SWAP Combos - Part 2

In my last post, I showed several of the combinations that could be made with my SWAP suiting separates. Today, I want to show you some more. However, I first want to say a big, fat thank-you to everyone that has stopped by and left such wonderful comments. Since I don't have any "real life" sewing compatriots, I really cherish all my cyber buddies (both old friends and new acquaintances).

Without further ado, here are all the possibilities with the multi-coloured tweed top:

Multi-coloured tweed top (S3108) + multi-coloured tweed skirt (V5521 -wardrobe pattern)



















Multi-coloured tweed top (S3108) + green herringbone skirt (B4105)



















Multi-coloured tweed top (S3108) + sand wool crepe skirt (V1050)



















Multi-coloured tweed top (S3108) + terracotta skirt (V5521 - wardrobe pattern)





















And here are all the possibilities with the terracotta wool top:

Terracotta wool top (V5521 - wardrobe pattern) + terracotta skirt (V5521 - wardrobe pattern)



















Terracotta wool top (V5521 - wardrobe pattern) + sand wool crepe skirt (V1050)



















Terracotta wool top (V5521 - wardrobe pattern) + green herringbone skirt (B4105)



















Terracotta wool top (V5521 - wardrobe pattern) + multi-coloured tweed skirt (V5521 -wardrobe pattern)




















Tomorrow: A few views of the dresses and the coat.

SWAP Combos - Part 1

Over the next few days, I want to finish up my SWAP 2008 posts with pictures of the combinations that are possible using the different garments.

Today, I will start with the all the combos based the sand wool crepe top:

Sand wool crepe top (V1050) + sand wool crepe skirt (V1050) + beige wool crepe coat (V5630)
This picture cracks me up. I guess I must be daydreaming about all the possible SWAP combos I can create with my new wardrobe!
















Sand wool crepe top (V1050) + green herringbone wool skirt (B4105)



















Sand wool crepe top (V1050) + multi-coloured tweed skirt (V5521 - wardrobe pattern)



















Sand wool crepe top (V1050) + terracotta wool skirt (V5521 - wardrobe pattern)




















Next up, all the combinations with the green herringbone top:

Green herringbone top (B4105) + green herringbone skirt (B4105)



















Green herringbone top (B4105) + sand wool crepe skirt (V1050)



















Green herringbone top (B4105) + multi-coloured tweed skirt (V5521 - wardrobe pattern)



















Green herringbone top (B4105) + terracotta skirt (V5521 - wardrobe pattern)




















Tomorrow: All the combos with the multi-coloured tweed top and the terracotta top.

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...

My Chanel-ish Suit

When I first saw this fabric on the Sawyer Brook website, it basically reached through the monitor and demanded that I own it. The name of this fabric was Cucurbits and to learn more about this name, visit Barb's Fabric Blog (the blog of the owner of Sawyer Brook).

When designing my SWAP, this fabric was chosen to be the central focus and all the other fabrics were picked based on colours found therein. In real life, the colours in this fabric are far more vivid and rich - it is one of the most beautiful wools with which I have ever worked.

Obviously, I needed an amazing pattern (or two) to showcase this exquisite fabric - something simple and classic. I decided to create a Chanel-style suit using Simplicity 3108 for the jacket and Vogue 5521 (which is my SWAP wardrobe pattern) for a slim skirt.















The Vogue 5521 slim skirt was very straightforward to sew - two darts in front, two darts in back, side zipper and a waistband. The only interesting thing about this skirt is the kick pleat. The back of the skirt is cut on a fold and a straight line of stitching, parallel to the centre back fold, creates a large pleat in the centre back which extends down to the hem. This pleat is pressed to one side and stitched down 8 inches above the hem. Below this, the pleat releases to form the kick pleat.

