Two Turtleneck Tops

     As a cold-sensitive person, I learned early on that smart layers, especially those which keep my neck cozy, are vital pieces in my winter wardrobe.  I used to not be thrilled over turtlenecks, but have always loved how they kept me from being cold, so it has been high time for me to find a fashionable answer to this dilemma. 

Over the years, I have dabbled in making dresses or tops that have funnel necks, mock necks, rolled collars, or other neck-covering styles that aren’t outright turtlenecks.  My boy has received a plain turtleneck from my sewing room and I’ve made an attempt at a modern twist on one in 2017.  None of them have satisfied my desire for the perfect wintertime separate…until now!  I have finally found a way to appreciate the warmth and coziness turtlenecks provide in the cold weather by sewing my own. 

THE FACTS:

FABRIC:  a silk and rayon blend jersey from Mood Fabrics for the ivory top, and a micro silk-modal blend jersey for the black top

PATTERN:  The “Audrey” turtleneck PDF Sewing Pattern by Julie (sold via Etsy) and the Burda Style “Stretch Shirt” #117 from December 2015

Burda Style #117 12/2015

NOTIONS:  I only needed thread!

TIME TO COMPLETE:  Each shirt was completed in about 6 hours’ time…so 12 hours for both.  The ivory top was finished in November 2023 while the black top has been my first project of 2025.

THE INSIDES:  Cleanly zig-zag stitched over in two passes very close to the edge in order to have my old machine imitate a modern serger (overlocker)

TOTAL COST:  The Mood Fabrics silk jersey cost me $17 for one and a half yard while the black jersey cost me $13 for one yard.

Here, my top is inside out so I can show off my clean seams!!

     First off, such garments are a necessary under layer when hitting the slopes to ski or snowboard, and a trip to Colorado a year ago was a great excuse to raise the bar on my winter wardrobe.  The time had come to sew an ideal turtleneck that would be a bit of everything.  It needed to be warm but lightweight, basic but tailored, and practical but luxurious.  A deluxe silk blend jersey was my material of choice for this project because I know silk adjusts to a changing body temperature.  Between standing outside and the activity of snowboarding, I figured there could be great variations from being cold to hot.  However, between the silk jersey turtleneck against my skin and my retro original 1990 Roffe brand ski coat, I was always at the perfect temperature.  The right supplies really do make all the difference!  For the first time ever in the cold and the snow, I was dry and warm during hours outside on a mountain in Snowmass, Colorado.  It was a satisfying triumph all around – for the top, but especially for my first try at snowboarding!  How many people can boast they have something handmade to wear for hitting the slopes?

     I chose my pattern from a small independent creator for something different. I wanted to give Julie, a designer who I have been following for many years via Instagram, some of my business when she finally began offering her own patterns for purchase.  The “Audrey” pattern was released just as I was looking for something similar, so I jumped on Julie’s design.  My version ended up with some fitting issues, which I am crediting to her proportional model chart.  The body type the top pattern was drafted for seems different from either Burda Style or the Big Four (Simplicity, McCall’s, Butterick, and Vogue), all of which I am accustomed to using.  Julie’s pattern is for a woman taller than me.  I also found the wearing ease generous.  To fix these issues, I brought in the side seams a bit, pick up the shoulders by a whole inch, and finally adjust the sleeves and neck to match.  Overall, I tried not to mess with the general design.  There is fantastic curving in the side seams and the sleeve shaping is first rate.  The turtleneck collar is just enough to not be confining, yet still keep my neck warm.  It is sized enough to fit easily over my head.  I did have trouble keeping the slinky, shifting knit in a straight enough grain for the collar piece, which makes the collar twist around slightly.  I am not complaining, though…this top is a rousing success.

Look at how sheer but elegant my handmade turtleneck is here, drying on a clothes rack in our mountain cabin!

     A fine silk jersey is so confounding to work with and wear.  I am convinced silk jersey is the material of contradictions but I have found myself addicted nonetheless.  First off, it feels like wrangling delicate spider threads to work with.  The jersey is weightless and incredibly insubstantial, making the process of turning the fabric into a garment a bit fiddly and challenging.  Even a hangnail or roughly polished table can catch on it.  Yet, the fabric is somehow strong enough to not run a snag or a pull.  It has an elegant drape with an appearance vastly smoother than your normal knit with a slight satin sheen.  All of these qualities help my top to be the best ever travel piece since it air dries in under an hour, resists wrinkles due to its softness, and packs into the size of the average sandwich by being so lightweight.  Yes, it is sheer, but somehow doesn’t seem to be see through once worn.  For being so thin, nevertheless, the fabric miraculously manages to keep me just warm enough to never catch a chill.  Being a newbie to this material, I am overall in awe and wish I would have tried sewing with silk jersey sooner.  It is as easy to enjoy as it is to take care of, a characteristic I am not used to for something so deluxe.  Anything made of silk jersey can easily become everyday finery!

     With such a positive experience under my belt, I was determined to sew yet another similar turtleneck in a useful, simple black color for the following winter.  I stayed true to my determination!  Since buying the ivory knit, Mood Fabrics has not offered any colors for their silk jersey, but I found a similar blend in a true black via a seller on Etsy (see site link in “The Facts”).  This time, my fabric is a micro knit, and even more delicate yet resilient.  I love this version!  I can see myself wearing it so much now, from layering it under my 1980s inspired strapless dress to pairing it with my 1940s suit set.

