Tag Archives: vintage Vogue patterns

November 3, 2015 · 7:38 pm

Sweet November

The trickery, which defined my October sewing, finally floated away with the leaves and the goblins, leaving sweet November with her welcome reward, a new dress for Autumn and Winter.

So what made vintage Vogue 1395 such a tricky dress to make? I documented my efforts to get a workable muslin (toile) in a post from early October. Once I had my adjusted muslin pattern, I transferred it onto black silk organza to use as my cutting guide. It was then I realized that, because the design on the fabric, a silk and wool blend, was printed on it, not woven into it, I needed to work from the right side of the fabric in order to match the horizontal “lines.” This meant that I had to flip every piece that I cut out and then exchange the organza with its opposing side. (I hope this makes sense.) It added a bit of uncertainty to the process and I was fanatical with flipping and checking to make sure I kept the design in line. Something told me I should delay cutting out the sleeves until I had the body of the dress together – my sewing godmother at work, I guess – and I am glad I did, as I’ll detail in a bit.

I had made the decision at the beginning of the project to cover the dress’s two buttons in the plain gray “wrong” side of the fabric. But once I “semi-made” a covered button, and tried it out, it was DULL. It added nothing to the dress. I went to my button box and all I could find was a small gray pearl that was close in color. But I loved the iridescence of it and determined that gray pearl buttons were what I needed. I seem to have such good luck with buttons from Britex – even though I am ordering online – and found 1” gray pearl buttons with a rhinestone in their centers. Although I am not a rhinestone-y type of person, something about them spoke to me. I remembered what Susan Khalje said in one of the classes I have taken with her – that couture often has a bit of “whimsy” to it. Well, I ordered those buttons as as fast as I could! I think they are just what was needed!

I had also made the decision to make the “dickey” part of the dress out of the side of the fabric with the printed design – so that the horizontal line would be uninterrupted across the bodice. Here is what it looked like once I had it done:

There was not enough definition between the dress and dickey to make it interesting.

I cut some scraps to see what it would look like with a play gray insert – and it was so much better!

So – I took the dickey all apart and flipped it over so it would be out of the plain gray “wrong side.” By now I was enjoying the versatility of this fabric (which I bought online from Mendel Goldberg Fabrics) and appreciating the serendipity of having this fabric for this pattern, giving me options.

However, the fabric posed another challenge when I got to the point of finishing the front opening in the bodice. This fabric frays enough that I was not comfortable following the directions given in the pattern instructions:

The instructions directed me to just turn back the seam allowance, but because of the ravel-ly nature of the fabric, I was certain it would pull out with wear.

Instead, I opted to make a “facing” for the opening out of black organza. It is situations like this that make me feel so fortunate to have enough “sewing sense” to be able to recognize potential difficulties and then have the ability to work out creative solutions to them.

Silk organza pinned in place.

And here it is sewn in place.

I took some pictures at this point to show the inside of the body of the dress:

Yes, those are pockets hanging on the front.

This shows those darts with their slanted orientation.

This shows those bust darts with their slanted orientation.

The zipper is inserted by hand, as usual! Once I had it basted in place, I tried the dress on for fit and determined I had to take it in a bit at the waistline.

Then I tackled the sleeves. I had quite a time determining how to place the sleeve patterns on the remaining fabric. Some of those horizontal lines of “paintbrush strokes” change color across the fabric! And my adapted sleeve pattern has two elbow darts, which changed the horizontal line. I had to make a decision about where I wanted the best match to be, as I determined I could not match it across and up and down as I would normally want to do. I opted for a match across the shoulders – and I now believe that was the best decision.

I also added a soft “cigarette” sleeve heading to each shoulder seam.

Next to the lining – and bless those vintage Vogue patterns – the lining for this dress included separate and distinct pattern pieces. I made the sizing and dart changes to the lining (in keeping with the dress) and it went together effortlessly. When I got to the point of inserting the lining by hand, I just could not resist adding silk piping to the inside neck edge. I know I am the only one who will ever see it, but it makes me happy!

I used a bias strip of lightweight silk for the piping.

How wonderful to have this dress completed!

The buttons really show in this picture.

