Patterned Piqué

It doesn't happen very often, but sometimes I actually manage to cut into a new pattern within a few months of the design being released.  Obviously, this is a reproduction, so the design was initially created back in the 1950s, but Simplicity just re-released it this Summer!

And, as you may have noticed, I was a teeny bit influenced by the pattern illustrations.  Earlier this year, I had an urge to work with cotton piqué.  It all began with a search for a solid colored fabric that I liked enough to use for another circle skirt.  Texture is so much more interesting than plain weave, in my opinion, especially in a solid color.  I like twill weaves, but I was reminded of piqué when I stumbled on an old project.  So off I went, searching for cotton piqué online.  And while this isn't a solid color, when I found this print I couldn't resist purchasing some of it.  The pairing with this pattern actually came later, although I would like to think the two were always meant to be.

What initially had this pattern at the front of the queue, though, was the pockets!

I have mentioned in the past that I am not a huge fan of in-seam pockets.  I never end up using them since they pull the garment out of shape with anything substantial in them, and as someone with round hips, they can potentially keep a garment from hanging properly even when empty.  But a shaped patch pocket?  Sign me up!

These particular pockets have quite a few layers, what with that bias band underneath the pocket itself.

My choice of a rather spongey textile was on the thick side for such an application.  But it worked out okay in the end.  Hand basting is always a helpful part of the process!

The bodice is also gorgeous.  I just love it when a design plays around with dart placement.

And the way the bias band at the neckline mirrors the pocket detailing is perfection.

The instructions have the boning applied after the lining is in place, but I decided that I would rather have those channels sandwiched in-between the two layers.

The only white cotton that I had on hand is not as bright as the white in the printed fabric.  I was slightly annoyed about this, but I felt that it would be silly to go out and purchase another yard of fabric just for the lining.  I was also rather impatient to finish the dress, so I had to find something in the house that would work.

The zipper application on this pattern is something I have seen before in vintage clothing.  The dress is completed and the opening seam finished, all before the zipper is installed.

For this particular design, this makes it much easier to match the bias band portions at the top of the center back opening.  It would also make it quite convenient to swap out a zipper that had failed.  I know that nylon zippers were in existence in the 1950s, but I believe metal zippers were much more common, and once those guys are broken, they are almost impossible to fix.  The self-repairing nylon zippers are a lot more forgiving, so I do wonder if this construction technique has something to do with the possibility that a zipper might fail.

This skirt has quite a bit of bias to contend with, and the fabric drapes very nicely, which means I had to even out the hemline (NOT my favorite part of the process).

There was also some seam binding involved . . . which I am sure surprises no one who has been around these parts for any period of time!

Since I didn't want the weight of the garment hanging off of the straps, I also added two ribbon hangers.

The zipper I had in the stash was slightly long, so I cut and finished that end with a scrap of fabric.  And with that, the dress was complete!

The shape of that bodice is fabulous!

And I had the perfect buckle tucked away to finish the belt. 

This design is good one and I would recommend it - just make sure your fabric isn't too thick for those pockets.

And I am so pleased that I found this patterned piqué while I had this design sitting on my sewing table, waiting for the perfect fabric to appear.

This dress has already been worn quite a few times, which is a good sign, and a clear indication that I am happy with the way a project turned out.  But it's really hard to go wrong with a classic 1950s silhouette, isn't it?!

Jacquard & Paisley

Here is something that I rarely manage to do . . . this blouse and skirt were made using the same vintage reproduction pattern (Simplicity 1166), and I am wearing them at the same time.  Funny how that ensures that both pieces are going to work together!  Most of my separates patterns end up solitary and alone in the closet.  And while I cannot recall whether or not my intention was to make both of these pieces when I purchased the pattern years ago, I am very pleased that this is the way it all turned out. 

When I put the outfit on that morning, I had intended to tuck the blouse in, but that pattern illustration stuck with me, and I decided to go for the tie.

I do that with button up shirts all the time, the difference being that they are not something that I made.  The act of tying the shirts has never damaged them, but for some reason, I have an aversion to knotting the tops that I have made.  I think it's time to get over that!

