I realized that I don't do a lot of posts as I'm working on a project lately. Being a drama queen, I'm all about the "big reveal." But I feel like there's something useful in watching the progression of a project, right? So I thought I'd do a little post about what's in my sewing machine right now.
So, you all realize I'm obsessed with Joan from Mad Men, right? I know I'm not unique in this obsession. But I do feel a personal connection to that character. It has nothing to do with her personality, it has to do with her hips. That's right, hips.
I know lots of us find it refreshing to see Christina Hendricks's body type on a current program. And for me, it's become almost therapeutic. You know those "OMG my hips are huuuuge!" moments? When that happens, I say two words to myself: Joan Holloway. ( I refuse to call her Joan Harris, it's true.) And it actually works! Instant therapy. Actually, it only works in conjunction with a mental image like this one:
So, long story short. I think about Joan a lot. I also think about her dresses a lot. And one of my favorites is the rose applique dress she wore on what I call the "accordion dinner party episode."
I recently had the idea to copy this style by taking vintage rose fabric and using it for appliques. I found this tablecloth:
It has many large stains on it, so I didn't feel bad about cutting it up. (I don't think I could bring myself to cut a usable vintage tablecloth!) The background matches the pinky-red merino wool I have. So I started cutting out individual roses, leaving 1/4" around them. I experimented with appliqueing them by hand, but found I preferred the polished look of machine applique instead.
I assembled the bodice of my dress and arranged my roses around the neckline, pinning them in place.
This took a lot of playing around and squinting at it. I even had to sleep on it one night, and come back to it fresh the next day. When I was happy with the arrangement, I glue-basted the roses in place.
Next, I began machine appliqueing them in place, using a narrow zig zag on a very short stitch length. I did a couple samples to get the setting I liked best.
And here's where I am! It needs a little work cleaning up the edges of the appliques, but you get the idea.
I am a huge Mad Men fan. When I first saw this emerald green wool crepe at Paron Fabrics, I thought "Joan would look fantastic in that color!" Alas, Joan is a fictional character, so I had to buy it for myself instead. I think she'd approve though.
I made this little sheath dress from a vintage reissue pattern from Simplicity. This was my first time using a reissued vintage pattern, and I have to say it was a little disappointing. I made my usual size (14), and when I put it on, it looked like a sack. Perhaps I should have gone down a size, but then the fit probably would have been off in the hips. I really had to do a lot of finessing to get the hourglass look of the original pattern illustration. I took it in about three inches at the waist, and reduced the hem circumference by four inches (to get that nipped in look at the knee).
It seems like one of the major things pattern companies do to modernize a vintage pattern is to give it much more ease for a "contemporary" look. This seems kind of counterproductive to me. If I wanted a contemporary fit, I'd just buy a contemporary pattern design. The envelope photographs probably should have clued me in. Look how baggy the gray version is in the skirt!
But anyway, once I got the fit I wanted, I was pretty happy with this pattern. I especially like how the bodice is lined to the edges rather than using facings. I like the full-skirted view as well, so I might give that a go at some point.
What have your experiences been with reissued patterns? I'd love to hear about them in the comments!
It's done! The Joan Holloway-inspired dress I blogged about last week is now complete, thanks to an old tablecloth and a little crafty thinking. (A big thanks to those who gave me applique tips in the comments; I took note for next time!) It seems pretty appropriate to post on Valentine's Day, doesn't it?
The pattern is this one that I draped last year, and am still perfecting the fit on. (I wear my green polka dot version all the time, and get so many nice compliments on it.) And yes, it's more of the pinky-red merino I made that little suit out of. And I still have some left! I must have bought out the entire stock of that stuff. What can I say? It's my color.
It has a centered, lapped zipper, just like Joan's would have. (I also have a classy Joan-esque chignon, thanks to the multi-talented Fleur!)
It's lined in bright red silk Habutai, and the midriff section is interfaced to keep it smooth.
An applique close-up:
It wouldn't be an exaggeration to say I've gotten a little applique-happy. There's a vintage lobster tablecloth coming my way in the mail. (Lobsters!) And then all the products I have to look into: stabilizers, interfacings, threads . . . Watch out, world!
Readers, I love getting your e-mails. And I have a particularly interesting one to share with you today: a lovely lady named Kris wrote to me recently for vintage style advice. It was especially thrilling for me since it made me feel like a style columnist for one of them there fancy fashion magazines or something. Hence, "Dear Gertie" is born.
