Tag Archives: vintage Vogue patterns

June 21, 2013 · 8:16 pm

Inspiration and Adaptation

Sometimes in life – and in sewing – you have to alter your plans to accommodate the situation at hand.

This is the situation I found myself in: I had my heart set on pairing a favorite vintage Vogue Designer pattern with a piece of vintage Moygashel linen I had found in an Etsy shop. They are both likely from the early 1970s and seemed destined to be together.

Molyneux has always been a favorite designer of mine. My thought was to make the dress with short sleeves, but belt it as shown in View B.

Molyneux has always been one of my favorite designers. My thought was to make the dress with short sleeves, but with a belt as shown in View B.

My best guess is that this Moygashel linen is from the very early ’70s.

To make this pairing of fabric and pattern even more enticing, I was given this amazing pearl button by my dear friend Nancy C. (Thanks, Nancy!)

I love this unique button!

The square shape of the button – and its largeness (1 3/16” square) – and the fact that I had exactly one of these beauties – made it seem custom made for the design of the fabric and the tab featured on the pattern.

I couldn’t wait to get started! I pulled out all the pattern pieces, ironed them flat, ready to make a muslin – and then the “uh-oh” moment struck. The “straight of grains” on the pattern pieces could not have signaled more trouble if they had been flashing in bright red. I grabbed the pattern envelope – and right there in plain English was stated: “Not suitable for obvious plaids.” (Why won’t I learn to read those envelopes more closely???) While this fabric is not a plaid, it reads like a plaid. My heart sank – as I realized very quickly that I absolutely could not use this pattern for this fabric. It just would not work. End of discussion.

If you look carefully at these line drawings, it's obvious that "plaids" would not work.

If you look carefully at these line drawings, it’s obvious that “plaids” will not work.

I took a few deep breaths – and went back to my vintage pattern file. None of my other vintage patterns would do. I had my vision for this fabric and no pattern came even remotely close. It was then I decided I would have to adapt a new pattern to achieve the look I wanted. Once I made this decision (Plan B, as in “it BETTER work!”), I began to see the advantages, and the possibilities for an even better look than I originally thought.

The first thing that went right was having this pattern in my “new pattern” file:

I picked up this pattern a few months ago as I thought it looked very versatile.

I figured if I used View B, I could alter the neck band to incorporate a center tab. I wanted to belt it, but I happily thought the tapered darts at the mid-section, front and back, would help create less bulk at the waist (and that’s always welcome). I liked the shape of the neck (and had actually planned to widen and lower the neckline on the vintage Vogue….). I would have to lengthen it, but I had plenty of fabric. I also like the banded sleeves. To envision the look, I did a quick sketch:

More about the belt later – it was ready before the dress was even cut out.

Then I set about adding the 1970’s tab to the neckband. I actually used the pattern piece for the original tab facing so that I could get the correct size and look.

I placed the old pattern piece onto the new neckband.

Then I made a new pattern piece.

I made my muslin and then proceeded to use some couture techniques, but not all I normally would. For one thing, I did not want to underline this linen fabric with silk organza (to preserve the breathability of the linen and keep it as light as possible). The pattern called for the dress (but not the sleeves) to be lined. I used a very lightweight cotton/linen blend for this which worked beautifully. I also decided to use the facings included in the pattern (usually eliminated with couture sewing), and I’m really happy with that decision.

This photo shows the neck facing and the off-white lining I used for the body of the dress.

I hand-picked the zipper, understitched the facings by hand, and sewed the hem oh-so-carefully so that my stitches would not show (one of the disadvantages of not using an underlining is that there is no layer to sew the hem to, except for the actual fashion fabric). I made a bound buttonhole for that big lovely button (the original Vogue pattern calls for a bound buttonhole).

Here’s the buttonhole, with the button peeking through!

The underside of the tab.

I also added a slit to the back seam as once I lengthened the dress, I thought I might need the extra wiggle room.

A quick look at the slit I added to the back center seam.

I had the belt made by Pat Mahoney of Pat’s Custom Belts and Buckles. What a great decision! I could never make as neat a belt and buckle as she does.

Pat Mahoney does nt have a website, but she can be contacted at: 209-369-5410; 537 York Street, P.O. Box 335, Lodi, California 95241, USA.

Pat Mahoney does not have a website, but she can be contacted at: 209-369-5410; 537 York Street, P.O. Box 335, Lodi, California 95241, USA.

Here is the finished dress.

I am bound and determined to make a summer dress using that vintage Vogue pattern. But – now I know I’ll have to use a plain fabric for best results (maybe a solid linen…). It will, however, have to wait for another Summer, as I have other projects in mind!

Making this dress has reminded me that sometimes Plan B turns out to be the BEST plan of all.