     I found a pattern which has a touch of detail to the neckline, so that I can keep my black turtleneck basic yet also more fashionable than the previous one.  The particular Burda design I used came from a magazine that has had many great “hits” for me already (such as this blouse and skirt set, or this cocoon coat), and so I had a good feeling it would turn out splendidly.  I was correct!  Other than sewing slightly wider seam allowances to taper the fit, this version was whipped together in one night and was an easy success.  The front peek-a-boo keyhole was eliminated and the height of the turtle neck collar was reduced in half.  Otherwise, the neckline gathers were still kept (of course, as they are the key detail here).  Nothing else was changed to the design.  I took the extra time to do hand stitching on this top for all hemming, since the black knit was even more delicate than the fabric which was used before.  Contrary to the pattern’s chart, one yard was enough fabric for this fantastic top with the wider selvedge of my material.  Yet another winter wardrobe staple was crossed off my wish list in no time with very little effort or expense.

     Because I am both ‘cheap and chic’, but also cannot help but see a turtleneck as being tied to the 1980s or 90s, I couldn’t help but pair my top with an original retro designer mini skirt from my wardrobe.  In order to help this turtleneck rise above the simple one that rode the slopes with me under my ski suit, my black version is paired with a Moschino brand skirt, novelty tights, and my old 90s strapy heels for these pictures.  My skirt’s label is Moschino’s “Cheap and Chic” line, from one of his lesser known late 1990s collections.  I love how the skirt has similar qualities of my top – subtle details, fine quality material, great fit, and fun style. 

The ‘print’ on the pique finished cotton is not just plaid, but actually small lines of text which makes references to rebellion, irony, and eclecticism in both Italian and English.  It was perfect for the “literary punk/modern Dark Academia” look I was going for with my outfit, especially when our pictures were taken at a library.  I previously (in this post) talked about how Franco Moschino was a strong influence on my 2024 fashion choices, and continues to be into this coming year.  Such a cute skirt from one of my favorite modern designers helps me enjoy finding ways to see my turtlenecks of today as elevated above the mediocre ones of my childhood. 

     These two tops continue to teach me an excellent lesson, one that I hope can offer others to learn from as well.  Sewing your own “boring” basics is incredibly worthwhile!  I find it even more of a treat to wear something handmade on a regular basis, than crafting a fancy gown to be enjoyed only once in a while.  The fact that you are the one sewing provides an opportunity to elevate such basics to a level which otherwise may be either unaffordable or unable to be found, and customize both the fit and details to your liking.  This will ensure that any time spent on sewing will be worthwhile and help you fill your closet with items that will be a wardrobe’s MVP.

     My ivory turtleneck is a beautifully handmade winter staple item with straightforward lines and the coziest qualities I could hope for.  Best yet, it carries with it the great memory of my first exciting and awkward but still triumphant time snowboarding.  My black turtleneck is a fashionable variety of everything I loved about the former project with an extra flair of fun and sophistication.  It fulfills my childhood outfit goals and my current sense of style at the same time.  Between both tops, I am helping my least favorite season to have my favorite wardrobe.  I see the cold as yet another challenge to sew fashions which are not lacking in style for their element of warmth.  Sir Ranulph Fiennes, a British explorer who has trekked both the North and South Poles as well as completely crossing Antarctica on foot, has said, “There is no such thing as bad weather, only inappropriate clothing.”

Comic Relief

     Last year was a wild ride for me.  In 2024, I had landmark achievements that are counted amongst my proudest moments alongside defeating experiences which knocked me flat.  I could use a little comic relief to start off 2025.  Laughter is supposed to be the best remedy for a person’s well-being and I believe it.  “A cheerful heart is good medicine, but a crushed spirit dries up the bones” says Proverbs 17:22.  I need to chuckle my way through this coming year in order to thrive, and I will use my fashion style to reflect this perspective.  You’ll “see me in the funny papers” alright…because I will be wearing them!

    My most recent source for finding laughter is “The Nanny” television show from the 90s.  The quirky antics and witty responses of Fran Fine have been a reliable way for me to de-stress at the end of a night and laugh my troubles of the day away.  Her wardrobe is no less witty than her words, but her wardrobe is also no less appealing, coming from some of my favorite modern designers.  Thus, I thought of combining the entertainment purposes of a graphic novel with the hilarity of “The Nanny” into one deluxe late 1990s suit set.  Fran’s Moschino garments are reliably my favorite looks, and since Franco Moschino was dubbed as the “Court Jester” of the Couture Industry, I felt there was no other designer to interpret for my comical suit set.  

     I had already had my comic fabric for several years before with no satisfying idea how to channel the crazy print.  A graphic novel style print of Wonder Woman had been applied to an old tank top refashion (posted here), but I wanted an “out of my comfort zone” kind of project this time.  Both Moschino fashions and Fran Fine’s styles had been a major influence for me in 2024 (as manifested in this post from a year ago), and my motivation to bring such fashion into my wardrobe is not waning. 

