Swatches

[lizzy-swatches]

Spring

I’ve been staring longingly at my 70′s patterns lately. Like this jumper from 1970.

Corduroy would be great. So would this linen.

Not sure that I’m a micro-mini barelegged person, but we need leggings until June around here. It takes less than two yards of 54″ width, so I can probably add a little to the hem, as well.

Love those patch pockets, though, which complicates the question of adding length. Will it lower the pockets too much, if I add two inches to the hem? Will I have to change the placement so that the pocket is above the hem? Will it work to lengthen the pocket? Will I have enough fabric to make the pockets longer and the hem lower?

Given that I have not finished anything since last year, we may never know!

[lizzy-swatches]

The Designer Patterns

This is the one Galitzine pattern I have. She was a Georgian princess who was exiled to Italy, who popularized the palazzo pyjama and who did six months in prison for tax evasion. I don’t, generally, like her patterns, honestly. But I found the bodice detail and seaming on this one very appealing:

It calls for crepe, synthetics, lightweight wools or linens. I bet it would be nice in a gabardine or twill. Maybe the abyss linen would be a good choice?

But I think it really wants the crepe or the wool. Crepe--I don’t have good feelings toward crepe, possibly because I’ve never used one of any quality. Crepe can be any fiber; it can be woven or knit. Crepe is a texture, which comes from twisting the yarn or from processing the finished fabric. I’ve ordered some swatches but I just have never liked anything I’ve made in crepe.

I don’t think I’ll make the jacket, so I’d need less than the 4 yards of 54″ width fabric called for (the sleeve only lists the fabric requirements jacket and dress combined, although it lists yardage with and without a contrast yoke) but I’m very bad about working out fabric lengths when I deviate from the pattern sleeve.

At any rate, I refuse to buy anything for this. I must have something unspoken for which would be lovely, like this 58″ width “Italian Estate Blue Stretch Polyester Crepe“

or this 62″ width Zinc Stretch Ponte Knit:

I’ve just two yards of this 58″ width Fiery Red Viscose Flannel which might work. It’s light and had more drape that you’d think for something labeled “flannel”. I don’t think I have anything that would make a nice contrast yoke, so I’m not sure I’d have enough.

Of course, it’s all just talk because I haven’t finished anything since October.

[lizzy-swatches]

Double Knit

Double knit is a stable knit fabric. It’s weft knit, meaning a single yarn runs the weft in a continuous loop.Double knit are two fabrics interlocked together. Sometimes they have contrasting sides, but not always. This double knit (which is a magenta, plum, burgundy sort of red) simply has two indistinguishable sides. I’ve had it in the stash for a very long time.

A lot of the Vogue and McCall designer patterns from 1960s and 1970s are made for double knits but I am not fond of double knits--I suppose because I remember those heavy, scratchy poly double knits from the 70′s which were sweaty and stiff. These three all list double knit as a fabric choice.

This green one also lists crepe, synthetics and silks. The double knit I have is not expensive--I might make this dress up with it to figure it out and then look into buying a printed silk. Or I could use one of the Telio rayon twills, which I think are a good stand in for surah (which is a right-handed twill, usually of silk and which I have not seen for sale in any of my usual sources).

This yellow one is also calls for flannels, wools, tweeds, and linen weave silks. I intended to stretch the “silk” to cover a groovy batiste I have, but after reading the pattern, I’m inclined to use a flannel for this dress.

Maybe this one:

I don’t know if I have enough of the black watch to make it work but that would be cute:

The red one also calls for linen, homespun and hopsacking: all of which are coarse weaves, thicker fabric. I think the Kaufman Sevenberry homespun linens might be perfect for this one. Aside from their apparent suitability. I just really love the Kaufman Sevenberry linens.

The designer patterns tend to look pretty simple but they have very complicated construction steps--generally aimed at encasing seams or otherwise smoothing the finishes. They tend to include fussy things like underarm gussets and lots of staystitching, interfacing, underlining. This is the one McCall NY Designer pattern I have which is not suitable for doubleknit:

It calls for silks and cottons and linens and surah. I guess I’ll use the groovy batiste for it:

I may abandon the pocket bows. They’re a very vintage detail, but I try to stay away from “costume” unless there’s a reason I want a costume.

