Coat of Charms

Jacqueline Kennedy wore this coat to her husband's inauguration ceremony on January 20, 1961. The coat was created in wool melton by Oleg Cassini. The coat was accessorized with a sable muff (to match the collar) to ensure that Jackie was warm enough on the cold January day.

Since I loved the lines and the colour of this coat, it was a no-brainer to include a garment inspired by it. As extra incentive, I was in need of a formal coat for layering over evening wear during the cooler weather months.

So, I was hoping to find a coat pattern that had similar lines. I searched eBay and several vintage pattern sites and came up empty. Then one day as I was flipping through my vintage patterns, I came across Vogue 5630. Sometimes exactly what you want really is right beneath your nose! Although there is no copyright date on the pattern, one quick glance at the drawing of the largest woman on the envelope front suggests that this pattern was meant to be a JK coat knockoff. The major style lines are the same and she is even holding a fur muff.

I debated about using this pattern to create a line for line replica of the JK coat, but in the end decided against it. I chose to use the pattern's more subtle pockets, rather than the large patch pockets - I try not to focus attention on my hip region. Also, I went with full length sleeves, rather than the 3/4 sleeves on the JK coat. I am not likely to wear long gloves and I want to stay warm, so longer sleeves it was! In the end, I used view A for the body and view C for the sleeves.

I made my coat of sand wool crepe, purchased from Fabric Mart during their wool blow-out a while back. The entire coat is interlined in a thick cotton flannel, to provide warmth and stability. The coat is lined in a stretch polyester charmeuse in a gorgeous copper colour.

Although the coat is classic and simple, there are a few features that set it apart. The front of the coat is topstitched along the princess seams, in which in-seam pockets are included (photo to the left). The closures in front consists of four bound buttonholes and four large self fabric covered buttons (photo to the right), which are backed by smaller buttons on the inside to make them more stable. The hems and lining were completed entirely by hand to keep the front clean and stitch free.

I can honestly say that I adore this coat. It is certainly one of my favourite pieces that I made for this year's SWAP, maybe one of my favourite pieces ever. I knew I was smitten as I was sewing it and the moment it was finished and I put it on, it was love! As I have mentioned before, I prefer a garment that has a certain weight to it - it just makes the entire piece feel luxurious.

Without further ado, here are a few shots of my coat, worn over some of my other SWAP garments:



















Over the next few days, I plan on showing you a few more pictures showing several combinations that can be made using my SWAP garments. So, stay tuned...

Paterson Pattern - Part 2

In the last post, I showed you the Vogue 1050 skirt. The top that is included in this pattern has a very interesting sleeve and bodice treatment. Take a look at the envelope pictures below. In the front, the sleeve is cut in one with the bodice. In the back and under the arm, a separate sleeve piece is set in. In terms of the bodice, the back bodice pieces wrap from the back, under the arm and to the front. The back has a centred zipper, which allows the wearer to get in and out of the blouse.











A look at the section of the instructions describing the construction of the sleeve and bodice is worth a gander.

The bodice is quite comfortable due to this unique construction - it fits fairly close to the body in front, but hangs longer and blouses out in the back. The bodice is also shorter in the front, which is good as the skirt has gathers along the waistband in front, so there is no top volume where there is already skirt volume. This is a very well thought out design.

The top, like the skirt was constructed with a sand coloured silk charmeuse underlining. The underlining gives the top just enough extra oomph to make it feel solid and not flimsy. I find that well made garments tend to have a certain weight to them that sets them apart from cheap RTW trash. I truly believe that the success of a garment starts with the inside - the underlining and the interfacing provides a foundation from which the garment hangs and it is this foundation which can make or break a piece.

Here is a picture of me wearing both the skirt and the top. As you can see, I'm channeling my inner Jackie Kennedy with the pearls and the sunglasses. All I need is a pillbox hat and a luncheon to attend!

When I'm wearing this outfit, I feel so proper and lady-like. A while back, in a fashion magazine, they were touting the return of structured dressing. Man, I hope it's true! I love this tailored, put-together, classic look. I just hope it doesn't make me look like an old fuddy-duddy!

Last, but not least, Carolyn, I'm there for ya, baby! I am almost done the composite photo showing all eleven SWAP garments. I will post it as soon as it's ready to go...

Paterson Pattern - Part 1

Prior to purchasing this vintage pattern, I had never heard the name Ronald Paterson. I decided to do some investigative work and after a bit of digging, I found this. Apparently, he was a Scottish born designer, who headed a fashion house in London from 1950 to 1970. After this period, he worked as a costume designer in movies until his retirement. The examples of his work and the vintage patterns that were designed by him are gorgeous. I will certainly be looking for more patterns by Ronald Paterson.