There was one more aspect of serendipity to this project. Those of you who follow my blog know that part of my fascination with vintage Vogue patterns is making connections between the past and the present. I love to “place” a pattern in its correct year – and then wonder in amazement at how classic fashions are so enduring. It was my great good fortune to have this Vogue Pattern Fashion News from November 1964 in my collection of vintage fashion magazines:

Inside on page 3 is, yes, my dress!

Just imagine – 51 years ago this month, this dress made its debut. Happy Sweet November Everyone!

38 Comments

Filed under Buttons - choosing the right ones, couture construction, Day dresses, hand-sewn zippers, Love of sewing, Mid-Century style, Uncategorized, underlinings, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, woolens

Tagged as Britex Fabrics, Choosing buttons, couture construction, Day dresses, fashion sewing, love of sewing, Mendel Goldberg Fabrics, vintage fashion, vintage Vogue patterns

October 4, 2015 · 9:49 pm

Scrap

This particular word seems to sum up my experience – so far – with my new project of the month. I have had to “scrap” three complete muslins – as in “throw away” and “discard.” I rather like one of the other definitions for this particular word to sum up my past week of sewing – “a fight or quarrel.” Yes, it’s been a battle, but I believe I am winning! It all started with this fabric – a soft, lovely, light-weight wool and silk blend – from Mendel Goldberg Fabrics.

Here it is draped over my dress form.

Although I knew I wanted to make a dress with a slim profile – to minimize the fabric’s horizontal design – it took me a while to find the right pattern. I started with one that had curved lines in its bodice and “scraped” that idea after my muslin (toile) revealed many fitting issues. I took that as a sign that the pattern wasn’t the best one to use anyway (which I suspected all along. It’s really important to listen to one’s intuition in things like this!) After another search in my pattern collection, I settled on this dress.

However, I want below-elbow length sleeves so I did a little sketch to try out the look:

After finding a sleeve pattern from another dress which sports two elbow darts, I figured I was in business. Ah, the battle was just beginning. The first muslin I made revealed bust darts that were two inches (two!!) too high. And although I wanted a slim profile, I do have to be able to move in the dress! I figured I needed to add two inches in total width from the lower armscye down. Here is a diagram of the pattern pieces. The angle of the bust darts is vital to the fit of the dress so I could not just pivot the apex of the bust. I had to reposition the entire dart, which was getting it awfully close to the pocket.

Making changes in that first muslin was just a study in frustration, so I scraped it and made a new one. My second one was better, but still had some kinks in it. The armscye seemed to be off kilter, the reason for which I could not figure out. I’m telling you these are the things that keep me up at night. At this point I went to JoAnn’s and bought more muslin. I was determined to win this fight! A whole new muslin and finally I had one that fit. I was even happy with my mish-mash sleeve (after making a few minor adjustments.)

I have now progressed to the silk-organza underlining stage of construction. Matching the horizontal design of the fabric across the various components of the pattern will take concentration, but that’s a task that always intrigues me.

A decision about those two buttons, such an important focal point of the dress, is still to be made. The wrong side of the fabric is plain gray, so I might end up using that side for covered buttons. Suggestions, anyone??

Other than these challenges, I am feeling fairly confident that my next post will not have to be entitled “Scrap – Continued.”

20 Comments

Filed under Buttons - choosing the right ones, Uncategorized, underlinings, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, woolens

Tagged as Choosing buttons, fashion sewing, Mendel Goldberg Fabrics, vintage fashion, vintage Vogue patterns

September 26, 2015 · 6:38 pm

A Fitting Finish to Summer Sewing

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

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

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

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

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

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

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

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

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

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

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

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

And here is the facing side, finished.

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

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

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

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

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

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

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

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

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

Now all I need are lavender pumps…

43 Comments

Filed under bound buttonholes, Buttons - choosing the right ones, Coats, couture construction, kimono sleeves, Linen, Love of sewing, Moygashel linen, Uncategorized, Vintage fabric, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

Tagged as Britex Fabrics, Choosing buttons, couture construction, Emma One Sock Fabrics, Etsy vintage patterns, fashion sewing, Kimono sleeves, love of sewing, Madame Gres designs, Moygashel linen, vintage Vogue patterns

September 7, 2015 · 10:06 pm

Oh, The Things We Can Learn!

When is a pattern envelope not just a place to keep a tissue pattern? When it is a mini lesson in sewing, style, history, elegance, and story-telling. Of course, I am thinking primarily of vintage pattern envelopes – and because I primarily sew from Vogue patterns, those are the focus of my thoughts.