I’m so excited for these patterns. I hope I can find the focus and energy to work on them.

[lizzy-swatches]

Is This The Year

I finally sew my Lumatwills? We went to London immediately following the 2016 electoral disaster. My souvenir was Limatwills.

Plum raver tweed:

British navy raver tweed:

And a blurry shot of them reflecting light:

I have been afraid to cut into them. But I need to get over it.

I plan to make the vest from this 1968 Simplicity from the plum raver tweed.

I had wanted to make this Maudella.

And took a chance on it, even though it’s an unprinted pattern. I tried to make sense of it and just couldn’t.The welts on the Maudella are a false pocket, so they should be easy to replicate without a pattern marking.

The Simplicity has the advantage of cutting the back on the fold, eliminating the need to match the plaid. I did not have a pattern in mind when I bought the fabrics and did not have a yardage requirement. In any event, the plum was end-of-the-bolt. so I bought what there was. The vest takes just under a yard of 45″ width and a yard is less than a meter, so I’m betting I have enough.

I have these two wools which coordinate that I could use for the skirt, but I much prefer the Maudella skirt to the Simplicity one.

So I guess I’ll fuss with the other pattern pieces and see if I can make sense of the skirt, even though I couldn’t make sense of the waistcoat!

I only plan to make one skirt but I can’t decide which color.

[lizzy-swatches]

Lamé

Lamé is the general term for fabric with a metallic effect. I have a shocking amount of lamé yardage, all pale.

I plan to make only the hood and arms from this Very Easy, Very 90′s, Very Vogue.

I think I’ll go with the pink to start. It has a bit of spandex which makes it less stiff than the other choices.

[lizzy-swatches]

Cocktail Dresses

Of the sort people wore to parties at other people’s houses. Or so I’ve been told. This Vogue is from 1967

This metallic pearl ramie might just be perfect. Or mother-of-the-bride-ish. We’ll find out!

Ramie is a natural fiber, from a stinging nettle, that ranges in color from white to cream. It’s a very strong fiber, gaining strength when wet and often compared to linen.The luster is natural and apparently ramie does not dye well. It’s usually blended with other fibers because it tends to be stiff and shows wear where it is repeatedly creased.

Vogue 6744 does not call for ramie--I don’t believe I’ve ever seen seen a pattern that did. But both silk and lamé are suitable. This ramie is adjacent to both.

I don’t know that I have a suitable decorative flower for the shoulder.

[lizzy-swatches]

Paisley

This is a paisley printed over a jacquard weave. I’m inclined to use it for this Vogue (with the sleeve).

The fabric has a bit of stretch. which will help ease the sleeves a bit, but will otherwise be irrelevant given the A-line to the skirt.

I went down a Czech glass button rabbit hole, looking for the right button. I really wanted something to pull the pink/red, but had no luck at the 2 inch size. So i picked up some blues and greens.

I probably should have looked longer for a red button but the blues and greens seemed so shiny! These are all no more than 1/2″ under the 2″ called for in the pattern, but so very pretty. The proportions may be off, but I think they will work.

I also have these coconut buttons which are actually 2 inches:

But they are not as nice with the fabric. And coconut buttons can change color is they soak in water too long (i.e. the laundry) but then the glass buttons might be damaged in the washing machine, anyway! so, it’s wrapping the buttons and handwashing, either choice.

Buttons are measured by a German system (standardized in the 19th century) and the unit of measurement is the “ligne”. 40 ligne (”40L”) equals 1 inch or 25 millimeter. I need an 80 ligne for the Vogue dress, but I’ll probably be fine with a 72L.

I like the Czech butterfly (a 72L) best with the fabric, although they are all pretty.