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Filed under bound buttonholes, Buttons - choosing the right ones, couture construction, Linen, Moygashel linen, Uncategorized, vintage buttons, vintage Vogue Designer patterns, vintage Vogue patterns from the 1970s, Vogue patterns

Tagged as bound buttonholes, Choosing buttons, fashion sewing, Moygashel linen, vintage fashion, vintage Vogue patterns

May 23, 2013 · 10:41 pm

In Pursuit of My Very Own Classic Cardigan (aka Chanel) Jacket

As I eagerly anticipate the Classic French Jacket class I will be taking with Susan Khalje in June, there are several things I am doing to get ready for it. First, of course, is doing my homework. That includes selecting the pattern I want to use and making the muslin. I am sticking with the old stand-by Vogue pattern #7975 (which Susan recommends), as I really do want the classic princess-seamed cardigan look that has evolved from its original “boxy” styling.

The view in the lower righthand corner is the version I anticipate starting with.

I’ve prepared my thread-traced muslin pieces, as seen here –

And now those pieces are sewn together as well. We (the members of the class) will be shopping for fabric and trim(s) on the first day of class, so what I end up with is still to de determined. Am I looking for a particular color? Yes, sort of, but who knows what wool will entice me – other than probably the most expensive one!

Having classic “Chanel” on my mind has made me think about how enduring this style jacket has been over so many decades. From looking through some of my Vogue Pattern Book Magazines from the 1950s and 1960s, it is obvious that this is one fashion that is always in Vogue (pardon the pun). The October/November 1957 issue stated “The Chanel look of the easy jacket is in the news in both suits and ensembles. Box jackets often have cropped sleeves to show cuff-linked shirt sleeves.” Here is how that statement is llustrated:

The sketch in jade shows a “best-selling” pattern, newly available printed and perforated.

Here is the opposing page to the previous illustration – more on the “Chanel look.”

Shades of Chanel are obvious in this style from the August/September 1960 issue, with the statement: “[T]he most versatile suit ever – the checked, straight jacket is buttonless and bias-trimmed…”

This suit definitely shows shades of Chanel! I like the suit much better than the hairstyle.

Two years later, the August/September issue included a classic Chanel-look suit in its wardrobe for Vogue’s fictional character, Mrs. Exeter. Called “the suit of the year”, it is described as “. . . very Chanel, with its easy cardigan airs; its dark bands of braid on pale rough tweed; the silk blouse with its own flip and tier bow. The slim skirt has a low bit of flare.”

This is the most classic Chanel image I found from the 1960s in my copies if VPB.

The very next issue in 1962 featured a classic Chanel look on its cover. The accompanying caption states: “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 . . .”

That same issue of Vogue Pattern Book Magazine gave away this “secret” in a feature entitled VPB’s Boutigue Corner: Couturier Flourishes: “The secret of the suit jacket and the overblouse that hang beautifully is apt to be a “Chanel” chain. A finishing touch by couturiers, the chain is tacked near the hemline as a weight.”

The topic figure shows the “Chanel” chain fastened to a hemline.

Ordering information for such chains was included in the same issue. However, I know for a fact that these types of chains could be purchased in fabric stores, as I still have one (in its original –albeit tattered – packaging) that I purchased in the late ‘60s!

This “vintage” chain still looks new!

The back of the packeage shows the copyright date, 1966, and includes instructions on attaching the chain.

The back of the package shows the copyright date, 1966, and includes instructions on attaching the chain.

Finally, an article in the February/March 1963 issue of the magazine gave some of that age-old advice on “pattern selection that can visually help to minimize your figure problem.” The advice given “if you tend to be bosomy” seems like it could be good advice for just about every figure problem (or problem figure, depending on your point of view) as it states “In suits, the boxy Chanel-type jackets are your best bet…”

If you can get past this awful illustration, you can read the accompanying text about Chanel-type jackets!

Gosh, I think Chanel-type jackets are just about perfect for everyone. How else would this classic style have endured so beautifully for so long?

12 Comments

Filed under Chanel-type jackets, couture construction, The Conde Nast Publications, Uncategorized, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s, Vogue patterns, woolens

Tagged as 1950's Vogue patterns, fashion sewing, sewing, vintage fashion, vintage Vogue patterns

May 15, 2013 · 3:27 pm

The Return of the Ladylike Suit

It seems I just can’t get way from that word – ladylike. Just as I was finishing the jacket to my emerald green silk suit, the weekend Wall Street Journal arrived with this article in the Off Duty – Style & Fashion section: “Gran Larceny – Fashion’s latest rebellion is co-opting looks from grandma’s closet.”

This photo, copyright The Wall Street Journal, is the lead photo for the article.

To quote from this article by Alexa Brazilian:

“Is conservative the new radical? The fashion world certainly seems to think so . . . Designers are reimaging soignée staples for spring and summer – skirt suits, twin sets, below-the-knee dresses, kitten heels and frame bags – that appear anything but moth-eaten.