     Fran’s comic print skirt as seen on Season 3, episode 21 is actually by the label “XOXO”.  However, in a quest to find more images of that particular skirt, I found a fascination for Moschino’s various comic book printed fashions.  In 1991, he released a skirt set in conjunction with Roy Lichtenstein, the American pop artist.  Even though it was large scale print, the style of the suit was my main inspiration.  Franco Moschino also custom designed his own cartoon prints for pants, skirts, and blouses to wryly joke about fashion or even take shots at himself, much like how my chosen fabric is full of irony towards the pitfalls of the creative process of sewing.  Following such headliners for fashion guidance, my two suiting items turned out to be much more entertaining than a basic apron or A-line dress (my preliminary ideas for the fabric).  This set has the perfect Moschino touch combined with a Fran flair!  It is such a treat to wear these pieces as much as I can.  They ooze an upbeat energy that I need in my life.   

THE FACTS:

FABRIC:  a 100% cotton Alexander Henry “Modern Sewing Woes” print from 2017, fully lined in satin finish Bamberg rayon

PATTERN:  McCall’s #6432, a NY NY “The Collection” pattern from 1993, for the blazer jacket and McCall’s #2397, a NY NY “The Collection” pattern from 1999, for the skirt

NOTIONS NEEDED:  I used lots of thread, some interfacing, four yards of ¼ inch double fold bias binding, one short 7 inch zipper (a vintage one with metal teeth from my maternal grandmother’s stash), and two vintage buttons.

TIME TO COMPLETE:  The skirt was made first, and finished within 6 hours in July 2024.  The jacket was then sewn in November 2024 after about 30 hours of effort. 

THE INSIDES:  Both pieces are professionally finished by being fully lined and so no raw edges are seen.

TOTAL COST:  The skirt was made of a one yard remnant I found on Ebay for about $15, while the jacket was a bigger 2 ½ yard cut that I bought on Etsy for about $25.  The lining cost me about $20, but all of my notions are as good as free since they were already on hand.  Let’s say the suit set cost me $60 altogether.

     This grand project is a sort-of “going away” celebration for the end of the iconic and wildly popular Alexander Henry fabrics.  In May 2024, the company announced it was closing the studio after the passing of their president who had been the director since the 1960s, Marc de Leon.  Their amazing cotton prints have always originated from hand-painted drawings of their in-house artists, and their fall/winter 2024 collection was sadly their last in production.  I have not bought as many Alexander Henry fabrics as I have wanted to over the years, and now they are too expensive to stock up on all at once before they disappear.  Nevertheless, I had a good amount of the “Sewing Woes” print on hand before the closure because of the way its illustrations resonated with me as of late. 

     I have not been doing as much ‘racing’ through seams as I had hoped or wanted to in 2024.  It was year of less sewing while focusing on both my heath and other avenues of my personal interest.  My acute tiredness and household distractions in the very small time increments, which I find for sewing, has led to some “sewing woes” of my own.  I have not been my normal sewing self this year.  This Alexander Henry print helps me smile at my frustrations with my creative outlet and feel better.  The selvedge information was cut out and folded into a label (of sorts) which was sewn into the inner edge of the jacket’s facing so that the attribution of the material will always stay with my creation.

     I find that this particular line of McCall’s NY NY patterns have always been consistent for me with a great proportional fit for my petite body and reliable sizing chart.  I thought using a NY NY McCall’s would help me succeed with this project due its reliability.  Nevertheless, I made an error in figuring whilst trying to be on the safe side.  Thus, this skirt is my first setback from this pattern line, but whether that can be chalked up to the design, a flaw in the pattern’s fit, or my bad choice choosing sizing is still undetermined.  This skirt is true to the late 90s, hugging the hips and riding below the waistline.  Therefore, I thought that perhaps the fact my pattern was bigger than my normal sizing choice would be irrelevant due to the style.  I decided it would be safe to not grade the pattern down.  The skirt then turned out to be much too big for me. 

     It has been enough years past for me to forget how the fashionably low hip hugging jeans fit me from my early teen years.  All I remember now is avoiding a fit which leads to a “muffin top” around my midsection.  How to wear a low riding skirt was an absolute mystery to me as I have never worn such a thing.  I was heading into uncharted territory.  A curated fit to perfect the lower ride of my skirt was a goal but I wasn’t sure how to finely tune such a thing.  Too tight is not good I figured, but found that neither is too loose.  My skirt had to be gradually tapered in and curved at the sides in between many try-ons before assembling the set-in waistband.  I was able to find a fit I am happy with ultimately, and the snug, curved, wide waistband helps anchor the skirt in place.  Yet, I suspect the size is still not as good as it would have been if I had just properly graded my pattern down.  Even still, it is better to have room to work with than too little when sewing. 

     All is well that ends well here, and I am chalking my unease with the fit to the fact I have been far removed from anything hip hugging since forever.  Additionally, this is the shortest skirt I have yet worn in public!  I do like trying new things and finding a confidence with my body to embrace new styles, especially when doing such in the name of Fran Fine and Moschino.  I have tried on vintage miniskirts recently at some shops and none of them have given me the hip room I need like this skirt does, so I am thrilled.  This fun and comfortable skirt is just what I need to have a miniskirt I will enjoy…..with or without its matching jacket.