I am also limiting my short exploration of these topics to the course of about ten years, from approximately 1956 until 1966. Most of the pattern art from this time period was in illustration form rather than photography. There were exceptions, such as this classic polka-dotted dress and coat ensemble from 1959:

The reverse of this envelope has very precise sketches of the fronts and backs of the dress and coat. This is one of the few envelopes from this period – 1958 – that I have seen that features photography rather than illustration art.

It was up to the fashion illustrators and artists to represent the pattern accurately. Darts, seams, buttons, belts, pockets, etc. all had to be clearly indicated in the illustrations on the fronts of the envelopes and in the thumbnail sketches on the back of the envelopes. Home dressmakers wanted to know these things about a pattern before purchasing it – we still do! Here is a great example of the clarity of these pattern illustrations in regard to these items:

The darts, seams, and buttons are clearly delineated in this artwork.

The back of this pattern also gives lots of additional sewing information. The thumbnail sketches clearly show that there is no back zipper. Among the details listed is a 12” zipper. That can only mean that a side zipper is used – which makes sense as it is paired with the front-buttoned bodice.

Further scrutiny of the pattern layout shows a gusset, obviously for use under the arm. If you, as a dressmaker, were uncomfortable with putting in a gusset, then maybe you would want to avoid this particular pattern!

It is such an advantage to be able to see the shapes of the pattern pieces in these layouts.

It was also up to the fashion illustrator to make the pattern look relevant to one’s life. Different views were often shown in varying colors, widening the visual appeal. They were also shown in dressier or more casual renditions, making the pattern attractive to different lifestyles and age groups. These two patterns clearly show this endeavor:

The inclusion of accessories in the pattern illustration from this time period shows just how much Vogue and other pattern companies were selling a complete look. They were saying “Start with this pattern, add gloves, a bangle bracelet or two, sunglasses or a hat, maybe a scarf, earrings, high heels, and a handbag, and you, too, can walk out looking like a million dollars!” The great desire in looking well-dressed and chic during this time period is so beautifully reflected in these pattern envelopes.

Gloves, gloves and more gloves! And look at those glasses!

Gloves, gloves and hats and scarves… And look at those glasses!

This has got to be one of my favorite examples of pattern art: the model in white holding the scarf so casually, the stylish shoes, and the large clutch handbag on the model on the left – lovely and evocative!

One way of dating pattern envelopes is by looking at the hairstyles of the illustrated “models.” After about 1960, Vogue stopped including the copyright date on their envelopes. But it’s fairly clear by the bouffant and flipped hairstyles on the pattern on the left that we are looking at one from the early to mid-‘60s. The one on the right is a few years later, based on the hairstyles alone.

Note, too, how the Vogue masthead changed during this short time period.

Finally, I am delightfully intrigued by the almost universal depiction of “elegance” on the pattern envelopes from this period. From the leopard print hat and lined cape on this suit from 1959:

to this reversible car coat from the early ‘60s:

The model in the red version of the coat strikes a chic and elegant pose with her hair tucked under a scarf, her arms casually folded, and with her stylish handbag...

The model in the red version of the coat strikes a chic and elegant pose with her hair tucked under a scarf, her arms casually folded, her stylish handbag looped over one arm …

to this cocktail dress and coat ensemble from the mid ‘60s:

the message seemed to be: “These beautiful clothes which you can create are ladylike and elegant (even the casual ones), and you will be, too, when you wear them!” Perhaps Virginia Woolf said it best: “There is much to support the view that it is clothes that wear us and not we them; we may make them take the mould of arm or breast, but they would mould our hearts, our brains, our tongues to their liking.”

And therein lies the intrigue of it all. The story, which begins on the outside of the pattern envelope by way of the artist’s hand, becomes our own to finish when we are creators of our own clothing. How much fun is that?

26 Comments

Filed under Mid-Century style, Pattern Art, The Conde Nast Publications, Uncategorized, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s

Tagged as fashion sewing, love of sewing, Pattern art, quotes about fashion, vintage Vogue patterns

August 23, 2015 · 6:18 pm

Saddle Up!