The Simplicity 3108 jacket is wonderful. It has a round neckline, 7/8 length kimono sleeves, buttons down the front and two decorative pocket flaps. I love the cropped length of this jacket - it sits at the perfect spot at the top of the hip. The jacket fits exceptionally well due to the shoulder and elbow darts. It is these small shaping darts that set the vintage patterns apart from the modern - it is unfortunate that most of today's patterns have so few of these useful dressmaker details.

Both the jacket and the skirt are lined in chocolate silk charmeuse, which finishes off the inside in a luxurious manner. The buttons on the jacket are gorgeous. They are vintage glass shank buttons that have a tortoise pattern. They add the perfect finishing touch to this jacket. I have included pictures of this suit in action:




















I also have a couple of questions to answer.
*Nancy K. said, "Do you end up having to do a lot of grading on these vintage patterns or do you find them in your size? I'd also like to know when you sleep, you accomplish so much I am just in awe!"
Firstly, I actually do sleep so I have to find time for sewing elsewhere :) What helps is that I don't watch much TV and I don't have kids for which to care. As well, since I am a teacher, I am usually done work each day at 2:30 (except for afternoons when I have meetings or when I am swamped with marking or lesson planning) and I have two months off in the summer. All of this adds up to free time for sewing!!
In terms of vintage pattern sizing, I don't usually buy patterns unless they are in my size (which varies depending on the era, but I find just about anything with a bust of 31.5" works for me). I tend to be too lazy to do a lot of grading up or down.


*sklong@pa.net said, "I have a question about lining a skirt. The skirt pattern doesn't call for a lining; it's a very simple nearly straight skirt - just curved a bit at the hip - with an elastic waistband. Will I use the skirt pattern to make a lining for it? will the lining be attached just under the waist band? Or Should I treat the lining and skirt as one and make the casing for the elastic with the lining there also?"
You definitely can use the skirt pattern to make a lining for a straight skirt. Check out this helpful webpage (this is not for an elastic waist skirt but the principle is the same). Of course this assumes that there is a separate waistband into which the elastic is inserted.
However, if the elastic is inserted into a casing made by folding down the top of the skirt, you can handle it two different ways. If you are not worried about the waist being too bulky, construct the skirt and the lining, place them wrong sides together and turn down the top of the skirt and the lining together to form the casing for the elastic. Alternatively, remove all but 5/8" of the casing allowance from the top of the skirt and the matching lining. Sew the skirt and lining right sides together, along the top, with a 5/8" seam allowance. Turn skirt right side out and press along the top being sure that the lining does not show on the right side. Sew around the top of the skirt at 1" (if the elastic is 1") to create a casing that consists of the skirt fabric on the outside and the lining fabric on the inside. Be sure to leave a bit open to insert elastic and then finish sewing. I hope this makes sense.


Up next, the coat...

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.

Orange You Glad You Asked? - Part 4

I AM DONE!! Obviously I am excited that I managed to finish sewing for SWAP 2008. With all that has occurred in my life lately, I had several moments when I didn't think I was going to be able to finish, especially when I managed to pick up a nasty spring cold this past week. But, I persevered and I got all 11 pieces sewn. Now, I just need to get some pictures taken and sent off to Julie of Timmel Fabrics. Now, I finally have time to blog about the garments you haven't seen yet.

I began work on this terracotta wool blend suit ages ago (see previous posts here, here and here). I adore the colour of this wool bend fabric, but man oh man, was it ever nasty to work with! There came many-a-time when I considered balling up both the skirt and the jacket and having at them with a lawnmower! This fabric was difficult to ease and getting an invisible hem was a nightmare (see here). Also, I found out the hard way that this fabric would take on an almost irremovable shine when faced with a hot iron. Aarg!!

But, never one to given in just because of a few setbacks, I managed to tame this fabric beast (with a ton of swearing tossed in for good measure). You have already seen the skirt, but I would like to show you all the jacket to match.

Here's the front of the jacket, which has bound buttonholes and handsewn patch pockets. I had a difficult time choosing just the right buttons, as many of the ones I had in my button stash just weren't right. Finally, I settled on these wine-coloured shank buttons. I was sure that the colour wouldn't work with the jacket, but when I put them together, it was like it was meant to be.