As part of my SWAP, I wanted a top and skirt that had the same feel as this outfit worn by Jacqueline Kennedy to her husband's inauguration ceremony in Washington, D.C. on January 20, 1961. This outfit was fashioned using beige wool crepe by Oleg Cassini. (This picture is from "Jacqueline Kennedy: The White House Years", which is an exceptional resource for JK fans.)

Originally, I planned on using a sand coloured wool gabardine. However, as the SWAP deadline began to loom, I decided to switch to a sand coloured wool crepe, purchased during the wool blowout at Fabric Mart earlier this year. I figured I would do a true homage to the original inspiration garments, while at the same time making my life easier. Wool crepe is a much more forgiving fabric to sew than wool gabardine - with limited time this seemed like a wise substitution. I could not be happier that I decided to do this. My muslin for this outfit was done using wool gabardine and it just does not hang as nicely as the SWAP pieces done in wool crepe.

Both pieces are underlined in a cream coloured silk charmeuse, also from Fabric Mart. This underlining gives the pieces a wonderful weight and such a luxurious finish on the inside. Below is the outside of the skirt, which is basically a straight skirt. However, the side seams are shifted to the front side hip and topstitched (which can be seen in the small photo to the right) and there is a gathered section over the abdomen area. The back is shaped through the use of four darts (two on each side) - one set of darts acts as faux side seams. The skirt calls for a lapped zipper in back and I replaced it with an invisible zipper, for a smoother line.





On the inside you can see the silk underlining, to which the hem is attached to keep the hem area on the outside stitch free. The underlining was serged to the wool crepe in the beginning and the the two fabrics were then treated as one for the construction.

I had some problems with the waistband as the instructions called for belting. My local fabric stores do not carry this notion, so I improvised (if anyone has any internet leads on belting, I'd appreciate a heads up). The waistband was instead cut double and constructed as is typical.










Finally, a few questions.
*Marji, in reference to this post, asked, "Did you reduce any of the fullness or dart the batiste or did you gather it one-to-one with the silk?"
I just gathered it one to one with the silk. Both the batiste and the silk are so lightweight that the excess bulk at the waist is really not a problem.

*Carolyn, referring to this post, asked, "Ummm, my fabric came in and you are going to love these pieces! Did you get yours yet?"
Nope, it usually takes 1 to 4 weeks for a box of fabric to cross the border from the US to Canada. The last time I ordered from Melody, it took 1 week so I'm hoping the fabric gods are with me again and I'll have a quick delivery!

*Yesterday, Carolyn also wrote, "I am dying over here waiting to see the finished collection...could you pleeezzzeee just throw me a bone and take a picture of all the pieces AND then go back and tell us all about them!? I've been waiting since December/January and the stress is KILLIN' me!!!!"
Whoa, I would hate to be responsible for any SWAP related deaths. I'll see what I can do.

*With respect to yesterday's post, Nancy K. asked, "How did you do the lining up without a facing? When you get a chance maybe you could do a tutorial?"
It was actually quite easy, it's really no different than when facings are present - in this case, however, the lining takes the place of the facings. The jacket shell and the lining are cut and constructed exactly the same and then they are attached, right sides together, at each front opening and around the neckline, with a 5/8" seam. The bottom is left open to facilitate turning right side out after the corners are trimmed and the seams graded. Then all that is needed is a very careful pressing to be sure that the lining rolls to the inside of the jacket. You could understitch to ensure this, but with my jacket it was unnecessary. The bottom of the lining is finished by attaching it to the jacket body by hand. If this doesn't make sense, let me know and I will try to put together something visual.
ETA for Nancy K: I always insert the sleeve lining by hand - both at the armscye and at the cuff. I find I have so much more control over the lining placement this way.

Lastly, thank you to everyone that has visited lately. I appreciate it so much that you take an interest in what I post here. I apologize if I have missed answering any question over the last while - I've had a few whirlwind weeks and admittedly I'm not as organized as usual. Things are settling back down now, so I hope to stay on top of things better.

A Pleasant Surprise - Part 2

I finished this dress several days ago, but I have been so busy sewing that I haven't had time for posting. I want to share a few pictures, but first let me apologize for the image quality. My camera is on its last legs and I am in the process of picking out a new one, so hopefully my photos will improve!

