Chintz and an Indian Print Shirt

I wore my Punjabi Kurta tunic that I made from a vintage sari – posted here!

     One of the highlights of 2022 for me was having my town’s Art Museum hosting the acclaimed exhibition Global Threads: The Art and Fashion of Indian Chintz, which is produced and circulated by the Royal Ontario Museum (ROM).  I considered visiting Canada just for this exhibit when it opened in Ontario in September of 2020…unbelievably, however, it subsequently came to me!  We attended all the presentations, curator talks, and related events, as well as even joining our Art Museum as a member just to have unlimited free access to the Chintz exhibit.  Nevertheless, it had a shortened opening time, and is now closed for visiting by the time I am getting around to posting about the exhibit – sorry!  As I have said before, I am still catching up on so many things from last year!  Nevertheless, as a replacement, I highly recommend purchasing the ROM’s exhibit book as well as following my posts about the outfits I made for the event’s occasions!  I say “outfits” in plural because I sewed something related and appropriate for our exhibit visits not just for me (to be shared in a follow up post) but for my man! 

Kalam bamboo pens as shown in my picture from the Chintz exhibit.

     A rich red is for auspicious and joyful festivities, so I thought the opening day for the Chintz exhibit was celebratory enough to merit hubby wearing the vibrant color.  Often, gold (in the form of embroidery or jewelry) is paired with the color red, but that is when the fabric worn is silk, such as for weddings and festivities.  Since this is an everyday cotton blend fabric, the beige and tan tones stamped into the blank spaces left from the resist mordant calms the red down and keeps this shirt more casual.  I realized that the exhibit featured chintz prints and my hubby’s shirt fabric vaguely fit into the exhibit’s definition of chintz, but that is a blurry, controversial topic.  The exhibit presented the distinction between the two (at the manufacturing level) as being that chintz has its prints individually hand drawn with a kalam bamboo pen, not just primarily stamped or resist dyed as is done to a block print.  However, many chintz prints utilize blocks or resist mordant to supplement (in some degree) the kalamkari handiwork.  Both prints often use the same dyes, oxides, or inks.  Thus, I figure my husband is dressed in a fabric that is a simpler “close relative” of the chintz we saw in the exhibit! 

     There are more differences between chintz and block prints yet to be mentioned, but I will not dive into the weeds here.  I just want to focus on how we were trying to honor India’s fiber arts heritage along with the exhibit by having this shirt for the occasion.  Most importantly, my hubby really seems to like his first taste of just how wonderfully soft and uniquely stylish an Indian block printed cotton can be to wear.  I hope you look into the beauty behind the history of Chintz and consider finding an Indian cotton print to work with for your own projects – whether they are for others or not.  You will not be disappointed!

THE FACTS:

FABRIC:  a soft cotton and flax blend Indian block print for the main shirt body with a solid red cotton broadcloth as the inner shoulder lining as well as the under collar contrast

PATTERN:  ”1950’s Men’s Sport Shirt with Front Detailing” vintage pattern reprint (listing here) from the “Vintage Sewing Pattern Company” on Etsy. 

NOTIONS NEEDED:  lots of thread, interfacing, and two natural coconut buttons

TIME TO COMPLETE:  The pattern itself took several hours to assemble, trace and resize down, but the actual sewing was a total of 12 hours and finished in September 2022

THE INSIDES:  I tightly zig-zag stitched over all the raw edges to imitate serging (overlocking)

TOTAL COST:  The fabric was an end-of-the-bolt remnant on sale at $15 for 1 3/8 yards, and everything else cost pittance as it was all leftovers from other projects, already on hand.

     The overall fit of this design is relaxed, boxy, and meant to be a closure-free pop-over-the-head shirt.  However, pullover or not, it is classic for menswear of the 1950’s decade with its dropped shoulder line, obnoxiously wide collar, and generous sizing.  The interesting chest paneling that incorporates working pockets carries the heart of the design.  It was so fun to sew, see how it turned out, and subsequently have my husband enjoy it.  I love a good design anyway, but especially one that leaves open the perfect opportunity for having fun with a directional fabric print as this one does. 

     I contacted the seller that reprinted the pattern to hopefully find out more information so I could more precisely date this design.  They kindly let me know it originally came from Woman’s Own, a British lifestyle magazine first published in 1932 and continuing to this day (albeit with more celebrity gossip and no patterns).  A man’s shirt pattern coming from a line so specific in name to women is rather humorous in its irony.  Nevertheless, by knowing the pattern number and then finding a few other Woman’s Own patterns which were dated with a nearby number, I was able to place my hubby’s shirt between 1958 and 1960.   It wasn’t until after circa 1963 that menswear styles started slimming down with smaller collars.  Menswear changes very slowly and clues to dating vintage styles for guys lies in the subtle details.

     This post’s project pattern reminds me of a previous 1950s pullover shirt that I made for my husband (posted here), which was also in an Indian cotton.  However, this design has the decorative panel coming across the chest and a full convertible collar.  The instructions were clear and well laid out, being a newly digitized reprint, while the pieces matched up perfectly.  The design is so economical, too – the numerous pieces make it fit on a smaller cut than it would otherwise.  If you didn’t notice my point in the “The Facts” above, I did make this out of just over a yard…but then again I am a pro at eking out efficient pattern layouts!  My biggest challenge was restricting my layout availability for the pattern pieces by having the stripes change direction from vertical through the body to horizontal across the upper panels. 