     For the second half of the set, I sized down.  The summary on the back of the pattern envelope stated that the jacket was loose fitting.  My pattern was also two sizes too small for me.  This design could drown my smaller frame if it was not fitted.  I merely added an extra seam allowance amount into the side seams, and left the waist and shoulders as-is since I have a petite torso height.  My jacket happily turned out to be just the right size for me!  I had to sew a slightly deeper seam allowance in the shoulders and sleeve head to account for the smaller shoulder pads I intended to use.  Other than that, there was no additional fitting tweaks needed and this jacket was easy to come together.  For being what looks like a suit coat, it was one of the least stressful and time-consuming in my projects list.  To make, it felt like a real treat in more ways than one.

     There was no lining called for in the jacket’s pattern, but the thin and fluffy Alexander Henry cotton needed finer finishing techniques that what was intended.  Even though I said this pattern was easy, adjusting for a lining did not add complications but fun, since it was up to my knowledge to get it right.  The same pattern pieces as were used for the printed exterior went towards cutting out lining, adapting them as was necessary.  The back bodice was cut with a center box pleat for wearing ease between the shoulder blades, a detail to be found in almost every jacket lining.  The front bodice pieces were cut to be two-part with a smooth design, lacking both the waistline pleats and bust darts of the exterior.  The peplum had extra ease added to accommodate the way lining is traditionally folded under just above the hem. 

     After sewing more than a dozen jackets and coats by this time, I am used to seeing how lining patterns should generally look and what detail they should have.  Sewing skills aren’t necessary in order to get used to garment construction practices, though.  You can look at existing clothing, preferably older pieces which have quality finishing techniques, to get used to standard design lines or see hints of how complex seams are assembled.  Taking note of such details will have you both in awe of the techniques of sewing, while also preparing you for understanding its complexity.

I have a simple dual snap closure for the jacket. It pinches the waist edges together.

     I did not dare attempt to add piping into the seams, as the pattern showed, in order to attain that black edging.  Achieving sharp corners with piping in the seams is a pain that I was not up for.  Yet, with such a busy print, my jacket needed its design lines highlighted.  I took an easier route and used thin bias tape instead.  The jacket was sewn together as normal, but the collar and pockets had bias tape stitched down over the edges before full assembly.  I love the way this step keeps my jacket’s details from blending into the print.  After all, the unique collar and pockets completely deserve to steal some of the spotlight away from the print!  Yet, I also see the black edging as adding to the print for the way it reminds me of either the borders of a graphic novel or the outline lines to drawing a comic character.  Every piece of the jacket was cut on a single layer of the fabric so that panes of the print would be evenly spaced out and not repeat the images too close to one another.  I lined up the level of the borders but distributed the images with plenty of forethought and intention.    

     In contrast, I was working with a small cut of fabric and couldn’t match up the seam lines as well as had been desired at the cutting stage.  I had to throw over-planning out the window.  After the escapade of sizing down the side seams, my half-hearted effort to match the print was generally lost.  The excessive busyness, which patch pockets would add, were undesirable at this point.  As much as I hate making welt pockets, I endured the misery in order to lessen adding more seam lines and making the print choppy.  I love how sneakily hidden the pockets are now.  My only issue with them is how the welt opening puffs out and ruins the smooth front the skirt had before I added pockets.  At some point, I may come back and add a button closure to keep the pocket opening down.  I also may come back to add belt loops to the waistline as well as a matching belt to make my skirt closer to Fran’s original XOXO skirt from “The Nanny”.  Nevertheless, I enjoy my new garment far too much at the moment to fuss over some small details.  I want to be busy wearing this skirt and not sewing on it!  

     My suit coat needed a little official touch, and so – in lieu of a garment label – I added a novelty patch.  This is a little inside joke, since it takes me back to the 1990s, when I was adding iron-on transfers, bling, and novelty patches to my clothes on a regular basis in an effort to personalize my fashion.  Also, the patch is so in line with Moschino’s quirky sense of humor, it is the icing on a cake that is my suit set.  It has a fake bar code…because homemade clothes need no checkout tag!  Underneath are the words, “Me, all the time”.  In 2024, I often felt more tired and droopy than energized, and thus this is just more of the same type of humor that is on the comic print.  In reality, this is a fairly fresh project off of my machine, and a breath of fresh air to me as compared to the bland ready-to-wear fashions I see as “trending” today.    

     I would have never guessed that a long lined suit jacket and a mini skirt would pair so well together if I hadn’t had faith in the fashion genius of Brenda Cooper, the Emmy award winning stylist behind Fran Fine wardrobe on “The Nanny” tv show.  I know I am not at all as skinny as Fran was during the filming of the show, but hoped such an unexpected combination of styles would be possible for me the way they worked for her!  Whenever I bring together two different patterns into one set, I am never really sure if the two items will complement each other enough to appear as a coordinated pair.  The two patterns I used came from both ends of the 90s decade and styles did change (even if it was subtle) between their eight years’ difference.  Listen to me trying to be overly specific here…I suppose the frequency with which I am studying the 1990s is showing!  It was the era of my childhood and I am just now enjoying playing catching up on all the fashions I saw the adults wearing in the catalogs.