[lizzy-swatches]

Ensemble

Vogue Special Design 7239; ca. 1967; One-Piece Dress. High-fitted, slightly A-line coat has standing collar and full length sleeves. Pockets in side seams. Slim dress has short sleeves and oval neckline. Button trim

Coat:

Lining:

Dress (the coat fabric is actually carmine red and brown with a gold accent)

And this for a second coat:

I won’t need to make the dress twice--the coffee colored linen is actually better coordinated to both fabrics than it looks on the screen.

[lizzy-swatches]

Do-Over

There was a sale and I bought more of this floral polyester:

It’s soft and fluid (and way more slippery than what I usually sew with) with a beautiful dry hand. I was surprised by it.

I made this Vogue from1969:

I thought I loved it since I have been so happy with the short-sleeved version from 1971:

Turns out, I hated it in the test crepe and in the final polyester. Both went directly to the charity shop.

But I like that floral.

So when it went on super-deep discount (less than $7/yard!), I bought more. This Vogue from 1966, I think, maybe? Although last time I tried to do a Vogue kimono sleeve with gusset, I gave up in frustration.

Perhaps this 1974 Simplicity would be more straightforward.

At any rate, I’ve got 6 things in the sewing room that just need hems, so I refuse to start anything else.

[lizzy-swatches]

Groovy

This is a cotton batiste.

Underlined with a white lawn, i think it would be suitable for this McCall:

In the 1960s, McCall’s had a “New York Designers’ Collection Plus” line with featured designs from some of the best American designers of the time including Claire McCardell, Pauline Trigere, and Geoffrey Beene.  And Mollie Parnis whose designs were associated with First Ladies starting with Mamie Eisenhower and going into the 1970s with Betty Ford. A white silk Mollie Parnis dress, worn by art dealer Judith Heisler in a magazine in 1966, cost $235 dollars (about $1900 today) at Bonwit Teller. This dress, from 1969. would probably be gorgeous in a printed silk, but I’m going with the batiste I have. It could be a nice winter dress, in a wool or flannel. Perhaps this grey:

[lizzy-swatches]

Precious Flannel

I’ve had this aubergine wool flannel for a few years. I bought it after I successfully copied an Eileen Fisher wool dress I have (in a really nice acrylic knit). Then I never felt confident cutting into it.

Now I have this lovely Vogue jumper pattern, which seems perfect for that flannel.

I especially like that low pocket.

[lizzy-swatches]

Grading Up

This fabric has a nice bit of stretch to it, which makes me think I should save it for a slimmer-fit, straighter skirt than the flared dress I intended to use it for.

This Vogue from 1967 and this Simplicity, also from 1967, seem like good choices, but both are at least one size smaller than I need.

The Simplicity would be easier to grade up, I think. Simplicity offers more detail on the pattern sleeve than Vogue does. But the Simplicity is two main pattern pieces:

And the Vogue looks to be four: a front, a back (cut in two) and two side pieces:

While I really dig the pocket on the Simplicity, I like the Vogue overall a bit better.

I’m taking most of this week off from work. Maybe re-sizing these patterns is the appropriately distracting task I need.

[lizzy-swatches]

Gifts

A friend who was clearing her sewing room gave me 4 1/2-5ish yards of this gorgeous wool-like (I’ve never learned the alchemy of burn tests for fabric content) suiting in a generous width.

It certainly would make one of those capes I was thinking of, but I was wondering wouldn’t I get more wear out of this Folkwear pattern:

This is the 1915 Traveling suit, inspired by a Louis Cerlian suit.

I wouldn’t have enough for both the jacket and the jumper, but enough for the jumper alone (a fabric hog). There’s one very detailed review of the jumper on the internet, and a couple two line reviews, which seem fairly typical for reviews of Folkwear patterns (fussy, but the outcome is nice, and it helps if you can just figure things out).

