Peter's 1944 Topper Project + COAT QUIZ!

Readers, having recently put the finishing touches on my 1944 misses' jumper -- which evidently stirs up unpleasant young Jane Eyre at Lowood charity school-type memories for a number of you -- I am now ready to get started on the most challenging and exciting of my three 1944 garments, the vintage Butterick topper.

As you may or may not know already, a topper is a woman's short, lightweight coat. This is a tailored garment, and there will be a good deal of hand sewing involved, horsehair interfacing, twill tape, etc.  The coat has welt pockets, but because they are located on a seam, there's none of that complicated pulling one layer through another.







There are also -- saints be praised -- no buttons, which means no bound buttonholes.  So I'm approaching this as sort of a practice tailoring exercise: just enough to be challenging, but not so much as to be discouraging.

You may recall that this is a refashioning project.  My fabric is a vintage wool blanket purchased at the Chelsea flea market.  I wouldn't be surprised if the blanket dated back to the 1940's itself.



While the seller claims to have had the blanket dry cleaned, it retains a -- how shall I put this? -- distinct aroma of basement, with some damp attic top notes; halfway between a moldy Featherweight carrying case and a washing machine full of old cardigans.  I think the damp weather may be contributing as well.  It wasn't apparent when I purchased it, but steaming seems to have restored its original smell.  I am hoping this will dissipate over time.

Butterick 2969 is an unprinted pattern and, right out of the envelope, the pieces resembled those wadded-up Kleenex one occasionally finds at the bottom of pants pockets after doing the laundry.  Thankfully, with a little careful dry ironing, I was able to bring the pattern back to life. 



I needed to bring the blanket back to life as well.  It measures 66" x 82" and is not without its cosmetic flaws, which I proceeded to outline in white chalk so I could cut around them.  Nothing major -- just some small tears, areas of excessive wear, light stains and discoloration.  







For topstitching, I'll be using beige cotton thread, which adds some much-needed freshness to the look of the fabric.  The wool is relatively easy to work with so far, though quite thick.





Friends, I had planned today to post a few similar vintage Forties women's coat patterns available on Etsy, and there are quite a few, like this one:

But as I was looking through coat patterns, I noticed a very odd trend.  I have decided to let you identify just what this trend is, in the form of a quiz.

1) What is wrong with distinctive about the following coat patterns?

2) What do these patterns suggest about a) fashion trends, b) home sewing, c) pattern companies, d) anything else you can think of?

Readers, I must start my day.  I hope you will take a moment to respond to today's quiz, as well as to share your best time-tested methods of removing dank smells from old wool.  You've been so helpful in the past with my old luggage (now sold, thankfully) and Featherweight case!

Have a sweet-scented day, everybody!

The Glamour Never Stops + New Patterns!

As if this week didn't have enough excitement, I was thrilled to attend the BurdaStyle Sewing Handbook book launch event on Thursday night and, trust me, that sombrero was their idea and don't even mention the scissors.

I hope to write more about the Burda book in the future because it looks terrific, despite my not having contributed a project for it.  Cat-loving, peanut-butter-and-honey-sandwich-eating Gertie is in the book, however, and wouldn't you know she was at the book launch too, accompanied by handsome, hirsute husband Jeff.  I treated her with my usual warmth, overlooking the sharp comment she'd left on my blog that very day (Thursday) about men's patterns.  Gertie looked lovely in a lustrous silk and cotton blend polka-dotted dress and coordinating pink cardigan.

She really needs to start sewing for Jeff, however, because he looks -- don't hate me -- almost bland in comparison to her.  If she begs I might just send a few men's patterns her way (since in her opinion there's such an abundance of them out there).  Wait: maybe I should sew something for Jeff...we can do a photo shoot!

But let's move on.

I'm just back from the Chelsea flea market, where one of the sellers had two boxes full of vintage Sixties and Seventies patterns, many in Cathy's size or the size above.  This is not my favorite period, though initially I thought I'd just buy the whole lot.  After digging through them, however, I realized that they were really not all that, and instead chose a few I liked and left the rest.  A buck apiece.

Who doesn't love an early-Seventies take on the turban.  So Biba.



I think this 1969-ish Vogue Americana would be perfect for Dr. Lorna Gallo, the character I play in Noah's Very Unusual Insight.  The dropped waistline is very flattering on a certain kind of woman -- flat-chested, no hips -- and Dr. Lorna is just that kind.  Time to dig out the poly crepe!



This simple suit from 1967 is fetching in that matchy-matchy Jackie O way I love.  Perfect for cocktails in town.



Finally, I chose these two McCall's.   On the left is a pattern for a ruffled "fill-in" (akin to a halter top), ascot, and matching bib and cuffs.  On the right, a stretch jumpsuit, which is right for so many occasions.  I find the idea of a ruffled "fill-in" mildly hilarious, and I would like a matching bib and cuffs for myself, frankly.



Friends, that's it.  I am going to finish my 1944 jumper today come hell or high water.   I'm nearly done with the skirt, which I then have to attach to the top.  How does one get into a jumper, btw?



Here's a question:  you have to match two pieces of plaid, both of which are folded under approximately 7 inches.  So the seam (which will form the center of a skirt with a box pleat) is going to have a 7" seam allowance.  What is the best way to match the plaid?  I actually used tape so the layers wouldn't shift under my sewing machine, but it didn't feel like the ideal technique.  I guess in an ideal world I'd have hand-basted.  Any other ideas?

Finally, do you think partners of glamorous people have a duty to be glamorous too?  Whatever happened to the days of Ty and Lana?

Have a great weekend, everybody!

Peter visits The McCall Pattern Co. + Vogue Patterns Dec/Jan issue GIVEAWAY!