“ ‘A young girl now doesn’t want to dress like her mother; she finds her grandmother much cooler,’ said Nina Ricci creative director Peter Copping, who designed skirt suits inspired by his own nana. ‘She wore little smart tweedy suits. I always had a romantic notion of that.’ “

And then later in the article is this statement by Christopher Kane (which I might frame and put on the wall in my sewing room!): “Ladylike is the ultimate sexiness,” said the designer. “It’s clean, elegant and in control. The famous saying, ‘It’s the quiet ones you need to watch,’ definitely applies to this style.”

Well, I won’t necessarily feel radical or even sexy when I wear my new green skirt suit, but I do believe it is an example of that ladylike style of the early 1960s — which actually makes sense since the pattern is indigenous to that decade.

This is the pattern from the 1960s I used for my suit.

And here is the suit finally finished.

I make a few changes to the design once I made the muslin for it. First, I added two tapering darts to the back. It was supposed to have a boxy feel to it, but I felt a little narrower silhouette would be more flattering to me. I also lengthened the jacket by about 1 and ½ inches.

The jacket is still “boxy” but less so with the added darts.

I decided to make the sleeves below elbow length, so I added another inch and ½ to them. Then I had to narrow them a bit as well to make them look proportional.

Now to the fun part: the two dressmaker details I added. In an earlier post, I already showed the turquoise silk lining fabric I chose. Once I had such a dramatic contrast in the works, I thought I’d push the envelope a bit farther. I found silk bias ribbon in a lovely periwinkle color and used it to add an edge detail to the lining in the body of the jacket.

Here is the bias silk ribbon attached to the edge of the lining… Click on the photos to see them up close.

… and one more picture of it.

This was so much fun to do and made attaching the lining to the jacket very easy, as all I had to do was “hand-stitch in the ditch” where the silk ribbon and the lining fabric were sewn together.

Here is what the finished edge looks like.

When I found the gold buttons for the jacket, I immediately knew that adding buttons to the sleeves would make it all look more complete.

The gold buttons added to the sleeves and another view of the lining (and the back of the bound buttonholes).

And here is a close-up of the larger buttons for the front of the jacket, with their bound buttonholes.

The last thing I did was attach the label to the inside front of the jacket.

The silk shell I am wearing is a RTW one. I purchased it last Spring and now have something with which to wear it!

Another view, with jacket over my shoulder.

When I found this emerald green silk matka online last Fall at Waechter’s Fine Fabrics, I envisioned a skirt suit – or dressmaker suit, as this type of dressy suit is also called – but I had not progressed beyond that in my planning. Well, now this new grandmother is feeling pretty fortunate that, not only did I grow up with the styles from the 1960s, but they are making me feel quite fashionable now that I am in my 60s!

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Filed under Buttons - choosing the right ones, Dressmaker details, Dressmaker suits, sewing in silk, Uncategorized, vintage Vogue patterns from the 1960s, Vogue patterns

Tagged as Choosing buttons, Dressmaker details, Emerald green fabric, fashion sewing, quotes about fashion, sewing, vintage Vogue patterns, Wall Street Journal Fashion coverage, women's dress suits

April 26, 2013 · 4:22 pm

What Comes First – the Jacket or the Skirt?

Sewing has lots of decisions with it, some more important than others. One of the decisions I face when making a two-piece suit (my current project) is: which part do I make first – the jacket or the skirt? Instruction sheets are divided on this, as some start with the skirt, others with the jacket. It would make sense, I guess, to start with the more difficult or more complicated half, which would most likely be the jacket. So why do I usually make the skirt first? Here’s what I think:

1) If the skirt and jacket are of the same fabric, making the skirt gives me “practice” with the feel of the fabric. This comes in handy when I’m turning facings or collars on the jacket.

2) I’ve made enough jackets to know that I’m always kind of exhausted when they’re finally finished. I’m not sure I’d want to be facing making the matching skirt, too, at that point in the process!

3) It’s easier and just plain better to make the final fitting of the jacket if it can be viewed with its accompanying skirt.

4) And finally, well . . . I can always wear the skirt if the jacket doesn’t get completed right away, right??

So – what about progress on my emerald green silk suit?

This is the pattern I am using (View B), as written about in a former post.

Yes, the skirt is finished, which allows me to give you a sneak preview.

An interior view of the waistband and lining.

What do you think of that turquoise china silk lining? Failing to find a green lining fabric, which would coordinate or match, turned out to be an advantage. I had to choose something else – and, I must say, I love this combination.

Here is a view of the hand-picked zipper.

The jacket is still in pieces, but very controlled pieces they are! Here they are all ready to go:

The silk organza underlining is all basted, interfacings cut, ready to go!

The silk organza underlining is all basted, interfacings cut, ready for sewing.

I am hoping that this suit will serve me similarly to the description of this green suit in the October/November 1962 Vogue Pattern Book Magazine:

"Colors to go wild about" -n 1962 and in 2013.

“Colors to go wild about” – in 1962 and in 2013.

