-Century style, Uncategorized

The ABCs of D-R-E-S-S-M-A-K-I-N-G, Part I

Those of us who do fashion sewing sometimes have difficulty identifying what we do in a single descriptive word. A “sewer” (not those stinky things that go underground that happen to be spelled the same way) can be one who sews many different things, right? The term “sewist” is a somewhat new word, made up of sew + artist, which really doesn’t describe anything specific to my way of thinking. Most of us are not “designers” (and not all designers can sew), although most of us use some design techniques in our fashion sewing.   Some of us may be “sewing professionals,” a term which covers a broad range of endeavors, such as being a custom clothier, a sewing teacher, a writer about sewing, or even a retailer involved in the sewing industry. The term “seamstress” implies one who sews on a machine, as in a factory; although this person may be very talented in certain techniques, her job does not leave room for innovation or creativity. And that is why I like the term “dressmaker” so much. In one word it expresses many things explicit and implied. And although it is a term much used until the 1960s and not much since then, I consider myself a Dressmaker; maybe you do, too?

This wonderful Vogue book, copyright 1957, still used the term "Dressmaking" in its title.

This wonderful Vogue book, copyright 1957, still used the term “Dressmaking” in its title.

A dressmaker is one who makes custom clothing for women (oneself included.) She usually works from a commercial pattern, and then uses all her creative, design, and technical skills to create a one-of-a-kind dress, blouse, skirt, coat, etc. I have devised this ABCs of DRESSMAKING to define some of the important aspects and practices of dressmaking, especially in the couture sense.

D is for Design. This seems like it should be common sense, but it cannot be said too often that you should choose a design that is going to work for you. Unlike ready-to-wear that we get to try on, when we sew, we are working from patterns that we think will be flattering, but we really will not know until it is finished (a muslin takes some of the guesswork out of this, but not entirely.) Most of us have our own personal style that we know is flattering to us. Even if you want to diverge a bit from it (which is fine), it’s probably best not to go too far afield. Also, beware of trends that may not be flattering. (An example of this from a couple of years back is the revival of the peplum, a look that not too many of us can wear very successfully.)  When it comes to Design, choose one that is “smart for [many] seasons” rather than “one that’s soon outdated.”

The first page of the book pictured above tells the reader why she should be using Vogue patterns, but it also suggests some of what it means to be a "Dressmaker."

The first page of the book pictured above tells the reader why she should be using Vogue patterns, but it also suggests some of what it means to be a “Dressmaker.”

R is for Risk. Let’s face it, fashion sewing can be risky. We can be sewing with really expensive or “difficult” fabric or vintage fabric, which is now no longer available – or sewing with a complicated design/pattern – or making something for a very special occasion – and the outcome is entirely in our hands! It takes bravery, confidence in one’s skills, patience, and a willingness to take a risk to grow in our dressmaking, but the rewards are manifold.

One of the Dressmaking signs I have hanging in my sewing room.

One of the Dressmaking signs I have hanging in my sewing room.

E is for two things: Engineering and Embellishment. I have said this before, but it bears repeating – sewing is engineering. I love to read pattern instruction sheets, especially for something that is complicated, and I bet many of you do, as well. It’s fascinating to see how patterns go together, how different fabrics demand specific approaches to that process, how the pattern pieces need to be manipulated to fit one’s particular form. A well-engineered pattern is a beautiful thing, and it takes a sewing-engineer’s mind to know how to best bring that pattern to life in a stylish and successful fashion. It takes a dressmaker.

Another one of my signs, the first one I purchased and still my favorite!

Another one of my signs, the first one I purchased and still my favorite!

Embellishment is almost synonymous with the term dressmaker. “Dressmaker Details” include such things as ruffles and frills, ribbon, or braid, but also those little touches that add so much to a successful garment, such as well-chosen buttons, interior trims, non-boring linings, covered snaps, bound buttonholes (when appropriate), and the creative manipulation of, or addition to, a pattern to get the effect you want. A creative dressmaker can start with something basic and make it unique – and couture – by adding just the right embellishments or details.

S is for Seams. This is about as basic as it gets, but those seams must be sewn well and finished well for a successful finished garment. One of the techniques I learned in the couture sewing classes I have taken with Susan Khalje is, for me, the method to achieve successful seams. That is – thread basting along seam lines to use as your sewing guide, rather than relying on the seam allowance markings on one’s sewing machine.   This is the building block for successful dressmaking.  And then, finish those seams on the inside to control bulk and add to the wearability and durability of your garment.