Full length shot of the outside front and inside, showing silk charmeuse lining. I chose not to line the sleeves on this dress - sometimes I do this if I am concerned that the lining will restrict my arms' freedom of movement. The lining was attached to the zipper area with handstitching. The sleeve, neck facing and bottom hems were covered in seam binding and sewn up by hand.








The quatrefoil embellishment was created by cutting a 2.5" wide bias strip of wool crepe, folding it in half lengthwise (right sides together) and sewing a seam 0.5" from the raw edge. The resulting tube was turned right side out (note to self - invest in a set of Fasturn tube turners) and pressed so that the seam is in the middle of the back. Do not stretch the bias tube when pressing - this "give" is needed to go around the curve regions smoothly. Initially, I tried to shape the quatrefoil by eyeballing it, but I didn't like the uneven results, so I walked away from it for a few days to ponder on a solution. Finally, I had a "light bulb moment". I noticed the quatrefoil was basically two infinity signs (∞) laying perpendicularly over each other. I fired up word and printed off 2 infinity symbols (font size 400), cut one out carefully and taped it on top of the other one at a 9o degree angle. This paper was placed on my ironing board and the bias tube was shaped to follow the outside edge of the lapped infinity signs. I held the fabric in place by inserting pins straight down through the fabric and paper into the padding of the ironing board. When I was pleased with the placement of the bias tube, I steamed the heck out of it (at this point the paper gets very wet, so you can't salvage the design - make duplicates if you need more than one motif) to "seal in" the design. I tacked the fabric together at all junction points and then centred it on the garment. The embellishment was attached to the garment using small invisible appliqué stitches. To complete the look to match the Jacqueline Kennedy inspiration garment, I covered a button in crepe fabric and centred it over the quatrefoil. I am very pleased with the results - I knew it looked good when my husband told me he loved it!

Now, what was the pleasant surprise you might ask? When this dress was complete and I did the final try-on, I realized that something interesting had happened. Although I had started with one dress as inspiration, I actually ended up with a garment that has elements of two of my favourite JK dresses. I discussed the dress to the left in my initial post. The dress to the right was worn by Jackie when she had an audience with Pope John XXIII at the Vatican, on March 11, 1962. I have always loved the austerity and simple, clean lines of this dress - it is so dramatic. What tickled me about this turn of events (that my dress is an amalgamation of the two JK dresses pictured here), is that the date on which I completed my dress (March 11, 2008) was exactly 46 years, to the day, from when Jackie wore her black dress to the Vatican. Cool!

A Pleasant Surprise - Part 1

As part of my SWAP 2008, I was inspired by a pale mauve linen dress, created for Jacqueline Kennedy by Oleg Cassini. She wore it to mass on Easter Sunday, April 14, 1963, in Palm Beach Florida. It was one of the many "casual" garments that Cassini designed for her, in addition to most of her formal clothing. I love the simple lines of this A-line sheath, punctuated by a quatrefoil motif on the upper bodice. It is casual sophistication to the nth degree. She wore this dress with a simple pair of pumps, white kid gloves and a lace mantilla and of course, she looked exceptionally beautiful.

I wanted this look for myself (minus the mantilla - my students think I'm weird enough already!), so I set out to produce my version of this classic dress.

Rather than using linen like the original piece, I choose a very dark chocolate wool crepe for my version, as I wanted to add to my winter work wardrobe. I picked up 5 yards of this fabric during the wool blowout at Fabric Mart and I wish I had purchased twice as much - it has a gorgeous weight and hand. For lining, I decided to go decadent, so I used a chocolate brown silk charmeuse, which was another fabulous Fabric Mart bargain.

I started with a vintage sheath dress pattern that mimicked the lines of the inspiration garment, McCall's 7888. The date on this pattern is 1965, so it comes from the same era. The neck on this pattern sits very close to the base of the neck, so I scooped out the front and back neck to more closely approximate the boatneck line that Jackie Kennedy wore so often. Since this dress was to be a cold weather garment, I decided to use the 3/4 length sleeve of view A, rather than going sleeveless.

After flat pattern measuring, I found that the shoulder was just right, the bust and waist was too big and the hip was too small (nothing new there!), so some adjustments were necessary.

To address the bust, I did a quicky small bust adjustment (SBA) to the princess seam. This entails shaving off a quarter inch from the "bust bulge" on the side front piece and tapering to nothing above and below. See the pencil drawn line on the pattern piece to the right. To remedy the too-large waist, I took it in by a 1/2" on both the back and side front pieces, effectively removing 2" total in this region. Last, but not least, I add a 1/4" to the hip on the back piece only, as I need the extra fabric in back to go around my large caboose!