     Dramatic work was needed on the pattern at the paper stage before any cutting.  I did a pattern fitting on him because a pullover shirt in a woven (with no stretch) needs to be a tricky balance of a loose fit that does not drown the wearer.  It needed to be sized down to a whole size smaller than what the pattern’s size chart showed that my husband needed.  Evenly, in small, spread-out increments, I pinched out about 4 ½ inches across the width of the chest (which was tricky to do with the geometric paneling), with 2 of those inches solely out of the collar.  This was supposed to get the shirt down to a 38” chest, 14” collar according to the pattern’s size chart, yet the finished garment fits like a 40” chest, 15” collar.  I also found that the pattern had the chest panel running too low.  Looking at the pattern, the pocketed chest panel needs to run across from arm to arm.  If I hadn’t folded up the pattern piece by a couple of inches, the chest panel seam would have dropped below his arms to run across his upper torso.  I was looking out for him ahead of time, though, and eventually nailed down the fit, but as long as my man likes what I made for him, that is all that matters.

     It was crazy how I needed to cobble together the one piece that didn’t fit in the pattern piece layout – the shoulder panel.  Being one of the smaller pieces, the shoulder panel was sacrificed to be assembled from the leftover cuttings since I wanted the stripes to run horizontally.  I somehow organized 7 individual scrap pieces in a way that remotely matched enough to make the seams indistinguishable (see picture above at far left).  I ironed the entire panel so all the pieced seams would lay flat (see middle picture above). Nevertheless, it is the interior lining panel, being cut – as it should – in one solid piece, which helps support that section and keep it in the correct shape (see far right picture above).  I love lining the shoulder panel of shirts – it creates such a clean interior and gives a professional finish in one easy step!  Plus, lining panels are a perfect way to use smaller scraps of fabric, especially when it adds a fun little contrast of color. 

     The coconut buttons on this shirt are a special touch that makes me smile.  Natural wood buttons are frequently used in India’s fashions, but nevertheless I wanted to keep everything about this shirt as natural as possible.  No polyester is to be found here except for a small amount blended in the thread!  Coconut buttons, however, seem to absorb water easily and so cannot take a soaking at all.  I might want to just do a quick hand wash to clean it.  If coconut buttons get too wet, in my experience, they separate or just plain start to fall apart!  These have some sort of glazing on the front so maybe they will be sturdy for a while…we will see.  For now, they tame down the rich red tone and are the perfect mix of being a ‘nicer-than-normal’ shirt button but subtle enough to not be too noticeable.  After all, pockets always seem more fun than they already are when there is a neat button to close them!

Another amazing picture we took from the Chintz exhibit!

     I know I have made plenty of Indian inspired garments for myself, so I hope you enjoyed this different approach to sewing something using that county’s great fabric offerings.  Even though this shirt is not glaringly different, I suppose it’s still quite a unique thing to make for my man – definitely something one would not find anywhere else!  Yet, that is one of the main reasons for home sewing, right?  To fuel that creative drive for fulfilling a personal vision as well as to have unique well-fitted garments for me and others to wear are some of the things I enjoy about sewing…how about you?  Let’s all be happy he accommodated me enough to model his shirt and work through his unwillingness to be on the other side of the camera!

“More Love” Patrick Kelly’s Heart Bustier Dress

     The overall theme to the entire life of the “American in Paris” designer Patrick Kelly was one of boundless vibrancy of life, hopeful positivity, and more love.  This welcoming, joyful spirit extended into every portion of his life, but is especially visible through each item he made throughout his all-too-short career.   However, being a black man growing up in the 1950s and 60s of the southern states of America, he was by no means immune from being the target of hate, prejudice, marginalization, and dismissive behavior.  In return, his loving attitude towards life in all its facets is what made him so especially respected by everyone who he met…because love is the best kind of contagion!  Perhaps it was a result of his taking to heart the words of the great Martin Luther King Jr., “Hate cannot drive out hate; only love can do that.”  He always began every runway show by spray painting a giant red heart on the wall which showed his name.  How can you not fall for a designer so centered on the cultivating the basic needs of life – love and happiness?!

     Thus, I feel that a dress from Patrick Kelly’s “More Love” collection (of Fall/Winter 1988-1989) is most appropriate to share here for Valentine’s Day.  Do you see the “sweetheart” shaping front and center on my dress?  After all, he is one of my favorite designers – and not just because we share the same name – besides being my current muse and inspiration.  Even with this post having a ‘love’ theme, highlighting this designer will not be exclusive just to Valentine’s Day.  I have plenty more of his designs to showcase here on my blog yet to come.  May Patrick Kelly’s influence through my sewing his fashion fill your life with a little “More Love” through the entire year!

THE FACTS:

FABRIC:  “Peach Cable Knit Athleisure Fabric” from my local JoAnn Fabrics store.  It is 49% Rayon, 29% Polyester, 19% Nylon.