Here's the back of the jacket, showing the small kick pleat at the hip. You can also see the two piece sleeve and the back shoulder darts which I love.













The inside of the jacket was lined from edge to edge using a Anna Sui silk charmeuse that I picked up for a song from Fabric Mart. It feels so delicious and it makes putting on the jacket so easy. I may never line my clothing with anything other than silk charmeuse ever again!












The sleeves (left photo) have bound buttonholes to match the front of the jacket (right photo).

The Universe Has Spoken

Melody, of Fashionista Fabrics, is having a sale on every fabric on her website - including all the ones I have been drooling over for weeks! So, I took it as a sign from the universe that I was supposed to partake of this sale. Really, who am I to question the universe?

Here are my picks, along with the pattern that will be used:

Silk Pique Panel Print - Butterick 4856














Silk Pique Poppies - Vogue 2960














Floral Silk Shantung - Vogue 1043














German Print - Simplicity 5036 - the full skirted dress
















PVC Coated Linen - Vogue 8480














Warm Toned Wool Challis - Vogue 2786

Pattern Lust

The new offering of Vogue patterns has me happy, happy, happy! I love the two new Vintage Vogues (duh!) and what can I say about the Chado Ralph Rucci patterns? Considering Rucci is my absolute favourite modern-day designer, you could have knocked me over with a feather when I saw the two patterns. I just hope Vogue keeps producing more patterns from him. Here's all my favs:

1043















1044















1048















1054















On the SWAP front, not surprisingly, not much has gotten done in the last couple of weeks. I still have a top and skirt combo to get done, as well as a fully interlined and lined outerwear coat. I will be amazed if I manage to get it all done by April 11th (the deadline), but I am going to try. I didn't come this far to give up now! I still have a few other finished garments to show you all and hopefully over the next few days I will find the time to write up those posts.


On the Mom front, she is doing very well. She has almost all the strength back in the left arm and hand - she was so excited the other day because she cut her own meat at dinner time, which is something she has been unable to do in months. She has walked the hall and has gone up and down stairs, all by herself (although the nurse or PT was very nearby). The pain in her head is subsiding and she has been in great spirits, so it looks like the surgery was a complete success and she is well on the path to a full recovery. We are hoping to get her into a respite centre (there is one just around the corner from where I live) for a few weeks until she feels more stable - going home to a multi-level house is not happening just yet. So, things are looking up!

Orange You Glad You Asked? - Part 3

I finished the full skirt a while ago, but never got a chance to post about it. It went together easily - although all those pleats sure do require precise marking and measuring! You can see a section of the pleats in the photo to the right. I really like this skirt - it came together quite nicely. I had some concerns that that a full softly pleated skirt, made in wool, would be too bulky through the waist. However, the fabric was lightweight enough that my concerns were unfounded.

The only issue I had with this project was the hem. I choose to neither line nor underline the skirt, as I didn't want to add any unnecessary bulk around the waist. Although this was the right decision, it made the hemming a nightmare. The fabric is similar to a fulled wool flannel, with no distinct threads easily visible. This means that when the hem is turned up and hand sewn, it is difficult to pick up one or two threads as is the usual method. I actually hemmed this skirt several times - in the end, I hemmed around the entire circumference four (yes, four!) times and let me tell you, this is a full skirt.

The first hemming was done using the traditional method referred to above and the result was a disaster. The hem was clearly visible all way 'round the bottom - heck, it was a puckery mess! So, out came the first hem. I pondered the problem for a couple of days and finally settled on what I hoped would be a solution to this problem.