To quote: “… a pure green with perfect pitch for day or evening, town or country.” This particular design is by Michael of England, but, like the Vogue pattern I am using, it has a fitted jacket with a narrow notched collar, and three-quarter sleeves.

In the same issue of VPB Magazine, a letter to the editor caught my attention. Mrs. B. M. of the Bronx, New York, wrote: “… When I make a suit, I always buy extra fabric and also run up a slim dress. This lets the suit jacket do ‘double duty’ and I have both a suit and a jacket-dress, while having to make only one jacket. This saves me time and expense, and I enjoy having a variety of costumes that I can wear almost anywhere, in a fabric I love.”

Now I wonder what she made first – the jacket – or the skirt – or the dress? I’m exhausted just thinking about it!

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Filed under Dressmaker suits, hand-sewn zippers, sewing in silk, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, Vogue patterns

Tagged as Emerald green fabric, fashion sewing, sewing, vintage fashion, vintage Vogue patterns, women's dress suits

March 13, 2013 · 6:13 pm

Suited for Spring

Last Fall when I found emerald green matka silk on Waechter’s website, I quickly purchased 3½ yards. At 45” wide, I knew that amount would be enough for a Spring suit although I really did not know which pattern I would be using. It seems I often purchase fabric and then end up not actually using it for a year – or more. But with emerald green so front and center in fashion this year, I definitely decided to make this project a top priority.

This is the silk I ordered from Waechter’s Fine Fabrics.

I envisioned what is known as a “dressmaker suit.” Fairchild’s Dictionary of Fashion (3^rd edition, Fairchild Publications, Inc, New York, New York, 2003) gives this definition: “Woman’s suit made with soft lines and fine details, as contrasted with man-tailored styles that have the sharply defined lines of a man’s suit made by a tailor. Fashionable in 1950s and revived in the mid-1980s.” Specifically, I envisioned a straight skirt (aka pencil skirt in today’s fashion parlance), a short-ish, dressy jacket with some neat detail on it, and adorned with buttons to compliment the sheen and slubby texture of the silk.

First step was to go to my pattern box, brimming over with vintage patterns (and a few new ones). I quickly had my selection narrowed down to two possibilities, but one was actually a sheath dress with coordinating jacket, not a jacket and skirt. (Yes, there is a definition for this category as well, according to Fairchild’s: “Suit dress: Used in 1960s to refer to a jacket and dress ensemble that resembled a tailored suit.”)

Is it the hat that makes this ensemble so appealing – or just good styling?

I hashed over the two reservations I had about using this pattern: 1) I was a little short on yardage – about a quarter of a yard – and just not completely confident that I would be able to cut this pattern out with the generous seams that I have come to like so much, and 2) I have a RTW (gasp!) silk shell top which will look stunning, I think, paired with an emerald green silk skirt and matching jacket. So in the end, I decided to go with a dressmaker suit to be made from this pattern:

I’ll be making View B, which just happens to be shown in emerald green!

And then, the bonus! Actually three of them . . . I had forgotten that tucked inside the pattern envelope were two clippings obviously placed there by the original owner of the pattern. She was doing some “comparison shopping” for styling.

The first clipping is for another pattern – a Spadea, available through mail order from the newspaper. Fortunately, the date of 1964 shows up on one corner.

The second clipping is from Vogue magazine, showing a fashion from 1968.

The jacket of this suit, just like the Spadea pattern, is very similar to the Vogue pattern.

Perhaps the original owner was trying to decide between a striped fabric and a plain one? Maybe she was really undecided about making this style suit? I’d love for her to sit down with me over a cup of coffee so we could discuss this pattern! As it turns out, she never made the jacket, as its pieces were still in factory folds when I obtained it. The skirt pattern shows signs of having been used, however. I’ll never know why, after all her thought about this suit, she never made it. However, her decision afforded me the third bonus – the original pattern label – pristine after so many years.

I am looking forward to sewing this label into my green silk suit.

I’ve made my initial adjustments to the pattern and am now making the muslin. Like my “pattern predecessor” I am dreaming of a certain look. Now it’s up to me to finish what she started.

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Filed under Dressmaker suits, kimono sleeves, Messages from past owners of vintage patterns, sewing in silk, Uncategorized, vintage Vogue patterns from the 1960s, Vogue patterns

Tagged as Dressmaker suits, Emerald green fabric, fashion sewing, handwritten notes on vintage patterns, Kimono sleeves, sewing, silk, vintage fashion, vintage Vogue patterns, women's dress suits

March 4, 2013 · 5:59 pm

“The Sweetest of All the Colors…”

“… Every woman should have something pink in her wardrobe.” Christian Dior certainly had distinct thoughts about fashion, and with this statement I concur. Everyone looks good in pink, especially pale pink (men definitely included), and I suspect pale pink was what Monsieur Dior was thinking when he wrote this in his Little Dictionary of Fashion (First published by Cassell & Co., Ltd., 1954; 2007 edition by Abrams; Copyright Catherine Dior and Jean-Pierre Teto, 2007). Interestingly, the lining pages of his little book are pale pink, but the divider pages feature a deep, deep raspberry pink as in – – – my newly finished “ladylike” dress!

