New Butterick Patterns by Gertie for Fall!

It's that time again--time to feel incredulous that fall patterns are being released because it's definitely, totally still summer, right? Don't worry, it absolutely still is. But how about thinking about some patterns for a couple "transitional pieces" that will take you through the changing seasons? (That's a little easier to swallow, right?)

I have two new patterns out in my "Patterns by Gertie" line with Butterick. In a little change of pace for me, they're both very '40s-inspired rather than my usual '50s designs. The first is B6380, a sweetheart neckline dress with a gathered bust and swing skirt.

With this design, I wanted to create a dress that's timeless and easy to wear, but still really rooted in the glamorous '40s.

You can really see the details on the line drawing.

One of my favorite details is the "tiebacks" above the bust that create the sweetheart shape of the neckline. There's also a midriff, flared skirt, and short sleeves with gathers.

This dress is great for drapey wovens, like the rayon challis it's pictured in. (This is one of my Gertie fabrics from last fall, but I still have a bunch for sale in my Etsy shop.)

Here are a couple of my inspiration images from when I was planning the dress pattern. I love the subtle silhouette of this era, coupled with the soft gathers at the bustline.

The second pattern is B6390, and it's a cute yet casual jacket directly inspired by Rosie the Riveter and '40s work wear.

It has all sorts of topstitching to define the style lines.

I lined it in the same challis as the dress is made in! (Dorkiest photo ever?)

Here's the line drawing for this one.

I love the pattern envelope for this one. I look like I'm hanging with my tiny, much cooler friend. She's dubious about my styling choices.

And a couple of my inspiration images, so you can get an idea of where I was coming from.

The jacket in the photos above is made up in a denim-colored wool, but I also made this design in another fabric. Here it is in a polka dot linen-cotton blend, complete with Rosie the Riveter-inspired pose and Carmen Miranda earrings.

And the back, paired with a totally different dress.

A detail shot. This one is also lined in one of my rayon challis fabrics.

Hope you like the new patterns! Can't wait to see your versions of these!

Fruity Floral 40s Chiffon Dress

I found this amazing fabric last week, and immediately bought 15 yards for the shop. Of course, 3 of those yards were for me, ALL ME, readers. Because this has to be one of the best retro prints I've found in a while.  It's a fruit and floral print that veers far away from kitschy.

It has rose bouquets, baskets of cherries and strawberries, lemons, daisies, and basically all of my favorite novelty print motifs in one fabric. To top it off, the chiffon has an open weave mesh pattern running through it, forming a plaid on top of the print. (It's very subtle, one of those little things that makes a fabric special.)

I used Butterick 5744 as a starting point, because I liked the faux-wrap skirt and the neckline flounce. Plus the waistline seam is elasticized, so I knew it would be comfy for summer.

I made a few changes, as you can probably see. First, I added two inches to the hem length. It is super short right out of the envelope, and Gertie don't play that. Second, I omitted the lining because I wanted to play up the sheer nature of the chiffon. I'm wearing a light pink slip to cover up my unmentionables. Third, sleeves! I wanted a more 40s-inspired design, and also to show off the fabric a bit more. I borrowed the sleeve from New Look 6069, eliminating a couple inches of length. It's a puff sleeve so I didn't have to worry too much about pattern compatibility, and it fit right into the armscye of the dress. Also, I made the neckline a bit lower and wider because of the way I attached the flounce--I decided on a french seam at the last moment, which ate up a bit more seam allowance.

A few other construction things: I used the narrow hem on my serger for all the raw edges, in a contrasting ivory color. I like how it plays up the details of the dress, like the flounce.

I used french seams on the inside. I had a brilliant idea (if I may say so myself) about the waistline seam. The pattern calls for you to stitch the waistline seam, then stitch again 1/4" away--making a channel for the elastic. You insert the elastic with the old safety pin trick. I tried it, and was unhappy with how messy the raw edge of the chiffon was. I found myself wishing I could bind the seam allowances. And then it came to me--fold over elastic! I took out the elastic from the casing, and used the fold over elastic to cinch in the waist fullness and finish the raw edges of the waistline seam. (I am so weirdly proud of myself for thinking of this.)