So, the fabric is picked and the pattern is primed. In my next installment, I will show you the finished garment (inside and out), discuss how I created the nifty quatrefoil embellishment and let you in on why the title of this post is "A Pleasant Surprise."

Ready, Set, SWAP - Part 5

The green/cream herringbone wool button front top is complete. Actually, it has been for a while now, I have just been too busy to write about it lately. Unfortunately, I don't have any more "during construction" pictures - I simply got too engrossed in the garment's construction to take photos.

However, here is the inside low-down:
* The garment was fully underlined with Textured Weft (front, back and sleeves).
* The hems were interfaced with a medium weight non-stretch fusible interfacing.
* Sleeve headers were made of bias cut tie interfacing.
* The front facing and undercollar was interfaced with hair canvas.
* The front sports three bound buttonholes and vintage buttons.
* The lining was completely sewn in by hand.

Now, on to the pictures:

The front of the jacket with the buttons done up.

I am quite pleased that I decided to go back and recut the fronts after doing a proper SBA - this reduced the size of both the bust and waist darts and the front fits beautifully now.

The back of the jacket is nicely shaped through the use of waist and neck darts. I absolutely adore patterns that have neck darts. I tend to find these patterns just fit me better. The neck dart fits the collar to my small shoulders but releases at the upper shoulder blade to fit my broader back. I find most patterns without the neck darts are horribly uncomfortable while I'm teaching, because I can't reach and write on the board easily - I definitely need the extra space across the shoulder blades.

The upper collar is an extension of the front facing - this gives the collar a nice roll around the neck when it is worn.

The sleeves are 3/4 length and have an elbow dart to conform nicely to the shape of the arm.

One of the bound buttonholes and the vintage button. The reverse side of the button was finished by hand stitching the facing in an oval around the buttonhole opening. This gives the back a clean, neat finish.




















The lining was inserted totally by hand. Although it is time consuming to do the lining this way, I feel it gives me greater control over the placement.

I was playing around with some of the decorative stitches on my sewing machine and decided to use one of them to "sexy-up" the lining pleat at the neck.

Alright, so this completes piece number two for SWAP 2008. I am in the process of working on pieces three, four and five. The muslins have been perfected and I have started work on the "real" fabric. I hope to have an update on my progress over the next few days.



Last, but not least - lookie what I got in the mail today. How much do I love this pattern?? Look at that assymmetric front!! Could it be any more Jackie Kennedy?? Look at that cool attachable scarf!! I am in L.O.V.E.

Ready, Set, SWAP!

I have decided to start sewing on my Timmel SWAP 2008 with a jacket (which will be worn as a button front top) and skirt combo. The pattern is vintage, Butterick 4105. Although there is no date on it, it is obviously an offering from the 1960s. The description on the pattern envelope reads:

Semi-fitted jacket has three-quarter sleeves and rolled collar. Slightly A-line skirt has pockets and front seams.

The two garments will be made from a beautiful green and cream herringbone wool, purchased from Fabric Mart. The fabric is of medium weight and it should complement the style lines of the pattern nicely. The pattern calls for the jacket/top to be fully lined (using the provided lining pattern pieces - I love when the pattern provides separate lining pieces), while the skirt is not. I do, however, plan on lining the skirt, just to finish it off nicely inside and for ease of wearing. The linings I'm debating about using are shown below. All of them are silk charmeuse. I'm sure many of you recognize the Anna Sui silks from Fabric Mart. The others are from a local chain store. Right now I'm leaning toward the first one. Any opinions?



The jacket/top has several darts for shaping - shoulder, side to bust, waist to bust and elbow. This many darts is always welcome as it provides many fitting opportunities, although I tend to find that vintage patterns tend to fit me well in the shoulder through waist areas. So, I'm not envisioning many tweaks, especially since this jacket/top is not supposed to be close fitting.

The skirt on the other hand requires some work. Flat pattern measuring provides a waist and hip measurements of 24.5" and 36", which translate into an ease of 0.5" and 3" in those respective regions. My measurements are not quite the same. I will have to add 2" to the waist and 5" to the hip to ensure the skirt fits and to maintain the original design ease. Expanding the waist is not a problem as there is just a waistband to lengthen (see pattern piece #14 to the right) and the body of the skirt gathers onto this waistband. The hip, however, will require more work. The main body of the skirt is four pieces. Pattern piece #11 is the pocket, which can be left as is. Piece #13 is the back, which is cut twice to accommodate a back zipper. Piece #10 is the side front, which is cut twice and piece #12 is the front piece, which is cut once on the fold. Pieces #10, #12 and #13 will all require adjustment and I plan on distributing the 5" expansion fairly evenly throughout these pieces.