Here is the “section”page for E from Dior’s Fashion Dictionary

Dated 1958, this is the pattern I used for my pink dress.

The finished dress!

As I mentioned in my last post, I made this dress using couture construction, which means a lot of hand-sewing. The more I use this type of construction, the more I like it, but it doesn’t get any faster.

An interior view of some “couture” construction – silk organza underlining, catch-stitched seams, hand-picked zipper.

However, couture construction gives me a lot of flexibility in changing necklines, which I really appreciate. That is one of the changes I made to this pattern – widening the neckline to a more flattering appearance for me.

The widened neckline.

I also changed the back of the skirt by removing the box pleats and substituting a darted back.

I substituted darted back panels for the “original” box pleats

The original dress had pockets hidden in side box pleats, but when I narrowed the width of the skirt, I did away with those side pleats. I still wanted pockets, so I added pocket extensions in order to still hide them in the side seams. It worked!

A peek at the pocket inside which shows the raspberry silk lining I used for the dress. I understitiched the pocket edges by hand, which took no time at all and looks so much nicer than machine stitching!

A peek at the pocket inside which also shows the raspberry silk lining I used for the dress. I understitiched the pocket edges by hand, which took no time at all and looks so much nicer than machine stitching!

I added a quarter-inch to the underneath seam on each sleeve, so that each sleeve would have one-half inch extra width to it. Those ladies in the 1950s must have had skinny arms, as I find sleeve widths on these vintage patterns are often just not quite spacious enough.

I added to the underarm seam – an adjustment which I determined from my muslin.

This was the first time I had made sleeves which are half set-in and half kimono. This is a look and fit which I love! In fact, the shoulder fits so well, that my original thought to add an interior sleeve heading was one I decided I did not need.

The one thing I’m not sure I like is the “purchased or novelty belt” as indicated on the pattern. I think a self-belt, a little wider than the one I show, would be more attractive. Please comment if you have an opinion. (I have plenty of fabric left over to make one…)

I am thinking a 2″ wide self belt might be more attractive???

Before I move on to my next project (to be announced soon), I want to thank Dresses and me for nominating me for the Very Inspiring Blogger award.

So, in accordance with the “rules” – I am supposed to share a few facts about myself and nominate some others for the same award, so here goes:

1 – I am told I have a slight Southern accent, surely a remnant of being born and raised in North Carolina.

2 – I do most of my machine sewing on a 1940s’ Singer Featherweight and on my mother’s 1956 “306K” portable Singer.

3 – Autumn is my favorite season.

4 – I can make a very good Pumpkin pie.

5 – I enjoy reading historical fiction.

6 – I can’t sing (as in carry a tune) except for a few simple lullabies and Christmas carols.

Now – to pass on this award: So many fellow bloggers inspire me every day that it is difficult to single out just a few (especially as many have already received this award!), but here are some worthy recipients:

For always giving me a laugh: A Dress A Day and The Blue Gardenia.

For always teaching me something I would not have known otherwise: The Vintage Traveler, Pattern Vault, Two Nerdy History Girls, and the FIDM Museum blog.

For sharing their sewing knowledge, design sense, and beautiful workmanship: Custom Style, Lilacs and Lace, So Sew Lovely, and Frabjous Couture.

So now – you are IN THE KNOW and – I am IN THE PINK!

21 Comments

Filed under couture construction, hand-sewn zippers, kimono sleeves, Uncategorized, underlinings, vintage Vogue patterns from the 1950s, woolens

Tagged as 1950's Vogue patterns, fashion sewing, Kimono sleeves, quotes about fashion, sewing, vintage fashion, vintage Vogue patterns

February 20, 2013 · 9:35 pm

Saying YES to a Ladylike Dress

What is it exactly that makes a particular dress elicit the description “ladylike”? Is it primarily the fabric – or the color – or the style – or, as most would suggest, a combination of all these things? And why, exactly, am I asking this question??

As one who generally is attracted to tailored, usually unfussy “frocks”, I had to answer this question for myself about this pattern, which, although still unfussy, with simple lines, just seems to be such a ladylike look:

Dated 1958, this pattern shows the influence of Christian Dior.

This is what I’ve decided. I definitely think you start with the style – or the pattern – and this one has it. There are four elements which work together to make this a ladylike look: 1) a defined waist, here further delineated with a purchased belt (or, as the pattern calls it, a “novelty” belt); 2) a soft shoulder line, which in this pattern consists of a set-in sleeve on the front bodice, but kimono in the back – very clever; 3) a full skirt, this one with inverted box pleats which soften the fullness to a considerable degree (although not quite enough for me, as I will explain later); 4) three-quarter length sleeves, which are the most flattering for most women, and which provide the perfect foil for bracelets or gloves.

