Vintage Vogue 1489: giant collared suit

After what seemed like an endless summer and non-existent autumn Sydney is finally having some cold weather. I love winter - wearing chunky knits and not having to worry about getting a sunburn from being in the sun for three seconds is definitely my thing! So it's timely that I finally finished sewing a new wool suit for work - actually I finished this about 3 weeks ago but it took me some time to find the right buttons and then get around to sewing them on.

When it comes to collars on suit jackets, I usually prefer no collar at all except it seems when the collar is HUGE! This is a 1960 Vogue pattern that is a pretty simple style except for that oversized notched collar.

Luckily this was a fairly simple project to sew because in true vintage style there was only one page of instructions for the entire jacket. I followed the vintage techniques as well, including hand basting in canvas interfacing instead of using fusible, and pad stitching that giant collar to support it.

I also lengthened the sleeves because my wrists get too cold to wear bracelet length. Apart from that I didn't make any changes - I even put in some slim shoulder pads. I used premade ones though - no one has time to make their own! I'm not sure about those shoulder pads though, they make me feel really bulky around the shoulders and I think my neck looks really short and stumpy in this.

The back view is fairly plain - darts at the shoulders and vertical darts to give waistline shaping. If only I had better posture and stood up straight then I wouldn't have those annoyng drag lines on the back! 

It took me a while to find some buttons, and I was very nearly going to make some fabric covered buttons when I stumbled accross these simple angled buttons in Spotlight of all places. I didn't do the bound buttonholes because I thought there was a high risk of stuffing them up and ruining my jacket when it was practically finished. The buttons cover the buttonholes though, and those buttons really make the jacket. At nearly $5 each they are the most expensive part of the jacket, because the fabric I've used was picked up from a Sydney Spoolettes fabric swap last year. It's a gorgeous wool, so I can't understand why anyone would give this away, but I think I've made very good use of it!

The skirt I've made to go with the jacket isn't from this pattern - I just used my favourite Burda high waisted pencil skirt because I know it fits me perfectly. This is Burda 2/2018 #119, which I've made a few times before, including this cute version in green floral barkcloth that I wear all the time.

Overall I really like this suit even if it makes me look like a football quarterback with those shoulders. Maybe one day I'll undo the lining and remove the pads, but knowing me I'll probably just keep wearing it as it is and just think about doing it everytime I wear it

The Posture Improving Dress

One of the things I love about vintage patterns is the poses used in illustrations of the models on the envelope: they have such poise, elegance and tiny, tiny waists (well they usually are drawings and not real life models after all). So of course when we real life bodies make these dresses, the outcome is not exactly the same….

With this dress, made from a 1959 Simplicity pattern, I have to stand up straight because if I slouch those pleats at the waist puff out and give me an unflattering beer belly where one does not exist!

Sewing up the dress should have been easy since it has rather simple lines, but it was made harder by the pattern pieces being those ones where the patterns marking are perforated instead of printed (those dots are ruining my eyesight!) and picking a fabric that required a lot of match at the seams and zipper.

However once past those challenges it came together rather easy. The only alterations I made were to use an invisible zipper at the centre back seam instead of a lapped zipper and to underline the dress with a bright orange cotton batiste - I’m guessing that vintage dress patterns don’t usually call for linings because the ladies of the day wore full slips but I don’t profess to be a lady so I definitely needed a lining! I also left off the pocket because the print of the dress was busy enough so their effect was limited.

I made this dress from a crisp cotton purchased from Lincraft when they had their 50% off summer fabrics sale a few weeks ago. It is a rather bold and busy pattern for a dress, but I don't like being boring so I thought why not? I did make the matching belt, with a big brown button, but it didn't stand out because the print is so busy, so I've worn here instead with a plain brown belt, to match some old brown Witchery t-bar heels I nearly through out just a few weeks ago.

I also made the jacket, from a textured cotton canvas and large plastic buttons I had in the stash. I’m loving the gloriously wide lapel and bracelet length sleeves, and look how good my notched collars turned out! Normally I do an atrocious job on those notched collars and have to hand stitch and steam the hell out of them to get them into line, but I followed this tutorial by Barbara Weiland that appeared in the November 2002 edition of Sew News magazine and it just worked this time.

The lining method was a little ordinary IMO, instead of doing a bagged lining and then turning the whole thing out the right way, the pattern steps required the jacket and facing to be all sewn up, and then hand sewing the lining in. This was majorly fiddly and time consuming, and something for me to remember if I ever make this pattern again (but with 587 other patterns waiting to be made I probably won’t!)

Unfortunately the weather here in Sydney has finally turned cool so I may not wear this dress and jacket anytime soon, although maybe with black opaque stockings and a warmer jacket I could make it work – it is in autumn colours after all.