PATTERN:  Vogue ‘Individualist’ pattern #2165, year 1988, an original from my personal collection

NOTIONS NEEDED:  one long 22” invisible zipper and lots of thread; I added a button to close the neck

TIME TO COMPLETE:  This was made in about 15 hours and finished in December 2022.

THE INSIDES:  The fabric does not unravel or fray so the inner edges are left raw and unfinished

TOTAL COST:  Two yards of the knit fabric cost me $25 and the heart buttons and zipper brought my total up to just over $30.

     This is not the first time I have channeled Patrick Kelly, but rather the third.  My first look (posted here) was inspired by his trademark “buttons” dress.  Go read through that post of mine to learn an overview of his life and the why and what I admire so much about him.  Then, for the “Designin’ December” annual sewing challenge, my entry used an authentic Patrick Kelly sewing pattern to channel a year 1988 dress with his second prevailing theme of bows.  My post about that dress can be found here, and was a blast to make and wear for Christmas. 

     This post is about another 1988 design, also sewn using a trademarked Patrick Kelly pattern.  The “More Love” collection of winter of 1988 is wonderful because he dedicated it solely to a love theme.  All the symbols so frequently associated to love, especially around Valentine’s Day (such as a heart, the color red, kiss prints, and roses), were often subtly worked into almost every collection.  However, this post’s dress unabashedly embraces the theme with no distractions.  It was convenient that the “More Love” collection came on the heels of two “Salute to the Heart Strings” AIDS awareness charity events in July (at Atlanta, Georgia) and then in October of 1988 (at the Louvre).  Patrick Kelly recycled some of the same designs he produced for those two AIDS charity shows to use in his “More Love” collection for the runways of Paris because he saw love as being just that – unconditional and non-judgmental.  My pattern’s original dress design can be spotted in a classic black and red combo on the woman at the far left (partial collection seen in picture at right).

     I normally gravitate towards softer colors for Valentine’s Day and avoid a bold red unless it is Christmas or I am wearing an Agent Peggy Carter outfit.  Therefore, as much as I did want to make a version of that was identical to the model, I also wanted to stay true to myself…and that is the best way to show love to yourself!  When I found this soft pinkish cable knit, it just instantly struck me as being “the right one” for my heart bustier Patrick Kelly pattern.  Using this modern novelty knit is meant to be a reference to 1985 to 1986 when he freelanced under the Italian brand “Touche” in conjunction with another of my top favorite designers – Enrico Coveri. He also specialized in knitwear couture that had a quirky spirit of fun.  (I posted here about his life when I sewed a suit set using some Alta Moda Coveri wool)  Kelly and Coveri had a similar exuberant approach to both life and fashion.  Both men died in the year 1990 at a young age (their mid-30s) from AIDS.  Kelly’s preliminary collection of 1984 was a reworking of designer Kenzo pieces while Coveri had been dubbed the “Italian Kenzo” since his pioneer collection, circa 1979.  Both also used similar Italian fabric manufacturing firms to source the knitwear for their collections and both were branded for their clingy, body-hugging fashions, as well.  The two of them had a significant amount in common, more than I have room here to recount!  Coveri however favored pastels or Kelly’s use of primary colors so maybe the former’s influence won out more than I first realized.

     My dual designer reference is so niche that no one but me would ever know, but that is just how I like it.  This is the ultimate benefit to the fact that patterns with a famous designer source are made available to the public.  True fans behind designer sponsored patterns can geek out and help spread appreciation to that namesake.  However, even the casual sewist just looking for something different still renders a designer’s pattern successful.  However, designer patterns are the perfect opportunity for the casual sewist to inform oneself.  Maybe your next new favorite designer can have its beginning with merely being curious over the name on an envelope cover!

     This is a “party in the front, business in the back” kind of design looking at the line drawing only, but really is a dress that only comes to life on a body.  I love my swayed, curvy back more than I normally do in this dress.  It makes me love my curves!  A designer who can give a woman clothing that helps her love the skin she is in has to be a real winner.  At the same time as feeling smoking with confidence, I am also warm and cozy…what a wonderful combination for winter that is hard to find in ready-to-wear!  The neck band is petite and loose fitting so that it is much less confining than a turtleneck and not that noticeable.  The mock bustier makes the covered up neckline become interesting and sultry – not at all boring or unassertive.  I have so many ideas for making other versions of this pattern, such as Patrick Kelly’s classic button covered version as well as a summer-worthy bold color blocked version, but my first go at this pattern was a tame yet nonetheless rousing success.

     I found some slight quirks to the pattern’s fit along the way to completion.  The shoulder line was extended and generous, seemingly intended for substantial shoulder padding to fill in the shape from inside.  It was definitely channeling the classic 80s “power dressing” look with such strong shoulders.  I pared it down to suit both my taste and my smaller frame.  The sleeves also turned out very long in length, not just because of the extended shoulder line.  I needed to do a 2 ½ inch hem.  Then, somehow the bottom hemline ended up much shorter in the back than in the front.  I do not think it was entirely due to the give of the stretchy sweater knit.  I think the pattern does not account for a full sized booty!  I had to even out the hemline by trimming off the front, which was tricky to do as the knit is very soft and bouncy.  My choppy cutting job only made it more challenging to hem the dress for an even fall on my body.  Hand stitching the hemming – after many try-ons in between pinning up the length – took almost half the total time I spent making the entire dress.  So it goes in sewing…sometimes the process of doing the final finishing details can be so tedious!