I decided to fuse interfacing to the hem, which was a bit nerve wracking as this fabric is a wool/nylon/cashmere blend. A hot iron had left irremovable marks on my earlier test pressings - but, with lots of moisture and a press cloth, it worked out fine. The hem is 3" deep, so I cut 5.5" wide strips of interfacing (a medium weight fusible weft interfacing) and fused it to the bottom of the hem. This way, the full 3" of hem turn up was fused plus 2.5" up the front of the skirt. My plan was to pick up one or two 'threads' of the interfacing when hemming, rather than the fashion fabric. However, I was still worried that the weight of the hem would pull on the interfacing and in turn, pull on the fashion fabric, causing puckers again. So, I hemmed three times - the first time at 1" from the bottom, then again at 2" from the bottom, both times using the interfacing as a buffer between the hem stitches and the wool. The third go around with hemming was at the 3" mark. Since the interfacing was 5.5" wide, it did not extend above the 3" hem line. This was intentional because I didn't want the interfacing visible inside the skirt when I was seated. This wouldn't normally be a problem with a slim skirt as it stays close to the body even when sitting, however, full skirts tend to drape over a chair and there was a possibility of the inside of the hem being noticeable. The hem at the 3" mark was now directly on the fashion fabric, which had been an issue prior to this. It was not a problem this time since the bulk of the hem was supported by the first two hemmings and all that was necessary was a light tacking up of the top of the hem. Although the hem is not invisible, as I prefer, it is pretty darn good, if I say so myself!

I did want to mention one interesting design feature. The side closure is ingeniously designed to blend in seamlessly with the rest of the pleats and there are no zippers or buttons holding the skirt together. The skirt is closed at the top with a hook and eye, as well as several strategically placed snaps. I love vintage patterns - there's always something 'new' and interesting to discover in them!








Last, but not least, thank you to everyone for the kind comments on my bound buttonhole tutorial. I did want to answer one question arising from it.

Marji asked, "It's all in the measuring and being really accurate. Do you count stitches too?"
I do not count stitches, although I suppose I really should just to be completely precise. However, I have found that I have a good eye for these things - I think it's from all my years as a scientist - I have good spatial abilities.

Orange You Glad You Asked? - Part 2

Bound Buttonholes
I enjoy a good bound buttonhole. It is one of the features that takes an ordinary garment into the realm of the exquisitely couture. Often seamstresses (and seamsters) are intimidated by the bound buttonhole, which is truly a shame. Bound buttonholes are not difficult - they simply require patience and precise measurements and sewing techniques. If you take it slow, you almost can't go wrong. There are several different ways to execute a good looking bound buttonhole. I have tried all the techniques out there and the one I'll show you today is one of my favourites for stable fabrics.

The top/jacket that I am working on right now for SWAP 2008 requires seven bound buttonholes - five down the front and one per sleeve vent. Thus, I wanted to use a quick and fairly simple technique. I didn't want each buttonhole to be a time consuming odyssey, so I selected what I feel is a quick and easy method. Below, I have outlined the steps that I followed:

1. First mark the placement of the buttonholes on the wrong side of the garment. I have done my marking on the underlining of my top/jacket.

2. Using a very long machine stitch, trace over the markings - this way they will be seen from both the right and wrong side of the fabric.















3. Either on the straight grain or on the bias (depending on how stretchy you want the lips of the buttonhole to be), cut one inch wide strips of fashion fabric.















4. Fold the strips in half lengthwise, press lightly, then stitch an 1/8" from the fold.















5. Trim a scant 1/8" from the stitching line.

6. Cut the strips into pieces equal to the length of the finished buttonhole plus 1".















7. Place the cut edge of a strip along the right side of basted buttonhole centre and stitch down using a very short stitch (I use 0.5 mm). Be sure to start and end precisely at the markings. If you over- or under-stitch, you must go back and fix the ends (by either ripping out or adding to the stitching). Leave thread ends that are long enough to be threaded onto a needle to be brought to the wrong side for tying off. (See the drawing below - I forgot to get a picture - oops!)









8. Repeat this process for the left side.

9. Carefully slit the buttonhole down the middle, clipping out to the four corners. Be careful not to clip the lips. I forgot to take a picture of this too, so I have drawn it out below. The solid lines represent the stitching and the dashed lines represent the cutting lines.






