Inspiration: 1954 Balenciaga Tweed Suit

Amid all the dazzling evening gowns at the Golden Age of Couture exhibit, I was struck by how much I was drawn to the tailored items. There is something truly amazing about the tailoring on ladies garments of this period, particularly those by the masters: Dior and Balenciaga. The suit above (which you can read about on the V&A website) stood out among dozens of spectacular suits. Obviously, the tailoring is impeccable. But more so, it's the design details that really make this shine.

The first thing you notice when you see this suit in person is the unusual empire seam line. Isn't it remarkable how that one little detail is so completely captivating?

In conjunction with the soft shawl-type collar, bracelet-length sleeves, and flared hem of the jacket, this piece is a real beauty.

I also found it funny that of all the amazing pieces in the exhibit, this was Jeff's favorite, for the sole reason that he thought it would look good on me. (Awww.) Of course, his reaction made me interested in trying to make my own version of this suit. But how? I showed this picture to my teacher Sharon, and after close examination, she said it looked like a panel jacket, meaning that there's a panel of fabric that goes down the side, rather than a side seam. Which probably explains how the torso shape is so impeccably tailored: more seams make for more fitting opportunities.

So I've been playing around with the idea of taking Butterick 5147, a current pattern, and making three key changes: 1) converting the side seams to side panels, 2) adding an empire seam, and 3) changing the collar shape to imitate the Balenciaga. Wouldn't it be lovely in a subtle lavender tweed?

Of course, this won't be happening any time soon, as I seem to be taking on quite a few fall projects right now. But it's another one for the inspiration file, out of so many that I saw at the Frist (and I'm eager to share more with you!).

In some other geeky sewing details, here's what the V&A says of Balenciaga: "He was adept at manipulating firm fabrics. The style of jacket relies for effect on careful fitting to the body in front and gentle fullness at the back, and in the setting of the sleeves. Balenciaga was renowned in the trade for inspecting and resetting sleeves that were not perfect." And also:  "Christian Dior once commented upon seeing a Balenciaga suit, 'Only Balenciaga would be capable of producing such perfection.'"

Inspiration: Norman Hartnell Cocktail Dress

There was such a wealth of gorgeous garments in the Golden Age of Couture show at the Frist that I'm quite overwhelmed by the thought of writing a post on my impressions of the exhibit as a whole. Instead, I thought I would highlight my favorites in individual posts. And what better way to start than this gorgeous early 50s dress, designed by Norman Hartnell and worn by Princess Margaret?

I would call this dress deceptively simple. It looks at first like a perfectly lovely LBD . . . but then its genius sneaks up on you. You notice the scalloped hem, which I believe our docent said was made by inserting godets into ten gores. When the skirt is spread out, it resembles a flower with lots of petals. Then you notice the lovely bodice shaping. The darts are unconventional; they form a chevron beneath the bust. And then there's the lovely, but subtle, pleating above the bust, where the straps begin.

In fact, by the time you've taken in all the lovely construction details, I would say the least dazzling thing about this dress is the sequin and diamante-encrusted straps.

My teacher Sharon and I were drooling over the exhibit catalog this morning, and I couldn't stop talking about this particular dress. She noticed, and suggested we go about recreating the pattern in our draping lessons. Yes, please! So that's what we'll be working on, starting next week. Don't you think a plum-colored wool satin would be just the thing? Stay tuned! (And stand by for more posts on the garments in the exhibit. I have a lot I want to show you!)

The Yellow Dress (in Nashville!)

Well, the dress is finished and has had its inaugural wearing! I sewed the last stitch just before our museum meet-up at the Frist to see the Golden Age of Couture exhibit.

Jeff took pictures of me in the lobby of The Hermitage Hotel, where we stayed. It was ridiculously beautiful and grand, and provided quite the backdrop!

I posed, rather queen-like, in one of the fancy armchairs.

Then two of the exceedingly nice hotel workers insisted on moving the chair in front of the fireplace so we could get the perfect shot. A far cry from the usual shots in my apartment, isn't it?

Then we headed over to the museum.

And met up with the group—a fabulous mix of fellow bloggers (including Amy and Jenny) and fashion enthusiasts.

The Frist arranged a guided tour for us! Our docent was the wonderful Mancil, who was incredibly knowlegeable, funny, and photogenic.

Super big thanks to Ellen and Mancil at the Frist! They gave us quite the warm reception. The exhibit was absolutely breath-taking, and I will definitely be writing more about it in a upcoming post.

P.S. I know I dropped off on construction posts on the yellow dress. I'll do one more to wrap it up, including how to install a waist stay!