     The unexpected part about sporting this suit in public is the way it appeals to children.  Sure, I have garnered plenty of compliments from adults of all ages, too.  Yet, for one instance, a kid at a party I attended hovered around me for about five whole minutes, circling to absorb every pane of my comic print.  This made my outfit so very worthwhile.  My princess inspired dresses have been the last sewing to have appealed to the younger set the way this cartoon set does.  Honestly, the kid inside of me doesn’t blame them.  I even can picture my own “Sewing Woes” adventures as becoming a humorous cartoon story of its own, much like the music video to the 1985 A-Ha song “Take on Me”. 

     I enjoy being able to look down at my handmade clothes and see some comic panes perfectly on theme for the woman I am today.  I find empathy with whatever comic pane resonates with the sewing story which is in my head at the moment.  Being able to laugh your troubles away is relieving, and smiling back at memories warms the heart.  I hope this year holds a plenteous amount of the reprieve that laughter holds for those who power through their troubles with a smile and a chuckle.   

“Gray Skies Ahead” Patrick Kelly Suit

     Fashion of the 1980s might not be appreciated by many or widely understood even today, but I believe it holds a key to where modern style needs to go today.  The following decade of the 1990s holds the last of a spark we need to catch hold of for the future of the garment industry.  I’ll explain my reasoning later on as I wrap up my post, but behind this bold statement is a fancy gray suit set to prove my point along the way.  This post features yet another of my recreations of a Patrick Kelly design, one that is fun and futuristic, balanced on the edge between the 80s and 90s, yet still way ahead of its time.  I present to you a flocked skirt suit from the winter of 1989-1990, adorned with over 40 buttons which glisten like stars against a murky sky!

     When we think of the future, such a consideration is often intertwined with Space discoveries and planetary exploration.  The theme to the designer Patrick Kelly collections of 1989 (both the summer “Moona Lisa” and the Fall/Winter “Man in the Gray Flannel Suit” set) focused on space and celebrated the many American shuttle missions of circa 1989. 

It had been 975 days after the Challenger disaster that the Space Shuttle Discovery successfully lifted off from Kennedy Space Center in Florida on September 29, 1988.  The next year (1989) had more Discovery missions in March and November, as well as two shuttle Atlantis missions.  There was one in May to launch the Magellan robotic probe for mapping the surface of Venus and one in October to launch the Galileo probe for studying the planet Jupiter and its moons.  The shuttle Columbia bookended the Challenger Disaster of ’86 as being the last successful mission before that fateful explosion.  Columbia also the first successful blastoff afterwards at a new launch pad at Edwards Air Force Base in California.  Learning about space was my obsession as a child in the late 80s, so I am here secretly reliving my youthful excitement all over again just writing a small blurb about all of this history!! 

     With so much astronomical inspiration, I can be tacky and say that the stars literally did align for my suit to be everything I could have wanted out of my latest Patrick Kelly project.  I finished making my suit just in time to take our pictures at a futuristic exhibit that comes from the original Space Era of the 1960s.  I am strolling amidst a “Narcissus Garden” of 1,000 polished reflective spheres by the Japanese artist Yayoi Kusama.  It is an exhibit, first presented in 1966, which was hosted at a local art space in my hometown for a brief viewing.  Kusama said of her work, “The silver ball is representative of the moon, of sunshine and peace” demonstrating the “union of man and nature.”  The exhibit placard stated that the mirroring is meant to relate a sense of infinite space as you observe yourself visually trapped as a reflection in the orbs.  The art display is simultaneously meant to make you feel both big and small, vital yet insignificant, similar to what discovering the secrets of the galaxy can do for you!  Think of how humbling to see the view of our planet from the surface rover on Mars.  Earth is an infinitely small blip in the sky and yet of such importance…it holds life as we know it.

I can even wear my suit coat with my 1940s inspired jumpsuit (posted here)!

     At this point, I am no doubt a Patrick Kelly fanatic.  This is my ninth Patrick Kelly sewing project which is directly inspired by a runway documented piece and my fourth time using one of his licensed Vogue “Individualist” patterns.  This reminds me of the “same old seven and six” phrase, where (by now) my Patrick Kelly sewing is a constant part of my regular sewing practice as well as my routine wellspring of inspiration.  In my case, however, this occurrence is not at all monotonous but keeps my sewing mojo and sense of style going.  There are more yet to show coming to my blog soon.  For now, this 1989 suit is the most involved project of mine inspired by his work, and also the closest in appearance to its original designer garment.  I am absolutely thrilled.  I love suit making, and this suit reminds of the best of everything I enjoy about the strong confidence of 1940s fashion.  To be coming from one of my favorite designers is icing on a cake, and to experiment with this many buttons in such a setting is an exciting innovation.

THE FACTS

FABRIC:  a polyester high nap velvet (also used to sew this 1934 beret hat), fully lined in rayon Bamberg satin and interlined with a polyester shantung

PATTERN:  Vogue Individualist pattern #2556 by Patrick Kelly, from Fall/Winter of 1989-1990

NOTIONS:  I had all the notions needed (zipper, thread, interfacing) on hand already, and the vintage set of 45 buttons was all that I needed to buy specifically for this project.

TIME TO COMPLETE:  This suit set took me over 40 hours and then I stopped counting.  It was finished in May of 2023.