I mentioned in my post about the construction of this blouse that I was second guessing the over-sized collar.  And for some reason, I like the collar a whole lot better with the cropped silhouette created by the waist tie.  Go figure.

I am also happy to note that the slight puckering from the top-stitching on this drapey fabric is not very noticeable when it is being worn (or, at least, it looks that way to me!).

I have also been reminded that I need to make another version of this skirt . . . perhaps in a solid fabric.

I was unsure about the pleated front and flat back when I first cut out the fabric, but the silhouette has grown on me.

And I haven't made any bound buttonholes in a while, so maybe it's time to get back to this pattern.

And I definitely want to make another version of the blouse.  So I would have to say that this pattern is a definite winner!    

Blouse:  Made by me, Simplicity 1166
Skirt:  Made by me, Simplicity 1166
Necklace:  Vintage
Shoes:  Colin Stuart

Bella Notte in Baby Blue

I started working on this blouse many years ago.  I recall that it was started in my previous apartment, and that I didn't have the energy to deal with the buttonholes at the time, so I put it aside.  It doesn't seem that I took many photos of the sewing process, although I can recall being irritated about the drag lines around the top-stitched portions of the garment.

This photo is my old apartment hallway, and it looks like the top-stitching was about as far as I got before packing it away, sans buttonholes, buttons, and a hem (oh, and it appears that only a single cuff was attached at this point).

Well, back in 2020, I suddenly had the urge to go through a lot of my unfinished projects, and this was one of them.  Thankfully, I had packed the perfect matching buttons away with the pattern and the partially complete blouse, so I didn't have to go searching for them.

And at this point, I had a secret weapon . . . a vintage buttonholer that I found at an estate sale.

So I marked my buttonholes in thread and pulled out that Greist buttonholer.

I also found this chisel tool at a different estate sale and it is far superior to the one I purchased new.  The brand new one wouldn't cut through multiple layers of fabric; I even attempted using a hammer to create enough pressure.  Turns out, it wasn't me, it was the chisel.  A small amount of pressure with this vintage version does the job!

Once again proving that they don't make things like they used to!

When I first complete this blouse I was unsure about the size of the collar.  The pattern is from the 1950s, but that collar was reading as 1970s to me, which was not the look that I wanted.

But having worn it out quite a few times, I am now temped to make another.  And maybe I will have more success with that top-stitching the next time around! 

Dolce, Dolce, Dolce

Yes, it's true, I have added yet another circle skirt to my wardrobe.  I love them and I have a cut of fabric with which I am planning to make another, the only question is whether or not I get to it before the weather changes.  It's definitely my favorite silhouette these days!

This skirt is based off of a vintage pattern image that I came across while searching for circle skirt inspiration.  Using the Stanwyck Skirt as a base, I drafted my own pocket and altered the shaping of the waistband.  And I have to say that I absolutely love the way it turned out!

This is now the third red tea length skirt that I have made.  One is wool, which isn't great for warm weather, and the other is a rayon linen blend that gets a lot of wear but doesn't have pockets.  I get so much use out of both of them that I decided adding a second Summer appropriate skirt to the collection would be a good idea.  And I believe that I made the right decision.

While I have plenty of blouses that match a bright red skirt, I thought that my new skirt deserved something special. 

This is the Rose Cafe Bustier Dress from Daria Patternmaking, although I eliminated the skirt portion of the pattern.

This was intended as a wearable muslin, and while it isn't perfect, it is definitely wearable, so I am calling it a success.  And, best of all, it was made using leftover scraps of fabric and a zipper from the stash, so I can pretend that it cost nothing!  Does anyone else think that way when you manage to get more than one project out of a length of fabric?

I thought that the top had a definite Dolce & Gabbana vibe to it, so I pulled out a pair of hoop earrings to go along with that theme.

There is nothing currently on the sewing table, so I have to decide on my next project, and it may just be another version of this skirt . . . or something with sequins . . . I still haven't decided!

Top:  Made by me, Rose Cafe Bustier
Skirt:  Made by me, Stanwyck Skirt
Shoes:  Soludos Wedge Espadrille
Necklace:  Rafael Jewelers
Earrings:  Etsy