     Other than these small tweaks to the shaping, the general fit was spot on and the assembly was fantastic.  The design was simple but also complex at the same time.  Sure, most of the dress looked pretty basic and straightforward and was for most of the time. Then, the front bustier midriff section turns into the most challenging part to the entire dress.  I had to take my time to do that section perfectly because it is the highlight of the dress, after all!  The curved seams – and one sharp point where the V of the bustier dips – when combined with my chosen stretchy, thick knit fabric made for a tricky situation.  However, there are also applied contrast bands which are tucked into the bustier seams.  The bands are shaped the same as the bustier, and double faced for a clean finish, but made the seams a total of four layers to sew.  I hand stitched the outer (loose) edges of the bustier bands down to the dress because I wanted the thread to be invisible.

     I hope you noticed that I used the “wrong” side of the fabric for the middle bustier section and its seam bands.  The underside of the fabric is smooth without the cable texture and was a great way to make the most out of the design while going with one solid color tone.  It subtly emphasizes the fact that the midriff is a whole separate section.  I don’t expect everyone to see the difference at first or even grasp what little thing I did to change that panel up.  Yet, I’m not complaining because I also enjoy the way the dress doesn’t scream about the care and attention put into it.  I’m seeing it as my own designer’s secret (because yes, everyone who makes their own clothes is their own designer, I believe.)  I love the way a great garment can have a complexity which keeps getting better the more you look at it.  This is one of the things I love about couture, and wanted to emulate here in some small degree.

     No true Patrick Kelly garment, even if homemade, would be complete without his favorite button pins.  As Kelly considered 3 to be his lucky number, I went with that many buttons pins.  These are not true originals, but merely buttons from my local fabric store that I hot glued pin backs onto.  True vintage Patrick Kelly buttons that have his logo on them can go for a spectacular selling price. 

The big round red button is closest to his “classic” button pin look, where there are four holes that have black thread sewn in an X across the middle.  The other two buttons of a heart and of red lips are a direct reference to the “More Love” collection, which was rife with all the common visual symbols related to love.  Lip buttons, lip shoe clips, and even a lip shaped hat all can be found in his collections from the last two years of his career, but the red heart was perhaps his dearest symbol.  A red heart (and his brand’s controversial logo) is on his grave in Paris, France along with the words “Nothing is Impossible”.  I added a giant red heart button to close up the back neckline of the dress so that there would permanently be a clear, classic Patrick Kelly symbol affixed to this dress. 

     Patrick Kelly’s incessant expressions of outward love were unique in the way he worked such efforts towards transforming hate into appreciation.  The main example of this is the way he projected stereotypical images and items of black American folklore in a way that tries to re-appropriate them into a celebration for heritage and tradition.  He made it as plainly obvious as he could that he was a black American designer in a culture that was painfully not yet fully accepting of that fact.  For as outgoing as he was, his friends said he was personally a very private person, so his use of outward representations for love (no matter if others did not see things his way) became his means of being vocal about his race, his family, his passions, his creativity, and his hopefulness for a better future.  It wasn’t just about crafting a brand for himself – it was about being unapologetically himself so he could spread to others the same welcoming, respectful, joyful connection with his people that he himself felt.  He wanted to help create a better reality that he did not yet see existing in the world.  To me, all this is what adds so much beauty to each of his designs.  The language of love comes in many different forms, and through Patrick Kelly it can be universally understood via fashion.  Let’s have a little “More Love” of a different kind this Valentine’s Day!

Midnight Celestial

     I love channeling vintage fashion anytime for any occasion but especially so when it comes to evening wear.  Lavish garments from the past just have a classic, graceful elegance that is attractively timeless.  They are also the sort of thing I most enjoy sewing (and subsequently wearing) but I rarely actually have a proper occasion to warrant sporting such finery.  However, exactly a year ago my husband and I had an especially fancy celebratory dinner to attend for his collage which finally gave me a literal reason to sew a new outfit straight from the pages of old Hollywood glamor.  Hubby wore a true vintage 1929 silk tuxedo set we’ve been saving for years.  I went for something close in era and wore a combination of a pre-WWII 1940s velvet weskit blouse with an early 1930s dress in his fraternity’s color!

     I love the title for this post so much – it perfectly captures the aesthetic I have for my outfit.  The rich toned, bottomless blue of the luxurious velvet being offset by the bright twinkle of the zipper reminds of a piercing night sky.  However, the brushed silver of my dress possesses a cold beauty which calms and grounds the deep blue velvet.  Yet, the way the dress’ fabric flows around me like butter at every move or wind gust lays that icy impression to rest.  To me, the night sky can be an equally mysterious, entrancing, and stunning reference for many Art Deco era evening wear pieces.  Alternatively, this set also has me envision a low-lit Depression era society party where the intrigue and cliques are as deep as the heavens at midnight and the only bright points are the diamonds on the ladies and the sparkling of the drink glasses.  Maybe I have just been watch too many old movies!  Nonetheless, I felt amazing but comfortable in what I wore for the evening, and it suited the occasion perfectly.  I hope you enjoy this post as much I myself enjoy the sewing project I am sharing.