Kris is a beginning seamstress who would like to try her hand at vintage patterns, but has one nagging concern: her body type, which she describes as size 12-14 hourglass, or "aging Marilyn Monroe with a tummy bulge." Here's what Kris had to say, in her own words:
Can those of us without supermodel flat stomachs wear a wiggle dress without the aid of our grandmother's girdle?
And ya know, in writing this email a new train of thought has steamed into the station. Why should I care if I have a few bulges? Rather than stressing out and trying to make myself fit the clothes, why shouldn't I just make the clothes fit me? . . . So, what say you? Should I face "reality" and continue with the jeans and t-shirts or forge ahead with the pencil skirt (and stiletto pumps) of my dreams? Can a regular, non-waspy woman make these vintage styles work without a winch and pulley system? Any suggestions on good styles for a beginner to start with?
As you can imagine, I have a lot of thoughts about all this. But let's start with the first part of the question: foundation garments. I feel like my thoughts on this subject vary from other ladies who like to wear vintage styles. Namely: I do not like girdles, and I do not feel I need to wear a girdle to make a vintage style look "right." I have one 50's style girdle made by Rago, and it does absolutely nothing for my figure. It actually makes me lumpier, with all the boning and hooks and such. I do make use of Spanx for smoothing purposes under fitted pencil skirts and sheath dresses. (Tip: I highly recommend Spanx control-top tights - perfect for winter!)
Now, to the question of facing reality. "Reality" can bite me. "Reality" tells me that I can't have a dress that fits me in both my waist and hips, that I have to choose one or the other. To this I say HA! Every dress and skirt I make needs extra room added to the hips. I could take this as a sign of defeat, but instead I like to think that conventional sizes simply aren't bodacious enough to contain me. Yeah, it takes a certain attitude. And, obviously, I am a big believer in making clothes fit ME, not making myself fit clothes.
My overall thought is this: In essence, you should definitely wear what YOU want and what you're comfortable in, and hopefully those two things overlap in some way. And honestly, Kris, it sounds like you have the perfect figure to pull this stuff off! Imagine that you're Joan Holloway from Mad Men. When I worry that I'm not skinny enough, I don't have the confidence to pull off pencil skirts and sheath dresses. But when I tell myself that I'm a smokin' hot curvy lady like Joan, it does wonders for my confidence. I guess it really is all in the attitude, huh? So here's your new mantra: What would Joan do?
As for style recommendations for curvier and plus size ladies: You might want to start with retro-style contemporary patterns rather than jumping into vintage patterns, with all their quirks and fitting issues. I think a simple high-waisted pencil skirt (try McCall's 5590 or Burda 8155) and a secretary blouse (maybe McCall's 5884 or Simplicity 2501) are very flattering on larger sizes and will help you get your sewing skills sharpened before moving on to bigger challenges.
There! I've done written an advice column! (Don't worry, I won't quit my day job.) Readers, do you have anything to add?
P.S. If you have a question you would like answered in "Dear Gertie," kindly e-mail me at gertie [at] blogforbettersewing [dot] com.
I've been traveling a lot lately. (That's an understatement.) Recently, going through security at some airport, I saw a woman who looked like the epitome of cool to me. She was wearing a flannel shirt, skinny black jeans, and slouchy motorcycle boots. Granted, I have a serious devotion to Grunge; so it might have been my inner Riot Grrl responding to this ensemble. The 90s was an awesome decade, as far as I'm concerned. Hole, Doc Martens, slips as outerwear; I love it all.
Anyway, this airport sighting has left me with a motorcycle boot obsession. As I've written about before, being a vintage devotee can sometimes make you feel like you have an obligation to dress vintage at all times. But lately, I've been feeling the urge to dress, well . . . cooler.
You're welcome, fellow Pony fangirls.
Perhaps dyeing my hair pink has set off some sort of latent adolescent rebellion. (And perhaps this is why people usually get their pink hair days out of the way in their 20s?) In any case, on some days lately I've been feeling slightly more Joan Jett than Joan Holloway.
One of the awesome things about being a modern woman is that we live in a time when it's not only acceptable but encouraged to indulge personal style whims, whether or not they fit with your usual "look." At the risk of sounding trite, may I quote India.Arie? "Sometimes I shave my legs and sometimes I don't/Sometimes I comb my hair and sometimes I won't/Depend on how the wind blows I might even paint my toes/It really just depends on what feels good in my soul."
While the idea of "personal style" can be watered down in a Lucky magazine sense (Are you a "bohemian eclectic"? A "nouveau prep"?, etc.), I believe there's no doubt that the feminist movement brought us freedom to experiment with fashion in a way that previous generations couldn't. (Of course, I'm not suggesting that this was the major coup of the Women's Rights movement, just a happy byproduct.) Do you agree?