The middle sketch on the back of the envelope shows the kimono sleeve detail on the back of the dress.

I’ve had this pattern for well over a year, but it took me a while to pair it with this fabric which I’ve had forever (well, not that long, but probably close to 10 years – which makes it seem like a baby compared to how long I’ve had some of my Moygashel linen!).

I’m not sure the fine twill weave of this fabric is visible here.

This fabric is a very beautiful wool/cotton blend, lightweight, but with a solid hand and very subtle fine twill weave to it. It’s 60” wide and I bought three yards, so I obviously had plenty of fabric with which to work. I’m in love with the color, a deep raspberry pink – I just cannot stay away from pinks of any shade.

Knowing that I would be making this dress in knee-length rather than mid-calf made me reconsider the fullness of the skirt. In thinking about this, I remembered another pattern in my collection, which shows a full skirt in the front and a fitted, plain skirt in the back.

This is an unprinted pattern, which makes working with its pieces difficult.

So – I decided to see if I could combine the two patterns to create the same look, but with less fullness. The second pattern has a three piece back, which obviously would not work with a center back zipper.

Here is the detail of the skirt back.

So I decided to combine the side back and center back pattern pieces, add two darts to achieve a similar fit, and add a center back seam to match the seaming in the first pattern.

This is how I fit the two back skirt pieces together to make one piece. The “triangle” became two narrow darts, which seemed to work better than one wide one.

I took a little more fullness out of the front pattern pieces of the first dress and reconfigured the box pleats. Then, of course, I made a muslin to see if this would all work. It certainly seems like it will. The width of the skirt, according to the pattern envelope, was originally supposed to be about 100”. The width of my muslin skirt is 56” – which means I removed over a yard in the skirt width! Sometimes things look and hang a bit differently in the fashion fabric as compared to the muslin, so I am proceeding with cautious optimism.

I am making the dress with couture techniques – and I’m ready to do some serious sewing now that I have silk organza hand-basted to all the pattern pieces.

My pile of basted pieces.

In sewing, I am always reminded of this quote from Wilhela Cushman: “Just around the corner in every woman’s mind – is a lovely dress, a wonderful suit, or an entire costume which will make an enchanting new creature of her.” I do indeed hope this will turn out to be a lovely dress – with enchanting ladylike qualities!

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Filed under couture construction, kimono sleeves, Uncategorized, Unprinted patterns from the 1950s, vintage Vogue patterns from the 1950s, Vogue patterns

Tagged as 1950's Vogue patterns, fashion sewing, Kimono sleeves, Moygashel linen, quotes about fashion, sewing, Unprinted patterns from the 1950s, vintage fashion, vintage Vogue patterns

February 12, 2013 · 4:28 pm

Coats of a Certain Length

“. . . above everything they must be practical. Practical in color and practical in style.” This was Christian Dior’s dictum for coats which he wrote in 1954 in The Little Dictionary of Fashion (first published by Cassell & Co., Ltd., republished by Abrahms, 2007, copyright Catherine Dior and Jean-Pierre Teto). Beginning around this same time, Vogue Patterns began to feature more coats in shorter lengths, with slimmer profiles. The “tunic coat” and matching skirt debuted in the October/November 1955 issue of Vogue Pattern Book Magazine, with this description: “The tunic . . . the newest and most sophisticated of the coats. Its straight lines are highlighted by an even narrower skirt.”

This was the only three-quarter length coat in this feature entitled “The most-wanted new coats.”

In 1958, a tapered coat-suit was featured in the October/November VPB Magazine, touting its “three-quarter” coat:

Shown in “boxwood green mohair,” this coat would be quite stylish in 2013.

And in the same issue the smock-jacket certainly caught the eye of many a busy mom, with its alluring description: “”Enjoying suburbia’s natural tranquallizers – grass, trees, sky . . . Triangular smock-jacket in bright blue-orange-green-red plaid. Grey flannel slacks – who could live without them?”

This “smock” coat has a pleat in the back for ease of movement for the busy mom.

Indeed, who could live without such a comfortable, easy-to-wear, fingertip coat? As this style morphed into the “Car Coat”, it quickly became ubiquitous, and for good reason. Here was (and is) a coat, which is a barometer of culture (a term I have borrowed from the little book, 101 Things I Learned in Fashion School, p.32). An excellent definition is given in The Fairchild Dictionary of Fashion, 3^rd Edition, 2010, page 89: “Sport or utility coat made hip- to three-quarter length, which is comfortable for driving a car. First became popular with the station-wagon set in suburbia in 1950s and 1960s [my emphasis] and has become a classic style since then. Some of the styles in which car coats have been made include BENCHWARMER, DUFFEL COAT, RANCH COAT, MACKINAW JACKET, STADIUM COAT, TOGGLE COAT.”