Western style (as in American cowgirl and cowboy) is not something that regularly occupies my mind – until I see something that is quintessentially Western fashion, and then it grabs my attention. I have often wondered if the styling on the pattern envelope for my color-blocked coat, featuring the model in a Western-style cowboy-inspired hat, may have been added to my great predilection for this coat!

Because I knew I was going to be spending a good bit of my 2015 Summer in Wyoming (in the American West), I thought it might be fun to see if I could find Vogue patterns (or anything else) featured in any of my vintage Vogue Pattern Book Magazines, that were clearly Western style. Well, there is no doubt about the Western theme of this decorator fabric pictured in an ad in the February/March issue of VPB Magazine:

What little cowboy – or cowgirl – in 1958 would not love curtains made of this fabric?

And what could be more Western than cowboy and cowgirl shirts? The July/August 1974 issue of VPB Magazine clearly met my challenge:

Somehow, however, I just can’t see myself making a cowgirl shirt. Out here in Wyoming, it would look like it belongs. Wearing something like this at home in Pennsylvania might get heads turning for the wrong reason. So my search continued for something else that evoked the West without screaming it. Who would have ever thought I was going to find it in the same Vogue Pattern Book Magazine that featured Diane von Furstenberg on its cover?

Sure enough, this September/October 1976 issue featured a coat constructed out of an American-made blanket. (Anyone who reads my blog will perhaps remember the jumper I made from an Irish blanket last year. When one can’t find yardgoods, buy a blanket and see what happens!)

Accompanying the picture in the magazine were these instructions for making a “blanket coat” using Vogue pattern 9329:

Vogue pattern 9329

Forty years later the same thing is being done with Pendleton blankets. I never miss the opportunity to look at the handsome Western and Native American-inspired Pendleton blankets in the Pendleton Store in Jackson, Wyoming. Hanging on one of the clothing racks in the store was this custom-made coat:

This particular coat was made for a very large lady, which just goes to show that a twin size blanket is sufficient for all sizes of coats.

The back of the coat.

Made, as stated above, from a twin-size blanket, the coat can be made in long, medium or short lengths, with hood or without hood, with pockets or without them – and it is reversible, too. Customers in the store pick out the blanket they like, measurements are taken: both are sent off to a coat-maker, with whom the store has a relationship, and returned about 6 weeks later. The construction is very much the same as what is detailed in the instructions above; however, the coat-maker removes the narrow wool binding from the blanket before cutting into it. Then she uses that binding for all the edges of the coat.

The lovely staff in the Pendleton store pulled out this blanket to tempt me:

The grey, white and periwinkle blue colorway would definitely compliment me, I think.

So far, however, I have resisted the urge to make a blanket coat, although it might be a fun project with just the right blanket – sometime. But for now I am saddling up to head East, home to beloved Pennsylvania, back to animals and pets I love, back to my by-now-overgrown gardens, and back to my snug little sewing machine who must be wondering where I have been!

9 Comments

Filed under Coats, Uncategorized, vintage Vogue patterns from the 1970s, woolens

Tagged as blankets, Blouses, coats, Cowgirl/cowboy shirts, fashion sewing, Pendleton wool, vintage fashion, vintage Vogue patterns

July 18, 2015 · 11:32 am

The Domino Effect

Being totally smitten with this bold floral linen, purchased within the past year, I have had my heart set on making it into a day dress this Summer.

Big, bright daisies with lavender centers.

Not long after I purchased it, this small article on “Signs of Spring 2015 On New York Runways” appeared in the September 10, 2014 Wall Street Journal.

"Memorable moments included bold floral daytime dresses from Carolina Herrara..."

“Memorable moments included bold floral daytime dresses from Carolina Herrera…”

And then in November of 2014, more of Carolina Herrera’s Spring/Resort collection for 2015 was featured in Town & Country magazine.

Perennial daises on two lovely Carolina Herrera dresses.

It seems this vintage Moygashel linen from the late 1960s, with its bold daisy design is very much in vogue currently, both for its size and its floral motif. (The bodice of my recent fancy dress also featured a “daisy” motif in the silk embroidered organza):

Although I am of the mind that daisies are always in vogue, nevertheless, this seems like the perfect year to fashion a dress from this linen. Such a demonstrative print begs for a simply-styled dress, such as – you guessed it – a sheath dress. The fabric will make this dress, not the pattern. How could I, I wondered, do something a little different and still keep it simple? The answer to that question began to take shape when I found a length of pale lavender Moygashel linen this past Spring. Suddenly I envisioned a V-back to a sheath dress with a rounded neck, detailed with piping made from this lavender linen.