Anyway, my new motorcyle boots are set to arrive tomorrow. (Stop the presses!) I will update you accordingly.
Ah, foundation garments: a subject near and dear to my heart. It doesn't take a lot to get me writing about undies, but I feel especially moved to write about longline bras. Mostly because I'm worried they're becoming extinct! Why, oh why, don't more women wear these fabulous, comfortable bras that do wonders for the figure? They provide support, smooth without pinching, and give you a nice foundation for retro garments, all at the same time. And did I mention comfortable? I usually take off my bra the nanosecond I get home from work, but I often find myself just hanging out while still wearing my longline bra. That's pretty much the highest recommendation I can give an undergarment!
Retro foundation garments have certainly come more into public awareness with the advent of Mad Men. But have you noticed how people only talk about the girdles? Girdles are only half the equation that will get you that Joan shape. I was pleased to see costume designer Janie Bryant mention longline bras in her new book and give them credit where it's due:
How do you think Joan Holloway achieves that seamless hourglass silhouette with nary a visual hiccup to her sensuous curves? She wears a long-line bra that comes down to her waist and a closed-bottom girdle, which resembles a pair of modern-day bicycle shorts, with boning and garters.
The first time I wore a longline bra that actually fit, I felt like I had discovered the Holy Grail. I'm really into this Carnival fronthook one. Not only are they super comfortable (seriously!), but they smooth your midriff and define your waist like no pair of Spanx can. They make the perfect wiggle dress even wigglier! I did have to do some trial and error, though, so here are a few tips I discovered.
You might want to go up a band size. If you have a substantial ribcage, you may find that your normal band size is too small in a longline. I discovered this the hard way.
Once you get the band size right, you may then discover that the cups are too big. This can be remedied by taking the cups in with your handy sewing skills. (This may sound like a lot of fiddling around with a bra, but I promise that a custom-fit longline is worth the trouble.)
I have also read that if you have the opposite problem, i.e. small torso and a bigger bust (I'll try not to be too jealous), you can sew darts into the midriff of the bra to make it snugger.
The cups aren't lined at all, so I added thin sew-in cups from the notions store.
I've also tried this Rago model, which I love the look of, but it's tricky to get on (you have to fasten it in the front and then shimmy it around to the back) and the cups aren't as easy to customize as the Carnival one.
You'll probably want some sort of control garment on the bottom to keep that smooth line going. But don't feel like you need to go all old-school girdle. I've found that control-top tights work fine, as does a pair of Spanx. (Also: if you're between sizes on Spanx, go up a size rather than down! I don't think it's worth compromising on comfort.)
If the fit issues on a longline are bringing you down, I also like this Rago waist cincher which allows you to wear your own bra.
Anyhoo, I hope this is somehow helpful. It takes so much trial and error to find the right shapewear solution, don't you think? The tips here are ones that have worked for me. And by "worked," I mean they did the job in addition to being comfortable to wear for 10 hours straight. Please share any tips of your own!
P.S. Hey, I missed you all! It was nice having a little blogging break, but it's sure good to be back.
I just recently came across the above left photograph of Christina Hendricks. Isn't it breathtaking? I've never really been one for the whole Herve Leger bandage dress trend, but she wears this one so well. (Of course, it doesn't hurt that she's a GODDESS.) I just love the slightly edgy neckline detail. In fact, I've had this dress on my mind all week, wondering if there was a way I could adapt it to my style. And then I found the 60s sheath pattern (pictured on the right), and a new dress inspiration was born. Isn't there something so similar about the essence of each of these dresses? But I love how the bow gives a sweet vintage touch to what otherwise would look like a rather modern design.
Here's the pattern envelope (bought from Booty Vintage, by the way). I added it to my collection even though the neckline details would be easy enough to draft on one's own and add to a standard sheath dress. Sometimes I like to buy a pattern just to study construction details and such - sewing geekery at its best!
I think this would be just smashing in a clingy doubleknit for ultimate Joan Holloway curviness - fitted rather snugly, of course. I'm thinking a deep plummy red like Christina's dress above, or maybe even basic black.
And so another dress is added to the queue! Isn't it funny how inspiration strikes from out of nowhere sometimes - in the form of a dress just begging to be made? If only there were more time to sew . . . Story of a seamstress's life, right?
Hey, want to help me with my book? I'm down to the really fun part: planning the color palette, gathering swatches, and finalizing the designs. The book will have a whopping TEN patterns, with variations on each. As you can probably guess, the inspiration for most of the designs was Vogue's New Book for Better Sewing, but updated for today.