THE FACTS:

FABRICS:  3 yards of a silver hammered satin for the dress and one yard of a deep blue silk-rayon velvet for the blouse

PATTERNS:  DuBarry pattern #2471B from year 1940 and a French early 1930s “Patron Migaline” no.9, a hand traced out copy that had been given to me by an acquaintance 

NOTIONS NEEDED:  Lots of thread and one fancy rhinestone studded zipper for the blouse

TIME TO COMPLETE:  The dress took 8 hours to make, while the blouse took 20 hours (due to all the hand sewn finishing detailing).  Both items actually were completed in an even longer stretch than this if you also count the time it took to trace out and resize the patterns.  They were finished in January 2022.

THE INSIDES:  French seams are on the blouse but the dress has interior raw edges as the pieces have so much bias there is minimal fraying

TOTAL COST:  The silver satin had been bought nearly a decade ago at the same time I as the fabric for this 1920s dress (posted here) so I vaguely remember it should have been about $20 for all 3 yards.  The velvet was a clearance discount found online for only $10 (can you believe it?).  The zipper was $9, bought through this Etsy shop.  My total comes to about $40, which is unbelievable for a set like this!

     Let’s start off with the blouse since the details are just the chef’s kiss…so good!  It is not only on account of the high quality fabric I used, but I am sure that no doubt helped me be so completely head-over-heels here.  The pattern technically calls this a weskit, which is an informal word for a waistcoat.  This means it is a fitted front closure blouse that is meant to be left untucked.  The amazing part is how precisely pared down the design is by having the entire front be only two pattern pieces.  The neckline, front panel and the wrap-around peplum is one continuous piece, while the gathered bust and underarm section is the second piece.  Five pattern pieces are all that is needed!  If I have perked your attention over my blouse, the reprint company Past Patterns offers a paper copy this DuBarry design so you can try it for yourself, too.  The listing for the pattern is here on this page.

     For being from the DuBarry Company, this is perhaps one of the best vintage unprinted patterns I have come across.  DuBarry patterns were manufactured by Simplicity from 1931 to 1946 exclusively for F. W. Woolworth Company (the pioneers of the five-and-dime store).  They were almost exclusively easy to sew and unprinted, with many styles for teenage young ladies. They were also catered to a different audience than Simplicity so I am overall pleasantly surprised at how fancy the design, well-cut the tissue pieces, and ingeniously planned is this entire pattern.  I have previously had issues with the poor fit and mismatched balance marks with this pattern line – not this time!  I can’t wait to try the other views!

     The blouse was an easy project decision because I had it planned out and ready to be made ever since I bought the velvet fabric and its fancy zipper back in 2016.  I first had to retrace and completely re-size the pattern up from its very tiny, petite size to my own proportions.  The pattern pieces were relatively few and manageable in size so that went smoothly.  Even still, I measured and checked my tracing a million times along the way and fitted the new pattern pieces around me to make sure I would get this right at the first try…no need to make a muslin here!  For the best of my sewing projects, I like to dive right into the good stuff and live dangerously, relying on good patterning skills to give me the right base to start with from the beginning.  This is why, for as fancy as my blouse is, it was by far the easiest and most enjoyable portion to my evening set.  I like it when I can be in charge of a fitting and tailoring a pattern and know it is going to turn out just as I hoped.

     Of all my sewing projects, this may just be one of the best pairings of pattern to material.  The design adds to the beauty of the fabric and in return the fabric gives an unexpected dimension to the design.  The gathers in the bust panel highlight the deluxe plush shine of the velvet.  The velvet is butter soft at the same time making it so easy to gather, French seam, and otherwise work with.  The inside “wrong” side has a knitted appearance and is smooth and soft enough that I left the blouse unlined.  It is an overall dream to wear.  Unlike other velvets I have, this one acts like a true silk (which it is) more than a velvet.  It is quite breathable and adapts to my body temperature.  It was never too warm to wear, and washed in a cold water delicate cycle wash perfectly with no obvious changes or shrinkage or wrinkling.  It did fray a significant amount of fibers during the construction process, aggravating my eyes, nose, and skin, just like other velvets I have used (with the sole exception of this dress’ velvet).  Yet, as long as the raw edges are finished, spending the extra money to sew with real silk velvet (almost always much more in cost than the steal that I paid) is truly worth it.  

I had always assumed I would have a skirt or a dress on hand that would pair perfectly with the blouse, so I never gave much thought as to what exactly I would wear with it.  I did have several items that looked good with the blouse, but nothing seemed like a ‘perfect’ pairing nor did I have anything which brought the blouse up to evening wear level.  This was the hard part…doing a mind crunch two weeks before the event, trying to find the perfect fabric from on hand in my stash because shipping would take too long.  I naturally felt drawn to my silver hammered finish satin, but I had always been saving that for a 1930s evening gown.  I thought, “Why compromise?” into just making a matching skirt.  So I still made a 1930s evening gown from the fabric, and it still gives off the look of an elegant skirt when worn under the blouse.  This way, I can take off the blouse and have a completely different look of its own! 