Now, I really need to get down to some sewing. I'll report back soon!

SWAP 2008

This year, the Timmel SWAP 2008, has had me betwixted and bewildered. Here it is, 20 days since the start date of the competition and only now have I finally settled on a plan of action. I have yet to put needle to fabric. Up 'til now, I just could not get my SWAPping mojo working - every time I thought I had an idea, it fell through. Either the fabrics didn't complement each other or my wardrobe pattern wasn't working. I think however, I have finally figured it all out.

I have been wanting to add some suits to my working wardrobe and creating a SWAP that revolved around interchangeable suiting pieces seemed like a workable idea for SWAP. I wanted each suit to stand on its own, as well as having the flexibility of treating each garment like a coordinating separate. I knew from the beginning that I wanted to use Jacqueline Kennedy (JK) as my inspiration for this wardrobe. Her style is the quintessence of elegance, sophistication and good taste. When I think of classic, timeless clothing, JK always comes to mind. So, I have working for over month trying to get all the pieces to come together on a storyboard. The fabrics had to work together interchangeably and the style and lines of each garment had to complement all the other garments. Last, but certainly not least, the wardrobe had to take inspiration from JK, but work on my body (which is nothing like JK's).

Please note that all garment inspiration photos were taken from the book, Jacqueline Kennedy: The White House Years. If you like JK and/or 1960s fashion, this book is phenomenal. I first learned of its existence from Carolyn and boy, am I glad I did! Although the book is a bit pricey, it is well worth it in my opinion. The garment photos are exquisite and the accompanying historical info (date and location where garment was worn, designer and fabric) is interesting and useful for the seamstress looking to knock off JK's wardrobe. I have other books on JK, but this one is by far my favourite. The book is broken into several chapters, the most interesting of which are the ones focusing on her influence on 60s fashion. My favourite chapters are "Campaign", "Inauguration", "White House Style" and "Travel". Each of these chapters features several outfits worn by JK during the whirlwind of supporting her husband in his bid for the presidency and the ensuing time in the White House. It is amazing how fresh and timeless most of her choices still appear today. That is the mark of true style.

My storyboard includes a fabric swatch (accompanied by fabric type and vendor), the pattern and the JK inspiration garment(s).


I think I will be sticking with this plan, but if any amazing fabric or pattern jumps into my lap, I may pull a switcheroo - I guess we'll just have to see how it goes! I'm not exactly sure which piece I'll start with first. I am leaning toward the coat, but I want to do the sable collar, like in the original. However, I'm having a heck of a time tracking down good looking faux fur (I don't want real fur - it gives me the heebie-jeebies). If any one has any good sources for faux fur, do tell please.

The Galanos Dress - Part One

I am still mulling over my options for SWAP 2008 and I think I'm closing in on a plan. Even though I'm not ready to start SWAP sewing yet, I am in the mood to sew. So, to get me in a 60s kind of mood, I have settled on my first major project for the year:


The pattern is Vogue 1854, a beautiful dress by James Galanos. There is no date on the envelope, but the lines of the dress say mid-60s (1966?) to me. Although I knew the name Galanos, I didn't know much about this designer, so I did a little surfing. For anyone interested, I found an interesting article online. My favourite quote from this article is

"When I started making clothes in the 1940's, elegance and formality were the rule. Now it seems vulgarity is rampant. It's encouraged by some TV shows and interviews. I don't really like it. The clothes themselves look unfinished, "The only thing that seems new is accessories. Most of the clothes are sleeveless and strapless. People themselves look messy. I hate the hair, it doesn't look groomed. It looks unwashed. I guess the fashion is to look blown and windswept. But it seems to me the hairdressers are doing a bad job of styling."

"Everybody seems to be wearing pants all the time. And everyone wants to bare the midriff. I really don't understand the mentality. It's certainly being casual. But it has nothing to do with class. Some of the clothes look beautiful, but I don't think the designers, as a whole, have made their mark."

Ya gotta love this guy - dang, but I'd like to spend an afternoon with this gentleman!! Also, anyone in the Philadelphia area, there is an exhibit at the Philadelphia Museum of Art featuring the work of James Galanos, Gustave Tassel and Ralph Rucci (my all-time favourite designer).