S is also for Steam. As in ironing. A good steam iron is worth its weight in gold! Steam is useful in so many ways – here are just a few:   1) When sewing with wool or most dry-cleanable fabrics, a good place to start is steaming your fabric before you begin to lay out your pattern pieces. Even if you have pre-washed cotton or linen fabrics, a good initial steaming of your yardgoods will insure a better outcome. 2) Steam newly sewn seams flat to set your stitches before spreading the seam open for its second pressing. 3) Contours can be set beautifully with steam, especially when using a pressing ham and/or a seam roll, or draping your work-in-progress on a dress form.

Te Vogue Dressmaking Book has an entire section on pressing, with guidelines still appropriate almost 60 years later. Click on the image to read the page.

The Vogue Dressmaking Book has an entire section on pressing, with guidelines still appropriate almost 60 years later. Click on the image to read the page.

And then, S + S  is for Sewing Sense, which is what every successful Dressmaker must develop. This subject is so vast it warrants its own blog post sometime in the future!

So now I am halfway through the ABCs of D-R-E-S-S-M-A-K-I-N-G. Part II is yet to come…

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Filed under couture construction, Dressmaker forms, The Conde Nast Publications, Uncategorized, Vogue patterns

Can a Coat be Glamorous?

And what exactly is glamour? A recent quote by Carolina Herrera – “It’s important for women to feel glamorous and feminine but always themselves” – prompted me to look up the definition of the word “glamour” – and I was surprised by what I found. Here is how Webster’s defines it in its noun form: 1) the quality of fascinating, alluring, or attracting, esp. by a combination of charm and good looks 2) excitement, adventure, and unusual activity, like the glamour of being an explorer 3) magic or enchantment; spell; witchery. And then there is the definition of “glamorous”: 1) full of glamour; fascinatingly attractive; alluring 2) full of excitement, adventure , and unusual activity: to have a glamorous job.

Glamour was the last thing on my mind when I started out on my current coat project. Making a muslin (toile) can be time-consuming and tedious, especially when it shows you that some serious alterations need to be made. Fortunately, my coat muslin revealed only some small changes to the shoulder of my raglan sleeve coat, compensating for my square shoulders. My go-to book to guide me through these complexities is Fitting and Pattern Alteration, by Liechty, Rasband, and Pottberg-Steineckert (recommended to me by Susan Khalje.)

I highly recommend this book.

I highly recommend this book.

One of the things I love about this book is that it covers all sorts of situations. Square shoulders for Raglan sleeves? Not a problem.

The diagrams take the guess work out of alterations to patterns.

The diagrams take the guess work out of alterations to patterns.

Once I had my muslin adjusted, my silk organza interlining marked and cut (to be used as the pattern for the wool), I felt like I was off to the races. Not so fast. A careful steaming of my wool fabric revealed three small “thin” areas (not holes, but thin enough that I would need to work around them). This is not unusual for vintage fabric, and is one of the reasons why a careful pre-steaming or pre-pressing of any fabric is important, but especially so for vintage goods.

I marked these small imperfections with yellow chalk.

I marked these small imperfections with yellow chalk.

And then double-marked the areas with orange post-its when I was arranging the pattern pieces.

And then double-marked the areas with orange post-its when I was arranging the pattern pieces.

After untold hours of basting the layers of silk organza and fashion fabric together, I was finally ready to sew.   And this is when I think it began to get glamorous. The first major details to be completed were the pocket plackets. I thought I might faint when I had to make that first cut into one of the side panels of the coat front. But bravery saw me through!

I have the placket catch-stitched temporarily so it does not get caught on something while I finish the remainder of the coat.

I have the placket catch-stitched temporarily so it does not get caught on something while I finish the remainder of the coat.

Here is the inside of the pocket and placket.

Here is the inside of the pocket and placket.

With the first pocket and pocket placket successfully completed, the second pocket placket was simply fascinating and alluring, my progress encouraged by the charm and good looks of the first one. Definitely glamorous!

Progress - both pockets/plackets finished!

Progress – both pockets/plackets finished!

More seams ensued, each one carefully pinned, sewn, pressed and catch-stitched. Particularly rewarding were the shoulder seams of the raglan sleeves. Properly clipped, pressed and catch-stitched, the seams lie beautifully and look good, too.

The benefits of a silk organza interlining (or underlining) are manifold, but not least of which is a foundation upon which to secure the seams.

The benefits of a silk organza interlining (or underlining) are manifold, not least of which is a foundation upon which to secure the seams.

A view of the back of the coat (in progress.)

A view of the back of the coat (in progress.)

Although I have many more hours to go with the construction of this coat, I can’t help but feel that not only is this coat going to be glamorous, with its elegant gray cashmere, its vintage sensibility and all its hidden, inside secrets used to tame those seams, it is also going to be feminine and definitely me.