     That being said, the pattern itself was a nightmare to deal with.  The copy I was given was on some very unusual paper and the lines and balance marks did not seem to be trued up or consistently straight.  I have no idea how much of this was due to the person who traced it or the pattern itself.  I had minimal instructions to go on (a short summary with an illustration was merely printed on the envelope back) and even that was in French.  My French is basic and conversational, and Google Translate does not recognize sewing terms, so that did not always help me out.  My measurements showed that the pattern’s proportions were short (very petite), but at least seemed to be in my general bust-waist-hips width range. Thus I had to retrace this pattern as well to add in two plus inches – spread out over the midsection – and lower the fall of the bust, waist, and hips.  I am almost petite in height myself, so I am confused as to why it was for someone so short.  If it was for an adolescent, it is surprisingly adult and elegant for one so young.  I was following where the waist and bust were marked on the pattern as well as comparing myself to the illustration to find where the seams should fall on my body.

Interestingly enough, the French text in bold at the top of the pattern envelope back is “Chemise de nuit pour dame”.  Google’s translate app said this line means “a ladies nightgown”.  Wait – what? Is this really only a nightgown?!  Is that too literal of an understanding?  Can this be understood as a gown for night, as in evening wear, or would that have the word “soiree”?  Could the 1930s have merely had an understanding of words differently than today?  People who understand French fluently please chime in.  I am having a hard time believing something this intricate is just for bedtime.  The pattern says it is offered in only one size (size 44) and gives basic instructions to size up and then down by adding or subtracting a half a centimeter at the seams indicated by the dashes.  How thoughtful to add sizing assistance when the construction info is a mere illustration!

     Sizing tips or not, just look again at the design lines, with all the geometric paneling throughout the midsection, and you will understand why I felt like either pulling my hair out or going crazy over this pattern.  I did my best to true out all the corners, points, and balance marks, and with all the additions and corrections the dress’ pattern pieces just barely fit on my 3 yard cut.  Then it sewed up as easily as can be expected for a dress with so much bias and so many tight corners…only to find out that it ran big.  The bias gave this dress a wearing ease that my paper tissue fitting could not account for.  I suppose this may be due to the fact that the pattern is really just a nightgown. Some of the excess fabric was taken in simply by sewing in the side seams.  However, I left the fit generous because I like the way it pops over my head with no need for a zipper or snaps or any closure at all.  It is comfortable and versatile this way, and all I could muster to not completely lose my sanity over this tricky dress pattern.

     For all the problems I had with the design, it is really first rate after all the quirks were weeded out.  The main grainline for the entire length – neck to hem – is laid out on the straight grain (parallel to the selvedge).  Thus the cross seams in the main body which create the paneling are all on the bias.  Every seam that connects together is on an opposing bias grain.  This way even though the dress is on the straight grain it ends up hanging on the bias due the seaming but also doesn’t “grow” in length like other bias dresses once the grain relaxes.  How mind-blowing is this?! 

From the way the illustration on the pattern envelope is stylized (Art Deco text with a model who is slim and tall with slender hips), my closest guess is that this is from circa 1931.  The design itself may be 1930 or 1932 but I do believe it is clearly influenced by the talents of the French female fashion designers popular for the early 1930s.  Most of the 1930s evening dresses were on the bias cut, but this one is true to the French ingenuity of the time.  It makes the best possible use of both grains by using prolific but precise seaming, similar to the practices of the designer Augusta-Bernard.   My set’s interpretation where I use an icy silver and sapphire blue combination is very much aligned with the preferences of another bias cut gown expert of the early 1930s – Louiseboulanger.  The triangular paneling even reminds me of Madeline Vionnet’s bias evening gown designs between 1929 and 1933, as can be seen in the Betty Kirke book under the chapter “Quadrants”, (especially pattern number 14).  The stamp on the corner of the pattern has an address of “Maison Mairesse, 3 Rue Saint-Hubert, Arras” and I can’t help but wonder if that place used to be a fabric shop or a couture house.

     I originally wanted to do this pattern in some stripes or color blocking to highlight the panels and seaming but am glad I didn’t for as challenging as it was to perfect.  The hammered finish of the satin has a consistent nap to the direction of the shine, unlike many other satins so the seams kind of do get lost overall, sadly.  However, the versatile color gives me an opportunity to wear this under (or with) many different other pieces in my wardrobe, like the Grecian rope belt I made for this mid 1930s dress (posted here).  The archeological discoveries of Pompeii (Herculaneum) and ancient Greece that were made circa 1930 created an explosion of classical inspiration for the era’s fashion details, especially the evening or bias cut frocks of the French designers such as Vionnet or Lanvin.  I went with a classical theme for our background setting with the colonnades of the historic “Vandeventer Place Gates”.  I was living the 1930s dream!

     There was a very personal detail I brought along with me on the trip to attend the event in my me-made outfit.  My vintage earrings and bracelet were a matching set from my paternal grandmother.  They are very heavy and so over the top, this fancy event was actually a really good reason to wear them finally, besides being a good match to my outfit!  I think Grandma would be thrilled they accompanied me on my night out, and I wonder where she wore them and what stories they held for her.      