I'm struggling a bit with the balance of garments, though. Right now three out of the ten garments are dresses. Does that seem like a low number to you? I know my wardrobe is certainly more than 30% dresses. So, I'm thinking about ditching the bolero jacket and adding another dress. (The rest of the garments include two skirts, two blouses, a jacket, and a coat.) People don't really seem so keen on boleros anyway, right? And there's a gap in the dress styles where I could fit a killer Joan Holloway-inspired daytime sheath dress.
Would you mind sharing your innermost thoughts in the comments? Please let me know if you like your sewing books with 10% more dresses—or if you're one of those rare bolero enthusiasts. Thanks so much!
P.S. The lovely dress pattern above is from The Blue Gardenia, bust size 38". Speaking of which, don't forget to enter The Blue Gardenia giveaway!
"Under the sun or under the stars, the portrait-neckline blouse has a way of making you look your prettiest and most feminine."-- Vogue's New Book for Better Sewing (aka VoNBSS)
Well, here it is! My first project from VoNBSS. I made it in linen, just like the book suggested. Actually, it's a linen eyelet--how cool is that?
I did my very best to stay true to VoNBSS's guidance. I used tailor's tacks, did a faced, lapped zipper and a basted fitting, and even hand-rolled the sleeve hems! I have to say, the things that I thought would be such a pain really weren't at all. Doing tailor's tacks actually isn't any more time consuming in the long run than transferring marks with a tracing wheel and transfer paper. And there are no troublesome chalk marks to deal with afterwards!
There were a few things that struck me about this vintage pattern, which is from 1952. First, it's an unprinted pattern, which I've never used before. It's simply blank, with perforations as markings. The perforations make it easy to thread tailor's tacks through them.
Here are the new skills I picked up with this project. After all, learning is what we're all about here!
1. Tailor's tacks (verdict: pretty much awesome but not always necessary). It was actually quite fun to make the little thread loops through the perforations. Also, you have to love the enthusiasm VoNBSS brings to tailor's tacks. "See--there are little tufts of thread to show you which perforation goes with which!" OMG! VoNBSS does not shy away from exclamation points. They're very cheerful.
2. Basted fitting (verdict: an excellent time-saver). I machine basted the major seams and then tried the blouse on. Luckily it fit perfectly. Then I just stitched precisely to the left of the basting so it wouldn't show on the outside of the blouse. If I had done this with my Joan Holloway dress, I would have saved a lot of ripping out tiny stitches.
3. A faced, lapped zipper (verdict: pretty neat, and worked like a charm).
Conversely, VoNBSS has you do a lot of things that seem like time-wasters to me. Tailor's tacks to mark the seam lines? Hand basting to mark the center front and center back? No thank you.
I did do a lot of things by hand that I normally wouldn't have out of sheer laziness. I hand-rolled the sleeve hems, which was very satisfying. I also hand-tacked the facings to the shoulder seam allowances, rather than stitching in the ditch. Hand tacking takes roughly 30 seconds, and it's invisible (unlike my stitching in the ditch, unfortunately). Seriously, what is my problem with doing this stuff on a regular basis?
This is a fun little blouse that I think I'll get a lot of wear out of. I really like how it's very fitted on the hips, and then the darts release into tucks at the waist to give a bloused effect. Very cute. Thanks, VoNBSS! Next up from this book is the "slim, supple skirt" in a lovely lavender rayon/wool blend.
Readers, I am thrilled to announce this lovely sponsored giveaway. Lauren Rennells is the author of the absolutely fabulous book Vintage Hairstyling. And she's provided a copy for one very lucky reader! I've been using my copy of this book for a couple weeks now, and it's helped me tremendously. I'll admit that I used to think I could gain all the knowledge I needed on this subject from YouTube - but having a printed reference from a professional is so helpful and is definitely taking my 'dos to the next level.
The photographs and copy are clear and easy to understand, and I love that all the tools she uses are easy to find. The basics section has been the most helpful to me so far - it explains the difference between wet and hot sets and shows you how the details (like what direction you roll the curl in) make all the difference. There are sections on finger waves, hot rollers, pin curls, curling iron sets, victory rolls, pompadours . . . and the list goes on! (Go to Lauren's website to see full-size sample pages of the book.)
There are lots of elaborate styles explained step-by-step.
I was amazed at all the different styles I can do with my length of hair - fake bobs, a pageboy, and more. There's also a look inspired by Joan Holloway, which you know I'll have to try at some point.