The fabric that I'm using can be seen under the pattern, a warm brown wool tweed. When I first got this fabric, I was certain it was a knit due to the sponginess of it, but it has no stretch. It washed up beautifully, with very little fraying and so far it has been a dream to work with.

At this point, I have cut out the fabric and the underlining. I am in the process of transferring all the pattern markings to the underlining and pinning the fashion fabric and underlining pieces together. I figure it will take me about six hours total to complete this phase of the sewing process.

The pattern is very interesting. Although this dress appears symmetrical at first glance, it is not. Here is the description from the envelope: Semi-fitted A-line dress with jewel neckline has left shoulder and side back concealed button closing. Right side front and and left side back pleats. Full length sleeves with slits. Right side pocket.

Notice that there is only one pocket and the pleats are on the right side front and left side back. The only pattern pieces that are cut twice are the sleeves. All the other pattern pieces are unique. As with all the vintage patterns I have ever worked with, the instructions for this dress are exceptional. Take a look:



Before I finish up today's post, I wanted to answer a question from yesterday.
* Michelle writes, "You have commented on several mail order/web sources for fabric (2 of which I have recently used). You have yet to mention Fashion Fabrics Club. What has been your experience with them? I'm on their email list and am tempted, but before I plunge I would like someone's experience."

Michelle, believe it or not, I have never ordered from FFC. I have been tempted in the past, I have loaded a shopping cart with fabric, but I have never pushed the submit button. Sorry, that I couldn't be more help. Maybe some of my readers could leave their experiences with FFC in the comments section for Michelle.



Finally, this is what the dog has done all day - sleep, sleep and more sleep. It is just too darn cold around here (-7 C with a windchill of -15 C) to go out for a walk, so Simon is cooped up inside. I sure hope this cold spell breaks soon because both he and I are going stir crazy.

I am Weak

Okay, so you all knew it was coming. Here's the scenario. Fabric Mart sends out a notice that the whole website is on sale at 20% off. I tried to ignore the email. I tried not to look. I tried to be good. I tried not to add anymore fabric to my overflowing fabric cupboard.

Um, yeah - who am I kidding? I am weak in the face of a fabric sale. Especially when two TDF fabrics that I have been drooling over for the last few days are part of the sale. So, here's the damage:

Gor-gee-ous Double Faced Camel in Plaid - I envision an amazing reversible coat a la Jackie Kennedy. I thinking of using the pattern shown - I adore the version with the ties at the neck and the patch pockets.

















A-maz-ing Cashmere/Angora/Wool Blend in Chestnut - I want to make view B or view C of the vintage pattern shown below. So pretty!



















Hey, what's two more pieces of fabric at this point?

I Tried to be Good - Really

Well, I have been stalking Fabric Mart's offering of Anna Sui silks for a while now. I kept talking myself out of buying a ton of fabric because the colours aren't really "my colours." Then, I went to the fabric store to buy lining for a project and had an epiphany. Good Bemberg rayon lining fabric runs about $6 - $10 per meter where I live. The Anna Sui silks are selling for $4.99 per yard. Hmm, it didn't take much for me to realize that I could have beautiful, designer quality silk linings in my garments for the same cost as regular old lining. Who cares if the colours aren't perfect for me? They'll be inside the garment.

And that's when the flood gates opened...



Obviously, I went a bit crazy, but for $4.99 per yard, I think I can get away with it! Most of the fabrics will be used as linings, but I picked up a couple others that were crying out to be a blouse (8th one - cream dots) and a fancy skirt (7th one - black/red/metallic). I also tossed in a free bundle - I have always had pretty lousy luck with the free bundles, but hope springs eternal!

On the sewing front, I have a finished skirt and top to post about and I have been cutting out a ton of simple basic wardrobe staples. More on that later...

Have Ray Gun, Will Travel

In the comments section of this post, nancy k. asked what I would wear with my new fuchsia skirt. miss twist suggested, "I would match the fuchsia with the black Kwik Sew cowl neck and black knee-high boots. Or maybe black knee-high boots, a closely fitted black top, and a ray gun. Oh--and a jaunty silver scarf around your neck."

Well, I don't have a silver scarf, but I tried to give you what you wanted, nonetheless:



















And, just so you don't think I'm a total nut job:

Well, it's off to work. I sure hope my students appreciate what a fashion plate I am!!

Skirting the Issue

Simplicity 4599 is one of my favourite skirt patterns. It is simple and classic, with wonderful lines that flatter my pear shaped figure. I have made this skirt several times and I imagine I will make many more times. My latest versions are quite different.