THE INSIDES:  The fabric doesn’t fray but stays so clean along the cut edge on its own, so I left the inner skirt seams unfinished.  The jacket is professionally finished inside with full body lining, so there are no raw edges to be seen.

TOTAL COST:  This project had everything on hand in my stash already, and so my suit only cost me $20…the deal for which I acquired the buttons

     Everything serendipitously lined up for me to create this Patrick Kelly design, and it seemed a project which was meant to become a part of my wardrobe.  I had all my necessary supplies on hand for years except for the decorative buttons!  The gray brushed fabric has been residing in my stash for over two decades because I never knew (until now) what to do with it.  I was “over the moon” to suddenly find a very useful purpose for the fabric.  Surprisingly, though, it was also the best match to the original suit material which I could have ever hoped to find.  Patrick Kelly’s suit was made of gray mohair.  Nevertheless, I believe I would be allergic to mohair’s fiber content as well as its high price tag.  If I had specifically been looking to buy, finding the perfect material was far easier merely ‘shopping’ from my stash.  The soft sky blue Bamberg rayon used for lining the suit jacket had already been bought awhile back for a separate project, so I only used a half of the full cut length that was available.  Faux silk shantung, used for structural interlining to the jacket body, was picked up for a dollar at a rummage sale.  While I am not a hoarder and keep my amount of sewing supplies at a manageable size, my fabric stash is ample enough to provide for my most creative project ideas.

     As involved and deluxe as this suit is, you see how the cost to me was almost nothing…yet I did not compromise on either my concept or my garment’s quality.  This suit to me embodies what needs to be the future of fashion.  Use what supplies which already exist, buy second-hand, and try to forego buying new.  If you are a maker, create with purpose and quality so you will keep and appreciate what you have made for long term.  Quality and respect are the underlying themes of what I would like to see in the future of fashion, both in the realm of the consumer or maker and for industry standards as well. 

     This Patrick Kelly suit, with its strong presentation and somber color, reminds me of Thierry Mugler’s sci-fi inspired, sharp shouldered, strong suits of the 80s that were made in gray, metallic, and other tones reminiscent of space equipment.  It is well known that Patrick Kelly drew inspiration from his fellow designers of the time, so I do not think my supposed reference is too far-fetched.  Mugler was part of Patrick Kelly’s 1988 AIDS awareness charity event, and similarly often addressed racism, diversity, and equality issues with his runway shows, so the two creators no doubt were on similar wavelengths in many ways.  

     However, Patrick Kelly’s characteristic exuberance was too joyful to stick solely to Mugler’s jarring sense of style.   This post’s particular suit design, from the winter of 1989-1990, was not relegated to Patrick Kelly’s space-themed collection, but had a handful of bright and fun varieties.  The most frequently seen alternate is a neon pink woolen version, covered with ball buttons in every color of the rainbow.  There is also a classic red variety that has shiny gold buttons, complete with either red long jodhpurs, to play with the “Red Riding Hood” theme of that collection, as well as a mini skirt.  In the summer of 1989, he came out with an unlined white denim version decorated using wooden buttons, paired with shorts (made from this particular design).   I have found an unadorned heather gray wool version paired with black lace accents, which I refer to by wearing a vintage lace top (that I have had since my teen years) under my suit jacket. 

Patrick Kelly recycled most of his designs into extension styles over many seasons.  He was great at making the most out his favorite silhouettes and keeping them fresh with interesting additions or combinations of fabric and accessories.  This is a very admirable, smart, and sustainable way to work!      

Close up, the velvet is not at all plain!

     Originally, oversized silver ball buttons were used on Patrick Kelly’s suit…sending strong reference vibes to Kusama’s “Narcissus Garden” art exhibit.  I customized this part of the suit to my own ideas while keeping the same general theme.  My suit has shiny silver buttons which are more akin to space rockets or futuristic light fixtures.  The buttons I used are still the proper provenance, being true 1980s originals.  Yet, I changed up the order in which the buttons are added, while keeping the same grid placement.  The instructions show that sewing down the buttons is one of the very last steps.  There was no way I was going through the torture of trying to avoid catching the lining after it was sewn into the jacket when stitching on the buttons. 

This picture shows the golden shantung which was my interlining.

     Instead, I added the buttons early on in construction, after the interlining was in and both the side and shoulder seams were in place.  Working according to this plan, I could make sure the interlining would not shift (even without pad stitching), and not have the shoulder pads be yet another internal addition in the way.  I could also follow the markings for the buttons which I had on the interlining. This was handy as the velvet would not take to chalk and I was too lazy to do thread markings.  The buttons take the spotlight here with this suit, though, and deserved every minute of both time and forethought they demanded.  It took me about 5 hours (out of my total hour count) to mark, prepare the suit for, and stitch down 42 buttons.  This is nothing compared to the 13 hours I spent to up-cycle an old dress of mine with 130 buttons for my first Patrick Kelly inspired project (full post here)!