Fold over elastic is basically an elastic binding that can be used to enclose edges of lingerie and other knits. It worked perfectly for this purpose too. I cut the elastic to fit snugly around my waist, folded it over the raw edge of the waistline seam allowances, and stitched it in place with a multi-step zigzag--aka serpentine stitch (though a regular zigzag is fine), stretching the elastic as I sewed it on. I had to first make sure the elastic was evenly distributed by dividing it into halves and matching it to the dress's side seams. Once it was sewn on, I steamed the elastic to shrink it back to size. It worked like a charm, and is so pretty on the inside.

Oh, one other pattern change: the directions called for a small snap to hold the wrap bodice in place, but I just tacked the layers together instead. The snap seemed unnecessary, plus I have an irrational hatred of sewing on snaps.

Perfect with red pumps!

This was a fast project, and the chiffon has a bit of body and was easy to sew. (I have 6 more yards of it for sale, if you're interested. Use coupon code HAPPYWEEKEND for 10% off until tomorrow.)

Hey, speaking of sales! Miss L-Fire shoes have been on sale several places and it's my civic duty to pass the info on to you. I found the Lola mules in navy for almost half off. (The rest of Sole Addiction's Miss L-Fire stock is on sale as well.)

At Anthro, the Casablanca slingbacks in black and red are half off. I picked up the black and white dot. (A very sick part of my mind thinks I should get the red as well, since I saved 50%. I mean, right?)

I resisted the Tease wedges, but they are very cute in navy and also on sale.

Enjoy!

40s Jacket Deconstruction

Cool news: I have an exciting new job teaching fashion part time at Marist College. The class is for juniors, and it focuses on the development of a tailored collection. And you know how I love my tailoring! Over winter break, the students had a really interesting assignment: to find and deconstruct a vintage jacket, making a pattern and several new designs from it. I didn't want to be left out of the fun, so I decided to get in on the deconstruction action myself, which I shall document here.

First, the jacket. I found the perfect candidate at great shop called Bygones in Richmond, VA, over my holiday break. It's dated from the 40s, has a great tailored silhouette, but wasn't in great shape to wear. The fabric was corroded in spots and the lining was in tatters around the armholes. (You know I couldn't stand to completely take apart a stellar vintage garment!)

Bonus: it fits me perfectly so I can use the pattern I make from it.

It has a lovely crisp notched collar, classic two-piece sleeves, princess seams, a strong shoulder line, and double flap pockets.

There's a side panel under the arm for extra shaping.

It has a felt undercollar (which is traditional in fine tailoring), and very crisp roll line on the lapel--you can see the dimples from the pad stitching on the back.

The lining is a pretty rose-colored silk.

 Not in great condition in places.

There's a nice little handsewn hook at the collar. There's no designer's tag, but later clues have led me to believe it was custom-made by a professional.

Another cool detail: open vents at the side seams of the lining, where lots of wear and tear usually happens.

I could hardly wait to start taking this thing apart. (It felt wrong, but oh so right.) As you can see, the lining was entirely sewn in by hand with a slipstitch.

Once I got the lining out, I could see the jacket body's inner construction. The front revealed two different weights of hair canvas, and some thin batting for upper chest padding, all stitched together with diagonal basting. The shoulder pads were handmade with wadding.

 See labels below!

The pocket bags are made from tightly-woven pocketing fabric.

The back has padding to give a smooth line to the shoulder blades. There is no shoulder stay or reinforcement.

The seam allowances are uneven all over, and especially large at the fitting seams, indicating that this was a custom-made piece.

Next, I removed one of the facings for the Holy Grail of tailoring. There's twill tape on the edges and a wide strip of some sort of interfacing on the roll line. The whole thing is neatly pad stitched.

 I had to cut around the machine-made buttonholes to remove it.

Now I could peek under the collar to see the pad stitching there. 

A few other notes, if you're still reading at this point:

• Lining: seams and darts on each individual piece machine sewn, then hand stitched into jacket separately with a fell stitch. The handstitching tacks the lining down to jacket interior in several places. Lining sleeves set in by hand.
• Hem is pressed up and held in place with large catch stitches. 
• Delicate hand pick stitches all around jacket front, lapels, and collar for crisp look.
• Felt undercollar applied by hand with fell stitches--felt undercollar has no seam allowances; raw edge is aligned with turned-under seam allowances of the upper collar.

My next step is to completely deconstruct the pieces to make a pattern from. More to come!