My entire set was certainly a conversation piece the night of the event.  Yet, I was by no means under or overdressed when compared to the rest of the ladies present so I was so happy to have known I made the right creative decision.  I was in great company of people that I could easily talk to as there were many old friends to meet.  It was a great way to prove my capacity in sewing to be able to show off my handmade finery when talking about what I do.  When mentioning that my garments were me-made, often it only became humorous when those folks – who had just enough to drink – would then ask to touch my silk velvet!  They had no idea what silk velvet would feel like, and never heard of such a deluxe material!  The mere thought of those moments never fails to bring a smile to my face. 

This is your message to not be afraid to dive into the good stuff you’ve been saving in your stash but enjoy it.  See how much more fun my best velvet and satin are to wear than they ever were just being admired on a shelf or in a bin?  It is such a great thing when you can make such great memories wearing something that you intentionally crafted with love for a special occasion!

Quilt Coat

     This post’s project is a long-time dream finally come true…and it has turned out to ever more wonderful than I ever imagined it could become.  Here is a winter weather item that actually makes me look forward to the colder season!

     For a good number of years, refashioning damaged or unwanted quilted pieces of all eras, sizes, and usages has been a strong trend, so this idea has been on my mind for far too long.  I had to eventually try such a thing out for myself!  Thus, I was ecstatic when an old bedspread of ours needed to be downgraded from being in our sleeping quarters to the scrap pile due to some tears, holes, and stains.  The opportunity to sew my own quilt coat had come.  This plays into the theme of my previous post (here) where I talked about how to give a glow up to something you already own so that it can benefit you in some positive way at no cost to your wallet.  Here is another fine example of my point! 

     My quilt coat is also another example of something I am very proud of that was made just before the end of last year, just like the dress from my last post, as well.  Yes, I will be catching up on 2022 projects for the next few posts, so bear with me.  The bedspread I used was not antique, but perhaps about 15 years old and had just been decommissioned earlier in ’22 .  Then, when the “Sew (Outerwear) Together for Winter” sewing challenge was announced for November, I realized I now had an impetus to take on this coat project asap.  The bedspread did take up a lot of room in my fabric stash area and I wanted to instead see it taking up useful space in the closet in between being worn on my back. 

     It was amusing how our son was quite confused, in a way unlike for any other project he has seen me make, when he saw me trying my coat on for the first time.  ”Wasn’t that from your bed?” he said disturbed.  Nothing is safe in the house now that I am branching out to sew with other things beyond fabric.  Anything really can be material.  I have made a few bed sheet dresses (posted here, here, and here), so maybe that was the beginning point for where I am now at.  Who knows…maybe next I will be cutting up curtains!  Sewing is a slippery slope to finding all sorts of fun and creativity.

THE FACTS:

FABRIC:  a cotton quilted bedspread

PATTERN:  Simplicity #4032, year 2006

NOTIONS NEEDED:  I had all I needed on hand – thread, vintage bias tape packs, a hook and eye, and one covered button blank set

TIME TO COMPLETE:  This coat took me a total of 6 hours from cutting out to finish.  It was completed at the end of November 2022

THE INSIDES:  cleaned up and zig zagged over for no fraying edges (as you can see in the picture at left)

TOTAL COST:  Nothing!!!

     Now, let’s get into some terminology before I dive into talking about my actual coat.  A quilt isn’t always for the bed but a bedspread is always quilted.  Key differences between a bedspread and comforter is the level of warmth they provide.  Comforters are made to provide insulation and warmth during cold months, while bedspreads are much more lightweight and breathable making them ideal for warmer conditions.  Meanwhile, a blanket is a generic term that refers to almost any bed covering thicker than a sheet, including quilts, duvets, and comforters. Confusing, am I right?

     This is why – for as much praise as I will heap upon this creation and as much as I love to wear it – this coat does not keep me warm, only cozy in the winter.  It is great for transitional seasons like Fall and Spring when it is moderately chilly.  However, anything near to actual cold temperatures and all the terminology listed above explains why I lose all my body heat.  A quilted bedspead is breathable, and a good outer layer, but does not keep me insulated.  The benefits it provides on a bed in a heated house to keep me snug on a chilly night do not work the same when out in the elements.  There is nothing with this coat to actually keep my body heat from escaping and giving me a chill when I spend too much time out in the near freezing temperatures.

     I must admit, though, that I am sensitive to being cold, and am not one to survive the winter season in a heavy sweater, light jacket, or exercise hoodie.  I need an actual puffy, furry, or woolen winter coat.  Worn alone as the sole outer layer, this is comfortable for me only for chilly weather.  It is a fancy equivalent to a heavyweight sweater.  Luckily, my town has a great variety of temperature swings all year round and I can wear this on our mild ‘warm-up’ days in the heart of January.  Yay!  I have been keeping this coat out of the closet where I can see it because I am not over the beauty of it but also I want to keep it as available as possible. 