10. Turn the lips, from the right side, through the slit to the wrong side. Press carefully, pulling the lips taut to ensure they lie flat. In the picture below, I have already trimmed the ends of the lips on either side of the buttonhole opening.















11. Secure the triangle of fabric from the slit to the lips with a very short stitch.















12. Press on the right side (with a press cloth) and voila, a beautiful bound buttonhole!
















I also wanted to answer a query:
Juliane asked, "A question about the skirt...are you going to use the full gathered skirt, or are you going to modify it to look like the red one? Since you have both a slim skirt and gathered skirt in the wardrobe pattern, it would be very easy to combine the two to create the pictured skirt."
I decided to just use the full skirt as is for my SWAP pieces. However, I do have plans to make a another version of this, in dark brown wool crepe that will more closely resemble the BV inspiration suit. I hadn't even though of doing what you suggested (using the top of the slim skirt, as well as the full skirt), so thanks for the idea! Now, it's just a matter of finding the time (why, oh why, is there never enough time?) to actually try making the knock off.

Orange You Glad You Asked? - Part 1

My SWAP 2008 is based on the fashions worn by Jacqueline Kennedy while in the White House during the 1960s. Although most of the garments I am making are at the very least a nod to her style of clothing, I had to take a departure for one of the top/bottom combos. Jacqueline Kennedy did not wear full skirts very often and she certainly didn't wear full-skirted suits. However, I do wear full skirts and I wanted to include at least one in this SWAP. When I saw this Bottega Veneta suit in the Fall 2007 line-up, I was instantly smitten. I love everything about it - the colour, the style, the proportions - it is just gorgeous. So, I decided to include a top/bottom combo in my SWAP that had the same feel.

Julie of Timmel Fabrics, had a burnt orange (she called it terracotta) wool blend fabric for sale - it has a distinct fluffy nap on one side and it is smoother on the other side - it reminds me of spongy wool flannel. I will be using the smoother side, as it just looks more tailored. I also chose an Anna Sui silk charmeuse from Fabric Mart to use as lining.













The pattern I am using is the wardrobe pattern that was a requirement of the SWAP (each year there is a twist to the rules - this year, each participant has to make at least three distinct garments from a wardrobe pattern). My wardrobe pattern is Vogue 5521 and for this "suit", I will be using the full skirt and the button up top/jacket. I will also be using the slim skirt, at a later date, for another SWAP garment. I will be talking about the muslins for these three garments in my next posts, so stay tuned.











Before finishing today's post, I wanted to answer a couple of questions.

*Elle asked, "Shannon, can you describe tie interfacing and its uses?"
Tie interfacing is a full bodied, soft, fairly loosely woven fabric that is normally used to interline men's ties - scroll to the last picture on this page to see some. I buy my tie interfacing from Silhouette Patterns. I use this excellent tip, from Gigi Louis to set in sleeves in tailored jackets. This is the only application for which I use tie interfacing.

*Marty, after reading this post, said, "How many of those outfits do you actually keep? Do you donate the ones that are old or tired looking? If not, then you need to build a whole room (not just a closet) for your clothing & accessories."
I am fairly ruthless with my clothing, both purchased and handmade. If I haven't worn a garment in a while (6 to 8 months), if it is worn out or it is out of style (no matter how well it is made), it gets put on the donate pile or is thrown in the garbage. Lately, I have been purging anything made out of polyester, as I get too hot in most pure synthetics. I am aiming to have a closet full of natural fibers (wool, silk, linen, cotton, rayon, hemp, bamboo, etc), although I am a fan of RPL (rayon, polyester, lycra) knits and wovens, as they seem to breathe well, wear like iron and imitate natural fibers like tropical wool. As for having a whole room for my clothing, I am seriously thinking about it!! My husband & I hope to build a house in the near future and my two of my major concerns are the inclusion of a sewing studio and a ton of closet space!

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?