     By now, I know the sizing quirks of Patrick Kelly’s clothes, since I have sewn a handful of his designs (issued from Vogue patterns between 1988 and 1992) and possess several original vintage designs (as can be seen in this post).  His clothes run small through the waist and hips but roomy above, with longer sleeve lengths.  My pattern was a size too small for me, and so the jacket ended up just my size…still generous enough in fit to have no drag lines, but also fitting enough to not drown me.  It has the ‘proper’ strong-shouldered, boxy shape for the late 1980s, as was intended.  The skirt was then sized up along the sides and centers, and happily I had enough room for my wide hips.  I did keep the lengths of the skirt, sleeve cuffs, and suit hem the same as was given the pattern.  Even if I am personally much shorter than any paid fashion model, I wanted something close to the proportions as seen on the runway set, despite never wearing a skirt this short before.  I love the novelty of being able to wear something I wouldn’t normally try, and feel that this is Parisian couture done my way.  

     In this case, making my own Patrick Kelly fashion gave me a better fitting combo of pieces than if I had acquired an original suit.  My body, much like a large percentage of people, doesn’t perfectly fit into industry standard sizes.  Not only is a matching original suit from Patrick Kelly hard to find in the first place, however, they are also incredibly high priced (in the few thousands range) when they are up for sale.  Finding a matching suit with the bottom half a size larger would be impossible for me on many levels.  I am very thankful that Patrick Kelly worked with Vogue to let his designs be available for the home sewing enthusiast.  This way I can enjoy something unattainable on my own terms, and according to my own size and budget.  This is the ideal incentive behind the annual challenge hosted by Linda at “Nice dress! Thanks, I made it!!” called “Designin’ December”, for which I am entering this suit set. 

     Every time I create something especially unique with great care and attention to detail, it makes me think big thoughts.  I can’t figure what is coming down the line for the future of fashion, but I keep finding myself wondering about the subject all the same.  The styles of 2020s (so far) seem to follow on the heels of the last decade by being frequently erratic, mostly unoriginal, overly commercial, and questionably sustainable.  There is one quote that helps me find some clarity though.  “If we can’t deal with where we’ve been, it’s going to be hard to go somewhere.”  This is what the great designer Patrick Kelly told a packed audience of students at Fashion Institute of Technology’s lecture series “Faces and Places in Fashion” in April 1989.  My 1980s and 1990s posts always receive the least interaction numbers in my blog stats, but I am finding pure gold when digging into these eras.  I believe in facing the fact that the fashion of these two decades are the ‘newest’ vintage pieces joining the racks of collectible clothing of the past.    

Patrick Kelly’s space-themed “Astro (Mona) Lisa” invitation to come to the Louvre in Paris for his Spring-Summer 1989 fashion show.

     In a world where fads come and go in a matter of weeks, where clothing is produced cheaply enough to perpetuate our reliance on consumerism, and where there are more clothes made than people on the planet, we need to resist the vicious cycle.  As I have mentioned throughout my post, this suit, and the stories I have shared related to it, offer many answers.  There is nothing wrong with repeating an outfit – that shows self-confidence and a sense of style.  It is good to sew for yourself or others – just try to shop for those supplies sustainably.  Finally, the styles of the 1980s and 1990s may be underappreciated, but these decades were the last in recent fashion history to have been made with a lasting quality and a sense of intention.  The clothes then were standout styles that had substance behind them.  Their material was thick, their seams were sturdy, and they were made to last.  For what that is worth, these two decades might not have what a majority of people want to wear but they teach a valuable lesson.  Think of the future and what we are leaving for generations ahead of us!  If we as a people still love reaching out to the wonders of space for a sense of the beauty and wonder of our earth, let us set our minds on making our place in the cosmos as beautiful a home as possible.  I am holding onto hope to have a great 2025, and wish the same to all of you!

‘Tis the Holly and the Ivy

     My family and I want to extend our warmest holiday greeting to you and your family!  May you be in good health, make great memories, enjoy good food, have good times, and catch some extra rest during these special times.  Find some time for doing whatever it may be that delights you and will make the day meaningful.  I hope you feel the peace and joy of Christmas!

     My own personal theme for dressing up over the 2024 holiday is to enjoy these days wearing both green and red.  Thus, I feel like I am having a “holly and ivy” moment.  I love the Christmas carol by that name, anyways, and ordered myself a holly enamel pin for my own present.  This post will not be the ‘normal’ presentation here on my blog.  This is more of a brief show-and-tell, indulging in sharing what I have been creating with my limited free time lately.  I have some sneak peeks at new sewing projects just finished for these holidays, yet to have their own post in full.  I will then feature some on-theme vintage original garments which I am also enjoying at the moment.  Finally, there is one experimental project I undertook to make the most of a dry, shattering vintage silk so it can (ever so briefly) be useful and layer under one of my vintage garments.   

     I realize dark red, burgundy, rich cherry, and maroon tones have been the popular thing since fall, and a bright lipstick red (such as I have for this Christmas) may not be “on trend”.  Yet, the trending color is the shade I prefer on a regular basis – just look at the sheer amount of burgundy and dark red projects I have on my blog!  I associate a bright classic red with the winter holiday due to candy canes, Santa Claus, and holly berries.  I also see a bright red as tied to vintage styles, Marvel’s Agent Peggy Carter fashion, and the collections of Patrick Kelly, just about my favorite designer.  I have combined my associations for a bold red tone into one exciting project that I am immediately enjoying for the holidays.  This project was originally not made with Christmas in mind, but was merely making use of a long hoarded fabric from my stash to bring to life yet another Patrick Kelly inspired design according to my own interpretation.  Making this dress took me so long to finish it just happened to be completed before Christmas.  It is a year 1990 dress made using a true vintage Vogue pattern, and there are more stunning details to take note of here than will meet the eye with one picture.  Wait until you see the sexy cut-out back detailing!  You will just have to wait for the full post, which will hopefully be coming in February 2025.