Then it began to get complicated. With just a few inches over 3 yards of the 35” wide lavender fabric, I knew I would have to calculate carefully when I cut bias strips for the piping, if I wanted to fashion another garment out of the lavender. And of course, I do! Actually, when I looked at the lavender fabric, and paired it with any number of my other fabrics and/or dresses, it seemed the only thing to use it for was a “Spring” coat. But would I have enough fabric for both a coat and bias strips for piping?

Obviously, I would have to find a coat pattern and lay it out leaving enough space for bias strips, to see if I could manage this minor miracle. Of all my coat patterns, this Madame Gres design is the one I decided had the best chance of working, both for my limited yardage and for the pattern’s simple, uncluttered lines:

The short version of the coat is on the left.

The fact that it is featured with below elbow length sleeves and in a shorter version – perfect for pairing with coordinating dresses – worked in my favor. The entire coat has only 5 pattern pieces: front, back, collar, undercollar, and front facing. First I positioned the tissue pattern pieces on my fabric, strewn out on the floor selvedge to selvedge. I was heartened enough by this exercise to go ahead and make a muslin, so I could have a “real” pattern to work from. All this time, the pink flowered daisy linen lay folded, awaiting her turn.

One of the most unusual features of the coat design is the front dart, which serves both as a bust dart and as a side-shaping dart. As is so often the case with these vintage patterns, the dart sewn as indicated on the pattern was too high for me. In addition, it pulled and stretched the kimono shoulder in all the wrong ways. I lowered the apex of the dart and re-sewed it, trying to preserve its curve, and suddenly it fit like a charm.

The newly drawn dart is in orange, while its original position is in red.

Now that I had a workable pattern, I knew I could just eke out the coat if I “pieced” the left front facing. I could live with that! And, just as important, I would have enough of the fabric to cut bias strips for piping for my daisy sheath. Whew!

This see-through ruler helped me find a corner from which to cut the bias strips for the piping.

So now, the pieces for the coat, with their silk organza underlinings pinned in place, are taking their turn waiting for further attention. One project started another and now both are lined up like a circle of dominoes, ready to go down in an orderly fashion, albeit in slo-o-o-w motion.

13 Comments

Filed under kimono sleeves, Linen, Moygashel linen, piping, Uncategorized, Vintage fabric, vintage Vogue Designer patterns

Tagged as coats, fashion sewing, Kimono sleeves, Moygashel linen, sheath dress, vintage Vogue patterns, Wall Street Journal Fashion coverage

June 26, 2015 · 1:57 pm

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.

When 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.

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:

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.

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

Then I lined it with silk crepe de chine.

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.

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

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:

And here is the dress on my dress form:

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!

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

40 Comments

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

Tagged as Britex Fabrics, Cocktail Dresses, couture construction, fashion sewing, quotes about fashion, silk, Susan Khalje Couture, vintage fashion, vintage Vogue patterns

May 17, 2015 · 10:25 pm

An Easy, Breezy Dress

On a recent windy day, I was thinking about Christina Rossetti’s poem “Who Has Seen the Wind?”

Who has seen the wind?

Neither I nor you;

But when the leaves hang trembling

The wind is passing thro’.

I did not remember it verbatim, coming up with this instead:

Who has seen the wind?

Neither you nor I;

But when the leaves go to and fro

The wind is passing by.

Either version seems to fit my new Diane von Furstenberg wrap dress – it reminds me of a breezy Spring day:

The pattern itself is shown here in diagram form, for those of you who have never seen, nor sewn with, a DvF Vogue pattern. As you can see, there are minimal pieces.

I don’t believe you get the sense of how long the ties are from this diagram. Each tie is 50” long, giving the wearer plenty of length to go around her waist, doubling up for part of the front, and still have enough to make a bow or loop with long ends.

I made two minor changes to the pattern from my first version of this dress three years ago: I cut the shoulders in about an inch, which I think is a more pleasing and up-to-date look. I also added ¾” to the bodice in length. For some reason, I find that wrap dresses tend to be either short-waisted or they do not allow for the fact that the ties are going around the waist twice, pulling up the skirt a small amount. Whatever the reason, the extra ¾” seems to fix the problem. I also decided to try finishing the interior seams with Hug Snug rayon binding – and it worked beautifully. I love the clean, neat finish on these seams, and the soft tape helps to keep the seams from curling in.