The first one is made of a RPL gabardine in ivory from Timmel Fabrics. It is item number seven completed in my fall/winter wardrobe. I decided to keep this skirt simple, with no embellishment so that I could get maximum wear out of it. Keeping it plain guarantees that it will coordinate with just about any top in my closet. I didn't line this skirt or the next one, as I usually prefer to wear a separate slip with my skirts.

The second one is made of a brushed wool gabardine in fuchsia that I received in a free bundle from Fabric Mart. Let me start by saying that I haven't worn this colour since 1987 (man, the 80s were bright weren't they?), so when I saw it in the free bundle, I was less than thrilled (not to mention that the rest of the bundle consisted of pastels - if you haven't figured it out already, I am not a pastel kind of gal). Fuchsia near my red hair is a huge no-no, so it was to become a bottom. I am not nearly brave enough to wear fuchsia pants, so a skirt it was.

I decided not to turn up a hem on this skirt, but rather to zig zag the bottom edge. I sometimes like the look of an unfinished edge, plus after I started sewing this one up, I decided I wanted the skirt to be a bit longer than the first one.

After making the skirt, it seemed too plain, so I added a bit of embellishment. I stitched three intersecting ellipses with cream buttonhole thread. I then attached three small buttons and one large button, all in cream, at strategic positions. All the scientists out there will hopefully recognize my inspiration. I figured the embellishment was fitting for a chemist. I really liked the slightly "poodle-skirty" feel of this second skirt - I almost feel compelled to wear it with ankle socks and saddle shoes!


ETA: Marguerite, I self line the yoke. I don't tend to be annoyed by fabric against my skin (as long as it's not super picky), so I can get away with this. Also, I tend to wear a slip and/or tights with my skirts, so the fabric doesn't really touch my skin much anyhow.

I Refuse to Apologize - Ever

On the discussion boards I frequent, I often see a 'fabric moratorium' thread. On this thread, many women are trying to curb their fabric buying and have banded together with other like minded individuals for encouragement and support. Many of the woman express a desire to have less clutter in their lives and some even go so far as to suggest that building a stash is amoral because North Americans are too materialistic (pun intended) and are too focused on the acquisition of 'stuff'. Although I applaud their willpower and desire to pare down their stash, I will never join their ranks. I believe I am genetically predisposed to acquire fabric - lots and lots of fabric. Before you write me off as a helpless addict or a shallow twit, please read on.

I love fabric. I love everything about fabric. I love the colour, the texture, the drape, the feel, the smell, but most of all I love the possibilities. Oh, the sweet possibilities. To me, fabric is woven dreams and knitted fantasies. My fabric closet is a magical place. It has power. Each piece of fabric that it contains is like a little piece of my soul, my history and my future. The warp and weft are akin to space and time. In my fabric closet time travel is possible.

The cocoa and cream houndstooth wool reminds me of being 18, standing in Shanfield's Fabrics (now defunct). It was a small, cramped shop, filled to the rafters with fabric and embellishments. I can still see Mr. Shanfield pulling bolt after bolt of beautiful fabric off his shelves to tempt me. I was searching for the perfect fabric to create the perfect prom dress. I knew exactly what I wanted - I had spent hours imagining exactly what this dress would look like. As usual, Mr. Shanfield was able to fill my order; like a magician, he produced the exact shade of soft pink satin that I saw in my head. The smooth coolness of the fabric is still ingrained in my memory - it represented the promise of a fairy tale evening to be shared with the first boy that I ever loved - I can still picture the look on his face when he saw me in that dress...but I digress. Obviously, I hadn't come to the store looking for wool, but when I spotted it sitting on the cutting table next to the satin, how could I resist? It whispered to me - promises of sophistication and style, something that I was desperately trying to acquire. Like many young women in their late teens, I was trying to find my niche. I longed to be confident and classic, like Jacqueline Kennedy and with this wool, I felt it might actually be possible. It's now almost 20 years later and it still has the faint smell of promise.

The yellow cotton pique with the flower embroidery takes me back to the spring of 2005. I had just decided to reenter the world of garment sewing. I was standing in the fabric store, second guessing myself. Would I remember how to sew? Would I be able to create a garment that was wearable??? At this point, I hadn't sewn in over 10 years - university and the start of my career had taken precedence. Standing in the store that day, I was filled with self doubt and fear. That is, until I saw that yellow pique. It's sunny colour sang a song of optimism and confidence. It assured me that not only could I sew up a garment, but that it would be an extraordinary garment that would ensure hope and happiness. In that single moment, it became clear to me, I knew I had to sew again - it was a requirement of my existence.