This pattern was for a reversible coat, shown here in poplin and sham lamb. The collar can be turned into a hood. Click on the image to see the details.

By August/September of 1962, VPB Magazine featured a pattern for a Pea Coat, which although not officially a car coat, displayed the same practical length and wearability:

According to Fairchild’s Dictionary, Yves Saint Laurent used the classic U.S. Navy peacoat as inspiration for his variation of it in the 1960s.

And in the next issue of the 1962 VPB Magazine, in a feature called “The Rangy Western Look for Urban and Suburban Dudes,” front and center was this coat “corralled for suburbanites”:

VPB called this coat a “direct steal from the cowboys’s sheepskin original.” (Another wonderful example of a “sheepskin” coat – this one by an English designer – can be seen here, with thanks to my reader, Carol, who led me to the sketch of this fingertip coat.)

Far be it for me to resist such a coat! Last year I succumbed to this pattern on Etsy, which although not dated, is most certainly from the early ‘60s:

This is a good pattern to have in my collection – I just may need it someday!

Back in the 1970s, I purchased this Christian Dior Designer pattern, with intentions of making the “below the knee” version, although a nice variation of a stadium coat is also featured. I still love this coat, in both lengths – and someday I hope to finally make good on my intentions!

The buckles around the sleeves add a great look to this coat.

However, this coat must be my all-time favorite hip-length style:

I will definitely be doing the color blocking version when I make this coat.

Purchased last August, this pattern sometimes keeps me awake at night. With Dior’s words imploring me to be practical, I wonder – – – should I make it in navy and white (as pictured), in black and white, in red and black, in gray and camel, in orange and gray, in ??? and ???

Still to be decided . . . but you haven’t seen the last of this pattern.

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Filed under car coats, Coats, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s, Vogue patterns

Tagged as coats, Etsy vintage patterns, fashion sewing, quotes about fashion, sewing, vintage fashion, vintage Vogue patterns

January 17, 2013 · 10:12 pm

Sewing SMART for 2013

The word “smart” has lots of different meanings. My desktop Webster’s lists 21 different connotations of this short, very effective word. I particularly like two of the ways this word was used when I was growing up in the ‘50s and ‘60s: those would be meanings #5: “neat or trim in appearance, as a person or garment”, and #6: “socially elegant; sophisticated or fashionable: the smart crowd”. With these definitions in mind, I looked for and quickly found some very pertinent examples of these meanings in two Vogue Pattern Book Magazines from 1953 and 1954:

The February/March issue of Vogue Pattern Book Magazine 1954 gives the reader ideas for a “smart look all through the day, now and through spring.”

The VPB magazine from October/November 1953 featured “10 smart, new high fashion Vogue Couturier Designs.”

I love this caption from the same issue: fashions with ” a minimum number of pieces to sew and fit … maximum smartness.”

Well, in thinking about some of my sewing goals and aspirations for 2013, I kept coming back to this word – SMART – and decided it would be very useful to use as a guideline, with each letter of the word reminding me of some of what I hope to accomplish. SO …

S is for SKILLS. This year I am concentrating on learning new ones, practicing and perfecting ones that I have and taking advantage of at least two classes to help me develop my skills as a dressmaker. So far, I am enrolled in Craftsy’s “Sewing with Silks: The Liberty Blouse” on-line course (not started yet), and I will be spending a week in Baltimore with Susan Khalje for The Classic French Jacket Class. Perhaps other classes will wiggle their way into the year as well!

M is for MARKING AND MEASURING my progress and accomplishments, my mistakes (hopefully not too many!), and my plans and intentions. This is, of course, where “Fifty Dresses” comes in. Writing this blog helps me focus more on the process than I would normally – and that’s both instructive and rewarding. So thank you from the bottom of my heart to all of you who follow along, make comments, give me encouragement, and share your sewing insights and ideas through your own blogs or other online presence. Thinking, reading and writing about sewing is almost as much fun as sewing itself.

A is for ART. Sewing is so much more than a “hobby” or a way to build a wardrobe (albeit slowly!). It really is an art form, and the more I sew, the more I realize and appreciate this fact. Some of my creations will no doubt be like simple sketches – quick and easy to make and even easier to throw on for a trip to the grocery store – while one or two others perhaps will rise closer to “masterpiece” level (I can dream) – made with finest fabrics and specialized techniques, intended for special occasions. Good art should be taken seriously and seriously enjoyed, don’t you think?

R is for REALISTIC, as in having realistic goals of what I can and cannot accomplish in a set amount of time. This is the part I have trouble with. I always think I can sew faster than I can. Although I am sure I will always plan more than I can possibly accomplish, I am going to try to set more realistic goals (keeping a separate, working list of intended projects to help me focus) in the context of what I know will be a busy year in other aspects of my life.