It was fun and rewarding to sew with genuine DvF fabric from the mid-1970s. Although I have never been a fan of sewing with knits, this knit was lovely to work on. It sewed like a woven fabric, but cooperated in easing just like a knit should. Very well behaved! I found this quote from Diane von Furstenberg especially apropos: “ Fabrics are key, since they’re like a second skin, and should always be soft to the touch and breatheable. Colors should be beautiful and harmonious, and silhouettes simple, allowing the body to move freely…” (The St. James Fashion Encyclopedia: A Survey of Style from 1945 to the Present, by Richard Martin, Visible Ink Press, Detroit, MI, c1997, page 403)

I might need to put a snap at the top of the under skirt panel to hold it even with the hem…

I made one last addition to this project: a simple hand-inked label to indicate when this dress was made, sewn onto one of the pocket selvedges. With vintage fabric and made from a vintage pattern, this dress could be mistakenly attributed to having been made in 1976. This label will help to insure that that never happens.

Every Spring deserves one easy dress, but now it is time to move on to something a little less breezy, and a little more complicated. What will that be?

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Filed under Diane von Furstenberg Vogue patterns, Vintage fabric, Wrap dresses

Tagged as Cohama Diane von Furstenberg fabric, Diane von Furstenberg, fashion sewing, vintage Vogue designer patterns, vintage Vogue patterns, wrap dresses

April 26, 2015 · 10:16 pm

My Suit Dress Fully Evolved – Finally! – Part 5

Can it really be that May will arrive in a few days? If that is true, then I am only about 2 months behind in my sewing schedule. But who’s keeping track? I’m happy that I have plowed through to finish my wool suit dress, even though it will immediately go into my cedar closet for safe storage until next Fall.

When I fell off the edge of the world after Part 4 (only figuratively, thank goodness!), I was starting on the sheath dress. I had decided to add a collar to it, so that I could use that fourth vintage button (I had already used three on the jacket itself). Matching the windowpane plaid on the collar section took some special attention, as this photo shows:

I underlined the collar with the lining fabric, and I made a working bound buttonhole instead of just sewing the button in place. Anything to make it more involved, right?

Detail of the button on the collar.

Lining the collar with silk charmeuse reduced bulk and helps it lay flat.

From that point on, it was a straightforward sheath dress. I love a sheath dress. I think it is such a flattering silhouette, and very feminine. As far as I am concerned, one can never have too many sheath dresses (just as one can never have too many shoes). Speaking of shoes, I decided this outfit needed complementary shoes! What do you think?

I wear a lot of red and blue, so I expect these shoes to serve me well!

It turns out that even a simple sheath can take a lot of time to make when one is using couture techniques: underlining of silk organza; interior seams catch-stitched; hand-picked zipper; instead of facings, neck and armholes finished with lining-abutted edges, then pick-stitched for stability. The silk charmeuse lining in the dress matches the jacket lining and is an extravagance, I will admit. But it feels heavenly, and adds a fluidity to the dress which is a good match for the butter-soft cashmere wool fashion fabric.

Shown with the jacket unbuttoned.

A close-up look…

… and another one.

And a partial back view.

I am happy I added the collar to the dress, as that extra detail seems to help the dress stand on its own if/when I take the jacket off. Framing the face is always a good fashion decision, and I think the collar helps in that regard.

Just the dress!

So happy this is finished!

I consider finishing this outfit a major accomplishment! So what’s next? Something easy or something more complex? Those questions to be answered soon, with this caveat: it will most definitely be something for Spring/Summer!