To make a long story short, if you're interested in trying vintage hairstyles, you need this book. And you can win one right here! To enter, just leave a comment on this post by midnight EST on Wednesday, January 29th. I'll pick a winner by random number and announce it the next day. (Note: you'll need to see the post to claim your prize, so subscribe to this blog if you haven't already!)
A big thanks to Lauren Rennells for sponsoring this awesome giveaway. Be sure to check out her website, order her book, and read her fantastic blog.
Update: contest is open to all countries. As long as you can receive mail, you're in!
Update #2: To answer Nathalie's question, becoming a follower means subscribing to my blog by your method of choice: e-mail (see the link in the right sidebar), Google reader, Blogger (that's the little widget with all the profile pics), Blog Lovin', etc.
Sometimes after I finish I project, I can't stop thinking about how to improve it. Especially the fit. I usually continue to obsess about it until the only option is to immediately make the project again. It's very exhausting to be me sometimes. (It also requires a lot of fabric.)
As I wrote about earlier, my first stab at Simplicity 3673, a reissued vintage pattern, involved a lot of fitting around the waist and bottom hem. As I wore the dress (twice in two days!), I found I was also unhappy with the bodice fit. It kept gaping around the front and back neckline, the armholes, and a deep wrinkle formed around the bust. Here's how I altered the pattern. While wearing the dress, I pinned out the extra fabric. Here's a couple views of the tucks I took out:
Then I measured the depth of the tucks and transferred them to the pattern. You have to slash and overlap the amount of the tucks, like I did in this sba tutorial.
So I made this again with my altered pattern, in a nice red double knit from Gorgeous Fabrics (it's on sale now!). The alterations on the bodice made the neckline a little higher, but I think it's a nice alternative to the original look. It's possible I got a little overzealous with tucking out fabric, because now the under-bust seam keeps riding up. See, this is why I should really always make a muslin after major alterations to a pattern. Live and learn, right?
I'd never worked with double knit before, and I liked it, but I think the wool crepe is a better choice for this dress.
I've been getting really into Ambiance Bemberg lining (I buy mine at B&J in the Garment District, but you can buy it online here), and I used a coral color to line just the bodice in this version. I like how it creates a rich monochromatic color scheme.
Whew. I think I can lay this pattern to rest now. On to the next VoNBSS project!
That's what I would call this little number if I were a copywriter for Anthropologie. Don't you think that must be the most high-pressure job ever? How do they come up with those whimsical names all the time? For example: Flight-of-the-bee dress. Angles Awry Cardigan. Fruit Compote Skirt. Aren't they wonderful? I think I would get burnt out very quickly. It's just a green skirt, damn it!
Anyway, this is a skirt I made last week from my all-time favorite skirt pattern, Burda 8155. I had some of this fabulous wool crepe leftover from my first Joan Holloway dress, just enough with which to make a pencil skirt. I loved the idea of this vivid color in a basic slim silhouette, even though sewing with wool in 96 degree weather is . . . itchy. And sweaty.
I didn't line it because I have so many of these little slips now. I hate lining things, so this is a big plus for me! I've also become very well acquainted with my machine's blind hem function. It's so professional looking and easy.
Sometimes it's fun to make a basic pattern that you know well, don't you think? It refreshes me for the big challenges. Onward!
What a weekend! After months of planning, my first sewing retreat was a complete success. 11 ladies came together in my town of Beacon, New York for a few days of sewing fun.
It took place at a boutique hotel called the Roundhouse, in a private event room overlooking a waterfall. Scenic!
My trusty friend and righthand woman Fleur helped me out.
I brought a bunch of garments to show and tell with.
Necchi generously provided machines. We used the Ex60, which I highly recommend. Now I really want a machine with a thread trimmer!
Friday night we started things off with a cocktail party. I love an excuse to dress up. Here I am in my Butterick pattern, B5882.
The ladies started arriving! Everyone hit it off from the get-go.
The next day we started bright and early! I wore my "Home Sewing Is Easy" dress since it seemed like the perfect occasion. I'm posing here with the sample version of B5882, which I brought for the ladies to inspect.
We started off the day by diving into FBAs. Here I am with Marie, Alison, and Joanna.
Here's Jenny of Cashmerette, in a muslin version of B5814, looking VERY Joan Holloway!
I did lots of demos: how to sew underarm gussets, how to use boning, lapped zippers, bound buttonholes, and more.
We did muslin fittings and adjusted patterns.
A few people were working on the bombshell dress! Here's my version on display.
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