The Folkwear company was founded in the 1970′s by three women who had collected traditional dress in their travels and admired textile arts. They expanded to include vintage American and European styles. And in the 80′s, it partnered with the Metropolitan Museum of Art to issue patterns based off some clothing in their collection. The coveted Claire McCardell wedding ensemble (issued as the Cloister dress by Folkwear) is one pattern which I have, have made, and love. Folkwear was sold around that time and floundered for a while. It lost the rights to the Met patterns, issued some poorly drafted patterns, took a reputation hit.

I’ve only made patterns of theirs which I purchased in the 80′s--with the exception of the Paris Promenade dress. I have the 261 version, which is the new (adapted enough to move it out of copyright) version of the 504 version: the Paris 1920 Afternoon dress, from the Met collection. Most folks who’ve made the 261 version are bitter because the 504 version is, apparently, so much better. I would believe this, just looking at the Met photo and the photos of all the made versions on the internet. But I did not have trouble with the 261 version--aside from choosing a wholly unsuitable fabric. I like the design lines of the 504 better (the flat top, the single hem) but there did not seem to be any issues with the drafting. It’s just a weird pattern.

I don’t find any of that gossip about the Traveling suit. Perhaps it was not as popular when it was a Met pattern? Perhaps the update is better executed? Perhaps it’s just a less weird pattern to begin with? At any rate, I’m tempted.

[lizzy-swatches]

Hoodies

I’ll likely go with either of the Vogues. I really love the hood on the illustration for 7658--it’s so shapely and perfectly draped. I’ll have to compare the actual pattern pieces to see how different the hoods on the two Vogues actually are.

The 7658 is a late 60′s “slim-fitting” dress, which are usually a little snug across the butt for me, but the 8094 is from 1971 and is “loose-fitting” and A-line and far more likely to fit me through the hips without alteration.

However, the 8094 zips up the back, running into the hood:

Where the 7658 zips up the front. Otherwise, they have the same darts in the shoulders, but 7658 is much straighter through the waist and hip, making the 8094 a better choice, even given the generous stretch in the fabric.

I can probably combine the two and draft the skirt from 1971 onto the dress from the late 60′s.

[lizzy-swatches]

Batiste

Batiste is a very fine plain weave fabric, originally of very fine linen threads, balanced across the warp and weft in weight and threads per inch. It’s sheer and billowy and now made in cotton, silk, synthetics as well as linen.

This is a cotton batiste. It is dreamy and delicate.

I have five and a half yards in 53″ width and no plan.

This Simplicity from 1971 is very 70s but I bet it would be lovely. Maybe the short version with the long sleeve.

Vogue has the best pattern sleeves.

DINAH SHORE’S CAFTAN! (But it’s unprinted, so I may never feel up to it).

My first attempt to toile this Simplicity went poorly, but it was a long time ago and I probably made a mistake.

This is so cute.

I don’t think I’d use the batiste for this--even though I will underline it--because the pattern sample shows the risks of a really delicate fabric. It’s a great pattern though.

[lizzy-swatches]

Pattern Sleeve

I have this pattern for about five years. I made a toile right away and then never made the dress.

I thought I’d use this rayon challis--which I’ve had at least as long, but never did.

Now I’ve got this viscose and I’ve added it to the queue.

I don’t know that the shape or the fabric really suit me. Or are me. But I think it will look nice together. Perhaps with a self-belt? It’s certainly easy to make and simple to wear. I like that in clothes.

[lizzy-swatches]

Pink

The color match is a little better in person, but only a little. I had planned to use the voile as an underlining, as the linen blend is sheer and the voile is light enough to not affect the drape too much.

I have not picked a pattern, so I can make a final decision then.

I have two yards (it’s 59″) and honestly, it’s suitable for nearly every vintage pattern in the house.

My first thought was this Simplicity from some time in the 1960s:

There’s no pattern for the belt included (which means I don’t have enough yardage for a self-belt, most likely), but it looks like it needs the belt. I imagine it won’t fit me through the hips without grading and that may be more than I want right now.

It’s enough for this Vogue (dress only) which also has interesting seaming:

But the options are numerous:

I don’t think I could squeak out the sleeve for this one.

It’s a really beautiful fabric.