Details:

Navy blue Cashmere fashion fabric: Britex Fabrics, San Francisco, CA

Silk charmeuse lining fabric: Britex Fabrics

Buttons: vintage Ultra Kraft, ca. 1950s

Shoes: Ferragamo

Patterns: Jacket: vintage Jo Mattli Vogue Designer pattern; Dress: vintage Vogue blouse pattern combined with new Butterick dress pattern

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Filed under Buttons - choosing the right ones, couture construction, Dressmaker suits, Shoes to make an outfit complete, Suit dresses, vintage buttons, vintage Vogue Designer patterns, vintage Vogue patterns from the 1970s, woolens

Tagged as Britex Fabrics, couture construction, fashion sewing, Jo Mattli Vogue pattern, sewing, sheath dress, vintage Vogue patterns, women's dress suits

March 26, 2015 · 1:16 pm

The Evolution of a Suit Dress, Part 4: An Appreciation of Jo Mattli, and Dress-making Days Commence

The New Vogue Sewing Book published in 1963 contained a “Couturier Supplement”. According to the Foreword in this magazine-styled book, “Only Vogue Patterns can bring you original designs from the Paris and International Couture houses, because of an exclusive arrangement with world famous designers.” One of the 17 designers featured in the supplement was Jo Mattli.

Jo Mattli is second from the left on the top row. Click on the photo to see the image up close.

A quick look at the two-page spread on these designers shows a veritable who’s who of fashion design, with names very much still known today. Except for perhaps Jo Mattli. (Mattli was born Giuseppe Gustavo Mattli in 1907 in Locarno, Swirtzerland; he died in 1982 in England). He is absent from The St. James Fashion Encyclopedia, even though he was considered one of the “big ten” London couturiers in 1953, when London Society was busy readying for the coronation of Queen Elizabeth II. Perhaps it was his move into ready-to-wear in 1955 that relegated him to lesser status among the world’s great couturiers. This did not keep Vogue Patterns from recognizing his wide appeal to stylish women who appreciated his attention to fine detailing, and his expertise in creating practical, wearable and charming dresses and suits. As one of Vogue’s featured designers in their Vogue Couturier Design-labeled series, Jo Mattli made his mark. Indeed, even he recognized the value of being part of Vogue Patterns, saying “the royalties from these patterns had helped support his couture business” (from Wikipedia, the free encyclopedia).

The jacket I just completed (part one of a two-part jacket and dress ensemble) is the third Jo Mattli Vogue design I have sewn. Two years ago I made a suit from this pattern:

I would like to make this pattern again. The first time I made it, the fabric I chose was too heavy, but the fit and the styling were excellent.

Late last summer I made a cocktail dress from this pattern:

I still have plans to make the coat, to coordinate with the cocktail dress.

And now with three “makes” under my belt, my appreciation for Mattli’s design and construction sense is growing. Not only that, I realized after going through my pattern collection, that I have two more Mattli patterns, each of which also displays his characteristic and interesting seam detailing.

This is actually a one-piece dress, although it looks like it is a two-piece outfit.

Another beautiful suit!

While the Mattli-designed jacket in my suit dress ensemble is certainly the star of the outfit, I am hoping the dress will have its own charms. After being out of town and away from my sewing all last week, I have now been able to turn my attention to the dress part of the outfit. I believe I have successfully combined two patterns (sheath dress and collared blouse) to create – what else? – a collared sheath!

I was still adjusting the fit when I took this photo. Hopefully it will not look like a bag when I actually wear it!

After I had the muslin fitted and completed, I got the idea to make the end of the tab on the collar rounded, to mimic the curves on the jacket’s sleeves and on the jacket’s lower front edges. I also had to take significant width out of the collar. I am hoping it will work and look good…

This shows the curved detail on the edge of the sleeve.

This shows not only the added curve to the collar end, but also how much width I had to remove from the collar pattern

This shows not only the added curve to the left collar end, but also how much width I had to remove from the collar pattern.

And here is the right collar section.

I hope that Jo Mattli would approve of a dress being paired with his jacket. He would probably refer to it as a “slimline afternoon dress” were he alive. I have no doubt he created many such beautiful dresses in his lifetime.

[NOTE: Jo Mattli is the subject of a thesis by Dr. Caroline Ness entitled Famous, Forgotten, Found: rediscovering the career of London couture fashion designer Giuseppe (Jo) Mattli, 1934-1980.]

10 Comments

Filed under Cocktail dresses, Dressmaker suits, Jo Mattli, Suit dresses, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

Tagged as fashion sewing, Jo Mattli Vogue pattern, sheath dress, vintage fashion, vintage Vogue patterns, women's dress suits

Tag Archives: vintage Vogue patterns

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My Suit Dress Fully Evolved – Finally! – Part 5

The Evolution of a Suit Dress, Part 4: An Appreciation of Jo Mattli, and Dress-making Days Commence

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