Friends, I grew up in the kind of family where you never shared good news with anyone until it was a 100% sure thing.  Otherwise you were inviting the evil eye or something. Very "old country."

But, having now seen it in print, I can formally announce my article in the December 2011/January 2012 issue of Vogue Patterns.  I'm so excited -- and honored!

I forget exactly when I wrote this article about my vintage sewing machine collection, entitled "How Many Is Too Many?" (a rhetorical question, readers), but lo and behold, there it is -- me and my proud family of straight stitchers and zigzaggers for the whole world to see.  Maybe now my mother will stop asking me, What are you going to do with all those sewing machines?  Actually, probably not.

Anyway, yesterday I had the privilege of getting my own private tour of the McCall Pattern Company -- where McCall's, Butterick, and Vogue patterns are created, and where Vogue Patterns magazine is written.  I spent nearly four hours with Editor-in-Chief Kathy Marrone, aka The Nicest Person in the World (TNPINW) and staff, and I would have happily slept over -- or just moved in.  I may show up tomorrow and see what they do with me.

Here's Kathy, on the left, with Phyllis Nortey, Magazine Coordinator and Web Site Editor.



I cannot tell you how fantastic it was to meet so many of the people who design patterns, sew up samples (in both muslin and fashion fabric), direct photo shoots, etc., and to watch the process unfold, but I will try.  I am hoping to convince Kathy (TNPINW) and staff to redesign the office to accommodate an interior boat cruise (think, It's a Small World at Disneyland) and open it up to the public.  It's that neat. 

I was so overwhelmed by it all and, frankly, felt a bit awkward asking people I'd never met before who were busy at work if I could take their picture, but I did capture some of it.



In the room below, samples of fabrics and notions currently available throughout the country are stored.  This immense library is used to help decide fabric recommendations for whatever pattern is being designed.



Here's the photo studio, with photographer Brian Kraus at the ready.  Look at all those shoes!





Below, James Bosco, Vogue Patterns Fashion Editor, shows me his collection of vintage fur collars.  I think one of these may end up in a future Cathy photo shoot!  James, a master quilter, found his vintage Singer Featherweight for $5.  Don't you hate that?



The day was filled with highlights -- and don't ever let anyone tell you there's no such thing as a free lunch, because I had one.  (I was so tempted to ask for Kathy's uneaten onion rings, readers, but I resisted.)  But if I had to choose just one highlight to share in depth, it would be the company archives.

Here, bound copies of every Butterick, Vogue, and Mccall's pattern book are stored.  I could have spent a week in this room, friends, and I think I made a bad impression when I tried to smuggle a few tomes out under my blazer, but nothing ventured, nothing gained, right?









Here's Butterick's Spring & Summer catalog from 1876.  It's all about bustles, kids!





You can see more photos from my dream day at McCall's Vogue Butterick (or is it Vogue Butterick McCall's?)  here.

But now onto the GIVEAWAY!

I have one copy of the December/January issue of Vogue Patterns magazine with my article in it (as well as one penned by infamous seamstress Elaine May) to give away to one lucky MPB reader!

Readers all over the world are eligible -- in fact, for a nominal fee (airfare) I will deliver it to you myself! 

All you have to do is leave a comment below.  If you like, you can also add an article suggestion for my next Vogue Patterns contribution (They haven't heard the last of me!).  What would you like me to write about next?  Featherweights?  Vintage men's shirt patterns?  Accessorizing photo shoots entirely from the Salvation Army?  I want to pick your brain!

Anyway, you have till midnight, EST, Thursday, November 10, to enter, and I'll announce the winner on Friday morning (the 11th).

Of course, you can also order your own issue directly here.

Good luck and -- as always -- thanks for reading MPB!

We're a Hit + Vintage Pattern-palooza!

How thrilling these last few days have been, readers.  Our show, Noah's Very Unusual Insight, was a hit (despite fierce Februrary weather in October), and we're definitely going to do it again -- perhaps in the same space, perhaps on tour and coming to a city near you! 

Of course, you'd expect that I'd have hundreds of photos to post, but friends, I have none.  We did have both performances videotaped, however, so as soon as we get the files from the videographer we'll be posting highlights on YouTube.  There was simply too much going on to remember to snap some backstage pics, though for what it's worth, I did remember to bring my camera to the theater last night.  Oh well.

I will share with you what I wore as Dr. Lorna Gallo, who is a mix of Ingrid Bergman in Spellbound and Ethel Merman in pretty much anything.

I wore the Elaine dress (I'm glad I didn't dump it) with a lab coat on top.

At the flea market I found these great vintage iron-on embroidered letters.  They no longer ironed on -- I mean, they must be sixty years old -- so I just stitched them on.





I also found these vintage rhinestone shank buttons for just $1 -- love 'em! -- though they didn't make it into the show.



Michael wore men's clothes, of course, but he was very excited to have an excuse to darken his nearly invisible eyebrows for the stage.  Here's a test shot.



To shake off post-show blues this morning, I high-tailed it to the flea market and found four fabulous vintage patterns for a price so low I dare not share it for fear you'll hate me.  Here they are: 

Vogue 7282, dating from 1936.  So Irene Dunne!



McCalls 4615, from 1942.  I thought this was a house coat, but the patterns says Misses Evening Dress.  With all those buttons?





Vogue Couturier 354, from 1940.  I love how the back of the pattern reads, Have Fur Collar Made By Furrier.  I'll get right on it.



Finally, McCall's 3640, from 1940.  This bathing suit pattern is a true gem, and can be made in both one-piece and two-piece versions.  Still with its factory folds, too.







So fun!

Friends, that's all I have for you today.  We're a bit exhausted, as you might imagine, but it was really great to perform together and to discover that we're a good onstage team.

And what have you been up to?

Happy Sunday, everybody!