Perhaps the next question to ask is “Can sewing be glamorous?” It is “fascinatingly attractive, full of excitement, adventure and unusual activity.” It is magical and enchanting, too. The answer would have to be, “Yes, sewing most definitely can be very glamorous!” Even when we are in our bedroom slippers and blue jeans, covered in threads and pins, if we are sewing, I say we are glamorous.

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Filed under Coats, couture construction, Dressmaker coats, Love of sewing, Mid-Century style, Uncategorized, underlinings, Vintage fabric, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, woolens

Does Sewing Make Us Smarter?

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

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

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

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

The Necessary Blouse

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

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

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

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

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

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

Sewing makes us smarter - designer techniques

Click on the image to read the text.

Sewing makes us smarter - designer techniques - 2

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

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

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

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

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

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

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

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

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

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

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

 

 

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

The Allure of Silk, Part 3: Finishing Touches for a Fancy Frock

In planning for my ‘50s-inspired silk party dress, my original intention was to use a red sash, just as shown on the original dress which I first saw on Pinterest.

Blue taffeta:silk dress - originalWhen I sent off for swatches of silk taffeta from Emma One Sock Fabrics, however, I requested reds and yellows, just in case I might change my mind. When the swatch card arrived, there were clearly two obvious choices – the clear red and the vibrant yellow.Allure of silk - cummerbund picture

Then a funny thing happened. I ordered the red, which was out-of-stock temporarily. The owner of Emma One Sock (who, I might add, is one of the pleasantest and most helpful people from whom one will ever order fabric!), held up the order, at my request, while I thought about it some more. By the time I went to Baltimore to start my dress in Susan Khalje’s Couture Sewing School, I had just about decided to switch to yellow. With Susan’s hearty endorsement and the additional approval of my classmates, the decision was made: the sash would be yellow, not red.

When the yellow silk taffeta arrived, I knew the decision was the right one. All I had to do then was figure out how to make the sash. Easy, right? With lots of time to think about this while I finished the embroidered organza top and the sapphire blue skirt – and the dress lining – I gradually came up with a plan. I decided a more structured cummerbund and bow would be the best look. First I went in search of a cummerbund pattern, which I found in an early 1960s pattern in my collection:

Allure of silk - cummerbund picture-1

I decided to loosely pleat it instead of gathering it, so it would appear smoother around my waist. Because I had underlined it with silk organza, I had an anchor upon which to secure the soft pleats:

I used a loose catch-stitch to secure the pleats.

I used a loose catch-stitch to secure the pleats.

allure of silk final

And I folded in the two ends, ready for hooks and eyes.

Then I lined it with silk crepe de chine.

Allure of silk final

Now –  I really love a beautiful bow. And I knew just where to go to get the perfect bow pattern. I made this Butterick pattern in the early 1990s, and while I still like the dress I made (I’ll feature it sometime… it’s still in my closet!), I love the bow. I have used this bow pattern numerous times, always successfully.

Allure of silk - bow picture-2

Here is a close-up of the instruction sheet, showing the simple but effective construction of this bow.

Allure of silk - bow diagram-3

I increased the width and length a bit, as I knew it would need to be a focal point of the dress. I attached the bow to one end of the cummerbund, and used a snap to secure it in place on the other end.

All of this took more time than I could have ever imagined! The event for which I made this dress is next week, and I’ll get proper pbotos taken then. But here is a sneak peek, first of the shoes I found which really seem to be the perfect pairing for this dress:

allure of silk final

And here is the dress on my dress form:

Allure of silk final

Allure of silk final

I thought I'd include this photo of the dress lining for anyone interested in seeing it.

I thought I’d include this photo of the dress lining for anyone interested in seeing it.

I am very pleased that I decided to "V" the back of the outer bodice!

I am very pleased that I decided to “V” the back of the outer bodice!

A close-up of the bow.

A close-up of the bow.

One of my favorite fashion quotes is one from Madeleine Vionnet: “The dress must not hang on the body but follow its lines. It must accompany its wearer and when a woman smiles the dress must smile with her.” Will my dress put a smile on my face when I wear it? Yes, if only for the fact that it has been finished just in time!

Details:

Blue silk taffeta:  Britex Fabrics

White embroidered organza:  Waechter’s Fabrics (now out of business)

Yellow silk taffeta:  Emma One Sock Fabrics.

Under bodice and outer bodice pattern:  Vogue 8766

Cummerbund pattern:  Vogue 5234 (vintage)

Bow pattern:  Butterick 3582 (vintage)

Shoes:  Butter, sold by Simply Soles

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Filed under Cocktail dresses, couture construction, Mid-Century style, sewing in silk, Shoes to make an outfit complete, Uncategorized, vintage Vogue patterns from the 1960s, Vogue patterns