T is for TIMELESS. This may be my favorite part of the acronym. Timeless is the look that I am always striving for in the clothing I make. Using vintage patterns for the most part allows me to choose styles that really have stood the test of time – and which often have a restrained classicism to them that suits my sensibility.

Sketches in Vogue Pattern Book Magazine from October/November 1956 show styles which look very au courant, from the clothing to the hair to the shoes and accessories. I’d like to be that lady in red!

How stylish are these looks from the same magazine?

And a box-jacket suit is always in vogue.

It’s fun to see current color and style trends, which harken back to 40, 50, or 60 years ago. Then to make them, using vintage patterns, with newfound construction knowledge, in some of the beautiful fabrics available today, is the best of many worlds. Not only SMART, but lucky, too, in 2013!

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Filed under The Conde Nast Publications, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, Vogue patterns

Tagged as 1950's Vogue patterns, fashion sewing, love of sewing, sewing, vintage fashion, vintage Vogue patterns, women's dress suits

January 11, 2013 · 1:15 pm

Chance of Flurries

I am two weeks (maybe closer to three weeks) behind schedule, but I am undaunted. The last two weeks of 2012 were chock-a-block full of Family, Fun, and Feasting – and then the plague hit our house. Yes, another F-word – the FLU – which apparently was not the type we got the immunizations for…

But this week has found me back in my sewing room, finishing up what was to be my final project for 2012. Flexibility, I have learned, is a great asset to cultivate, so I am trying to be flexible in my plans and take it all in stride. Indeed, I am hoping that I will be striding pretty in newly-sewn pants, which have now joined my wardrobe.

I think I must like pants made out of figured fabric. As soon as I saw this snowflake wool on the website of Waechter’s Fabrics, I knew I wanted to make it up in winter slacks.

This is a jacquard woven wool, but very light-weight and soft.

It was not even a decision to use the same 1960s’ pattern I used for my “very stylish” linen pants last Spring – pants’ patterns that fit are worth using again and again.

I made quite a few alterations to the pattern so that these slacks actually fit me!

I did decide, however, to make these using couture techniques. I underlined them with a very light-weight rayon voile which I have used successfully before. I did not want to add much stiffness to this very soft and flexible wool, so the rayon seemed a better match than silk organza in this instance. I catch-stitched all the seams, and inserted a hand-picked zipper.

The underlined pants, with catch-stitched seams.

Hand-picked zipper.

As luck would have it, the newest issue of Threads Magazine arrived right as I was getting started on this project – and Susan Khalje’s article “Build a Better Waistband” (page 44 – 49) immediately caught my attention. I had already purchased several yards of Petersham ribbon in anticipation of waistbands yet to come, so I was all set. I carefully followed all her detailed instructions and photos:

The newsest issue of Threads Magazine

The Petersham ribbon basted onto the waistline.

I even decided to make a “faced” waistband. I knew that this would help reduce bulk in the waistband, but also it would insure that any “itching” around the waist sometimes caused by wool fabric would be eliminated.

I made the facing out of the lining fabric.

Everything was going along swimmingly until I went to set in the lining for the pants, which I made out of Bemberg rayon. Somehow, the rise from the crotch to the waist was a little short. I don’t know how this happened, but it did, and so I was faced with figuring out how to remedy this situation short of making an entire new lining. Well, I decided to attach the waistband just to the underlined wool, not including the lining. Then I used some careful and tightly-spaced catch-stitching to attach the top of the lining to that waistband seam. (I forgot to take a photo of this, as I was totally absorbed in this “make-do” process.) This worked beautifully, much to my delight. The only further fix I knew I needed to do was finish the inside of the waistband. The waistband facing needed to be a little longer to hide my mistake, so I bound the raw edge with seam binding and used the fell stitch to finish it off. I’m happy with the way it looks:

The seam binding helps to make a clean finish and hides my mistake!

I don’t think anyone would suspect my mistake – except for all of you, of course!

After final stitches to secure the lining to each of the legs, and then lots of steaming and pressing , my snowflake pants were finished!

Here they are, all finished!

A back view.

Kind of a side view.

And a little closer up… I’m happy with the way I was able to align the snowflake “medallions”.

We seem to be in a January thaw right now, so the only forecast for flurries must be – in my control?? Well, I happily guarantee that sightings of snowflakes will definitely happen this Winter!

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Filed under couture construction, hand-sewn zippers, Uncategorized, underlinings, vintage Vogue patterns from the 1960s, Vogue patterns, woolens

Tagged as fashion sewing, sewing, vintage Vogue patterns, waistband construction, woolen pants

Tag Archives: vintage Vogue patterns

Inspiration and Adaptation

In Pursuit of My Very Own Classic Cardigan (aka Chanel) Jacket

The Return of the Ladylike Suit

What Comes First – the Jacket or the Skirt?

Suited for Spring

“The Sweetest of All the Colors…”

Saying YES to a Ladylike Dress

Coats of a Certain Length

Sewing SMART for 2013

Chance of Flurries

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