The coral cashmere wool reminds me of my husband. He has been my greatest cheerleader during my trek back into sewing. He encourages my passion for sewing and he truly understands how important this "hobby" is to me. He never rolls his eyes when I tell him about SWAP, or what the ladies on the discussion board are talking about. He is always ready to help me pin up a hem or act as my fashion photographer. He even goes so far as to encourage my fabric acquisition. Each year, when we travel to Toronto to visit his brother, he is sure to include a large block of time to explore the fabric district. He patiently follows me into store after store, carrying my purchases and through it all, he actually seems to enjoy it. Last summer, I spotted the coral cashmere in one of my favourite TO stores. It sang a siren song to me the moment I spotted it in amongst the other bolts. When I decided to purchase a piece, my husband just smiled. No reminders of the size of my existing stash, no snide comments about the cost, nothing negative - just a smile. I am a lucky woman.

Fabric is like a magic carpet, able to transport its owner to any time or location that she desires. The rustle of silk speaks of glamorous starlit evenings. The warm caress of wool encourages thoughts of strolling through the English countryside. The cool comfort of linen brings to mind hot summer days at the beach or garden parties replete with the heady smell of roses. Fabric is the initial stage of a dream, of a hope, of a promise.

So, that's my story. Now, it's your turn. Speak to me ladies (and gents, if you're lurking), share your thoughts on fabric with me. What does fabric mean to you? Does it inspire flights of fancy? Does it fulfill you or does it depress you? Do you revel in your stash or do you find it overwhelming?



In closing, here are the latest bits and pieces that have been added to my stash (from Timmel Fabrics & Fabric Mart - two of my most cherished purveyors of textile dreams).
Rust crosshatched rayon, rust baby cord, rust plaid wool, spice herringbone RPL, black wool satin, brown tweed and white striped cotton shirting


Khaki wool crepe, chocolate RPL doubleknit and Anna Sui paisley silk charmeuse

Back on Track

Well, for obvious reasons, I have been sidelined in my sewing pursuits lately. Today, however, is the day. The day to regroup...the day to refocus...the day to recommit! I have a fall/winter wardrobe plan in progress and I will not give up on it now. I had a skirt almost finished two weeks ago and it needs to get finished (today). I also have another (not in the plan) skirt just waiting for a hem and waist treatment.

I will admit to not feeling very inspired lately, but it's amazing what buying a butt load of fabric and patterns can do for a person's psyche. So, yesterday I went cyber-shopping.


First Stop : Fabric Mart
We all know about the big wool sale at FM. I finally gave in yesterday and purchased some gabardines (black and taupe) and crepes (mustard and dark periwinkle), along with an Anna Sui silk charmeuse (on sale too).



Second Stop: Sawyer Brook
Although I have done a bunch of browsing at SB, I have never taken the plunge and purchased anything. Yesterday, one of their fine wools spoke so loudly to me, I knew it was fate. The wool of which I speak is named Curcurbits and it is a multicoloured wool tweed. While browsing the sale category, I also picked up some avocado wool double knit (for $12/yd!!) and some wool/cotton/lycra suiting in desert (the off-white one on the right in the third photo below).



Third Stop: Lanetz Living
I love LL. I would love to pile up all her patterns and roll in them (seriously). So, yesterday, I went, I browsed, I bought. BTW, take a look at the last pattern - am I the only one terrified by the envelope art that McCall's used in the 70s? **shudder**

Bribery Will Get You Everywhere

Each year when I am done school and then again when I am about to begin school, I allow myself a splurge. At the end of the school year, it is all about celebrating the fact that I made it through another year without maiming any students. At the beginning of the school year, it is self-bribery, pure and simple. Rather than laying on the ground, drumming my heels, whining about not wanting to go, I feel it is far more dignified to spend large amounts of money in an effort to soften the blow of going back to the grind.

So far this year my splurge has consisted of the following:

From Fabric Mart
Turquoise & Black Wool Tweed, Cream, Teal & Chocolate Jersey Knit, Teal Wool Gabardine, Caramel Wool Gabardine, Olivette Cotton Corduroy, Chocolate Brown Silk Chiffon, Chocolate Brown Merino Wool (from Sample Cut Club, so no pic available) - I have had a major soft spot for anything teal lately, so this grouping of fabrics really spoke to me.