     My second Christmas sewing project was actually finished at the beginning of this month, just in time for my husband’s workplace’s Christmas party.  This year the party was held at a nice venue, and was more of a true dressy event than in the past.  Any excuse to dress up to another level and sew a fancy dress is more than welcome in my estimation!  I was excited at the prospect to have a valid reason to sew a dress project I have been sitting on, wanting to create for two years now.  I had all the supplies I needed (the fabric, notions, and pattern) all in a Ziploc bag, ready to go, and it helped this dress be so easy to whip together.  I was working with a silk and rayon blend brocade, handmade by a small shop in Japan in a heritage design.  The gorgeous fabric was such a dream to sew that this dress was as much a delight to make as it is to wear the finished garment.  My needle went through the brocade like a hot knife in butter and the dress fit me precisely with no fitting adjustments needed.  This was my easiest fancy sewing project, while also being one of my most wearable.  I am thrilled with this dress.  I feel like a princess in it!  It is a 1949 design and will probably be posted on its own in March 2025.

     True vintage garments supplement my wardrobe and are what I reach for when it comes to wearing items not made by my hands.  I have very specific goals and credentials when I buy vintage garments.  I sew enough clothes for myself and do not ‘need’ any more clothing, yet I enjoy finding items from designers who I know compliment my own personal style choices.  The quality and details present in vintage clothing either reminds me of my own sewing or inspire me to try a new technique, but always feeds my creative and enthusiastic side.

     Complimenting my fascination for the “American in Paris” designer Patrick Kelly is my adoration for the styles of another French designer, Emanuel Ungaro.  For my birthday in August this year, I treated myself to acquiring a bucket list item of a 1980s suit set from Emanuel Ungaro.  The great thing about this suit set is how the two pieces are flexible made of a polished cotton sateen with a print in many colors, which make it fit to wear year ‘round.  Ungaro clothes in the 1980s are unmistakable with their riot of colors in some sort of polka dotted print and asymmetric seaming.  This suit stays true to that troupe, and is therefore also versatile for accessorizing. 

As the background color to the suit is a bright green, and there is a bright red included sparingly in the print, I chose to take an “80s-does-40s” look with a Christmas theme.  My hat and gloves are true 1950s, while my shoes are 1980s, and the hair is closer to 1940s…but with Emanual Ungaro on my back, it all works out somehow!  I have an Ungaro suit that I plan to make in 2025 using true designer material (similar to how I made this Kenzo tunic), and so buying this suit was not just gifting myself my dream find.  It is also a research item to help me replicate Ungaro’s techniques into my own sewing.  This suit has great details which I will show more of in a future summer of 2025 post.

     Finally, my last minute Christmas sewing has included something not so flashy but definitely useful – a bias slip.  The only problem here was that I was using a real 1920s or 1930s silk crepe which was already manifesting the signs of dry rot.  I had 5 yards of this fabric which was given to me by an acquaintance who sells vintage.  This was not something which could be sold, but it was good for one last possible spin before it disintegrates, and this acquaintance knew that I could make good out of what was left in the fabric.  At the skinny 35” width so often seen with old fabric, I used up 3 yards to give Mood Fabric’s free “Hana” bias cut slip dress pattern a test run.  A 1930s dress was appropriate for a Depression era fabric.  Bias cut dresses are tricky yet forgiving and wouldn’t put too much stress or too many seams into the old fabric.  I had other plans for this dress pattern with finer fabric in the future and this was the perfect opportunity to make use of the old fabric.  A green slip dress was just the thing I could use to go underneath a vintage bright green wrap dress by the designer Anne Fogarty.  (See more pictures of my dress in this post and this one.)  Sometimes, as it only loosely wraps closed, this dress opens up to reveal a naughty little peek of more than I would like to show and a green bias slip would keep my decency while blending in.  Vintage rayon bias tape and specialty mercerized cotton thread was used from my stash to finish the slip.  More about this project will no doubt be posted when I share the better version of the “Hana” dress in the future. 

     Far from the two fancy dresses I made, this dress was falling apart as I was sewing it together.  I have never before had this experience.  Spending time (even if it was only a few hours) on something which was guaranteed not to last was disheartening.  With most vintage items, and all of my own garments, I can find a way to do repairs and keep my wardrobe going.  Here, even trying the dress on with the greatest delicacy ripped the facing and shredded a side seam and there is nothing to be done about it.  

The fabric is lovely but dry and powdery, so we will see if it will last one wearing.  At least I found out everything I needed to know about what adjustments were needed for a fail-proof “Hana” dress.  This slip dress is my lesson for Christmas this year.  I sometimes forget to appreciate the process, enjoy the moment before me, and learn what lessons come my way – both in sewing and in life. 

     Let me wrap up with one last extra wish for you to be blessed with a peaceful, happy holiday.  If you had any sewing to do, like me, I hope it was just as interesting a time as I have had, too!