     If I would have lined my quilt coat, this issue of its warmth factor would have probably been either resolved or partially amended.  Yet this bedspread was reversible and is just as pretty underneath as it is on top.  All I had to do was make sure I kept my inner seams clean and the inside of my quilt coat was guaranteed to be lovely keeping it unlined.  Besides, why complicate things?  There is a beauty and benefit to keeping things simple.  After all, this was my first go at the quilt refashion, and so I didn’t know how this project would sew up or if it would turn out, or that it may need a lining.  After years of paying attention to how other makers finish their quilt coats, I have seen both lined and unlined ones almost as equally.  It really doesn’t matter either way.  The beauty I appreciate with every quilt coat is their individuality…no two are the same and each one is as uniquely a work of art as the person who made it.

     My first quilt coat ended up being better than what I had hoped for as it is, even with the reduced warmth level.  Yet, even if it hadn’t ended well, the experience I had making it is everything.  I have worked with a pre-quilted cotton batting fabric before, both times as a lining layer for warmth – first for this 1940s jerkin vest and then inside this Burberry style plaid coat.  I found that a real quilt was actually much easier to sew and work with than that material.  Now that I have one quilt refashion under my wing, I have realized all sorts of tricks (which included having to pull out the old, bunched up stuffing from around the seam allowance) and taken many mental notes.  I don’t regret anything here (which is big for as hard as I am on myself) and feel very happy with my methods, but next time I am prepared.  Yes, I will be taking another go at this at some point in the future!  Now I just need to wait for the next serendipitous quilt acquisition to come my way, and in the meantime work on some more little projects for the rest of the quilt scraps.  I’m considering a historical inspired vest, a purse or tote bag, and maybe a sunglass case.  We will see!

    The pattern I used was something I have been badly wanting to try out since it was released in 2006.  That is awhile to wait on trying out a pattern, right?!  It is every bit as wonderful as I had anticipated it would be.  I chose view A.  The overall coat’s sizing was perfectly spot on, the various options for different collars, hem panels, button closings, and added details are all appealing, and it was so easy to make.  I highly recommend this pattern and see no reason why it needs to be a “fleece only” design.  A nubby boucle, and mid-weight suiting, or even a sweater knit I think would all suit this pattern.  If using a fabric other than a fleece, however, you do need to figure out on your own how to finish the edges.  I chose a thin ¼ inch vintage 1980s pack of matching blue bias tape along the collar and hem edge.  No interfacing or fiddly facings are even necessary here, as my quilt coat is entirely one layer.  I will definitely be coming back to make another view of this pattern in the future.

     I wanted a pattern with minimal darts and simplified lines so as to let the quilt paneling shine and this pattern was perfect for fulfilling my requirements and giving me room for creative placement.  Two out of the four quilt corners became the chevron sleeves.  The collar was cut from the edging border.  The decorative round middle part of the quilt was centered over the back panel.  Finally, the front body pieces were cut from one of the four large medallions that were around the center of the quilt.  It was quite a balance to try to find a creative vision that complimented overall yet also avoid the stains and tears in the quilt.  I had to draw a few of my own balance marks and points of placement to try and find some symmetry as I was cutting out each piece single layer.  I am head over heels with the intricacy of combining the curves, the points, and straight lines.  My math loving heart is pleased with all the geometry. 

      My styling inspiration was 1984 Ralph Lauren.  He had his winter collection that year to have cozy sweaters, romantic blouses, and quilted blazers and skirts.  His was the high end interpretation of the frontier or prairie look that was popularized since the late 70s through other lines such as Betsey Johnson, Jessica McClintock’s Gunne Sax, and Laura Ashley.  I wanted to channel that in a small degree.  I was happy that I actually had a ‘me-made’ skirt already made to perfectly call to mind the Ralph Lauren aesthetic.  The skirt has been posted already (here).  It’s a favorite staple piece from my wardrobe, so much so that it is starting to both fade and wear out by now! 

To complement the aesthetic, I am wearing a reproduction Victorian blouse, complete with a dizzying amount of pintucks and lace, which I bought in the 1990s along with the floral abalone shell brooch at my neck. My earrings are a little something I made myself in the 90s, as well.  They have sterling silver ear wire and a duo of blue glass seed beads above and below an orchid tone fiber optic bead. They were a drop earring which was simple and sweet enough to ease me in dangling earrings as a teenager!  

The dog chewed a few holes in my quilt but it is still usable! Check out the label I made.

     This refashion has helped me gain a greater respect all the vision and the time that goes into quilts.  I have not yet made a quilt beyond a small basic one made of squares of scraps leftover from the dresses and costumes my mom made me as I child.  I sewed this little quilt as a preteen simply for my dog’s enjoyment.  Neither am I inclined to make a quilt myself at the moment, but we do have my husband’s Grandmother’s old quilt frame…so who knows what is in my future!  I do have enough scraps of fabric, for goodness’ sake! 

For now, I am content to admire all the existing quilts out there, and keep my options open for the possibility of another quilt refashion in my future.  I still prefer quilts to be on a bed where I can both fully appreciate their warmth and their details can be on display.  However, now that I know what can be done with a damaged one, I will be more than happy to rescue any quilt that has seen better days and needs a new lease on life.