Tag Archives: skirt

“Gemini IV, get back in!”

Quote at the entrance of the Space Shuttle Atlantis Exhibition at KSC Visitor Complex

I already told you that we spent two weeks of June in beautiful Florida in the US. One stop was the Kennedy Space Center. We were lucky to even experience a rocket launch, a Space X Falcon 9 rocket loaded with two satellites. As it was amidst the US school vacations, we could overhear a Space-Shuttle-Program-technician talk to a group of kids about her work, what problems they faced, how dangerous the fuel used in zero gravity is and how astronauts use the toilet. I really envied her and imagined for a second what my life would look like now if I had studied “rocket science”. The next second I thought that it might sound pretty cool talking about handling high-explosive fuel all alone in the assembly building, but that it for sure is not when you are maneuvering a bucket full of some liquid that could kill you in an instant and won’t excuse the tiniest mistake. After all I feel very happy and comfortable in my job and to be honest, 50 year old insecticides are not that harmless either, so I’ll stop complaining about the apparent harmlessness of my job.

getting hold of the sky
getting hold of the sky

One fate connected with the history of manned space flight that really touched me was that of Edward White. He was a NASA astronaut and pilot of the Gemini IV mission in 1965. This mission saw the first American  space walk, executed by White himself. He reportedly was so over the moon (haha) being outside the space ship that he had to be ordered back into the ship by mission control several times.
He and the Command pilot James McDivitt came back to earth as celebrated heroes and because of the good work he had done, White was selected for the first Apollo mission 1967. Everything went as planned, but a rehearsal a few weeks before the scheduled launch went terribly wrong. Due to a technical failure a fire broke out inside the pressurized cabin that was filled with pure oxygen. All attempts to open the doors in time were in vain and all three Apollo 1-astronauts lost their lifes in a test that had been considered completely harmless until that day.
And the man that had experienced zero gravity flying in space as one of the first of all human beings on earth died, tied up in a seat that was meant to bring him back into this endless and hostile space and what killed him was no extreme condition outside our earth’s atmosphere, but a simple cable fire whilst being safely on the ground.

What do I learn from this story? That we never know what will be, but that we can cherish the moments in life we love. 🙂
The shop in KSC offers all crew patches ever used in NASA history (and some more fictional designs, as the early missions did not have official ones) and so I did not chose the Apollo 1 patch, but the loved moment, the (fictitious, as the mission had no official patch) Gemini IV patch.

To infinity and beyond
To infinity and beyond

When I was back home I started searching for a new sewing project. I hoped to be able to include the patch as I didn’t want to bury it in my stash for I-don’t-know-how-long. And when I got my hands on a red cotton velvet leftover I had had for years, I knew it had to be as it matched the patch perfectly. As a pattern I chose an 80s pencil skirt Burda-pattern (4868). I had already made it once and I knew it fit. This really is my tried and trusted pencil-skirt pattern when I need one. The first version had been made of a printed cotton fabric that was much too thin for a skirt and therefore didn’t survive very long.

I lacked the matching notions, apart from a button and the zipper, so I bought yellow grosgrain and aqua-coloured satin ribbon to use as piping. To prevent the velvet from pushing the skirt around, I only used it on the outside of the waistband, the inside is covered by a white satin ribbon I found between some other notions.

Long story short: I love it. I was already told it would resemble a school uniform, but I really don’t care. And as this is a NASA-patch, a certain reminiscence of a uniform was maybe even wanted 😉

Wie ich euch ja schon erzählt habe, war ich im Juni zwei Wochen in Florida. Einer unserer Programmpunkte war das Kennedy Space Center in Cape Canaveral. Es war sehr eindrücklich, wir hatten sogar das Glück, einen Raketenstart mitzuerleben, eine Space X Falcon 9 Rakete brachte zwei Satelliten in den Orbit. Und da es mitten in den Schulferien war, hatten wir das Glück einer Space-Shuttle-Technikerin zuzuhören, die einer Gruppe Kinder Geschichten über die Tücken eines Space Shuttles und die gefährlichen Treibstoffe in der Schwerelosigkeit  erzählte und wie man als Astronaut im All auf Toilette geht. Für einen kurzen Moment stellte ich mir mein Leben vor, wie es wohl aussehen könnte, wenn ich “Raketenwissenschaft” studiert hätte. Im nächsten Moment dachte ich dann aber, dass es wohlmöglich im Nachhinein ganz cool klingt, wenn man begeisterten Kindern von seinen Erlebnissen mit hochexplosivem Treibstoff erzählen kann, dass es aber wohl alles andere als lustig ist, mutterseelenallein mit einem Eimer voll Flüssigkeit zu hantieren, der dich beim kleinsten Fehler ins Jenseits schickt. Also kam ich zu dem Schluss, dass ich in meinem Job doch sehr zufrieden und glücklich bin. Im Übrigen sind auch 50 Jahre alte Pestizide alles andere als ungefährlich, also so sicher wie mein Job klingt, ist er dann doch nicht.

Ein Schicksal der bemannten Raumfahrt hat mich schon vor unserem Besuch im KSC beschäftigt und betroffen gemacht, das von Edward White. Er war NASA-Astronaut und 1965 Pilot der Gemini IV-Mission und auf dieser der erste Amerikaner, der einen Weltraumspaziergang machte. Offenbar war er davon derart begeistert, dass ihn das Kontrollzentrum mehrere Male auffordern musste, wieder in die Raumkapsel zu steigen. White und sein Kommandeur James McDivitt landeten wohlbehalten wieder auf der Erde und wurden als Helden empfangen. Aufgrund seiner guten Arbeit wurde er für die erste Apollo Mission 1967 ausgewählt. Alles lief nach Plan bis zu einem Probedurchlauf wenige Wochen vor dem Start. Ein technischer Defekt liess in der mit reinem Sauerstoff befüllten Kapsel einen Brand ausbrechen, der künstliche Druck im Innenraum sorgte dafür, dass alle Versuche, die Kapsel rechtzeitig zu öffnen, erfolglos blieben. Bei einem als harmlos geltenden Test verloren alle drei Astronauten der Apollo 1-Mission ihr Leben.
Der Mann, der als einer der ersten Menschen des Planeten die Schwerelosigkeit frei im Weltall schwebend erleben durfte, starb in dem Schalensitz, der ihn in dieses kalte und lebensfeindliche All zurückbringen sollte, nicht durch die Gefahren des Weltraums, denen er sich freiwillig aussetzen wollte, sondern durch einen simplen Kabelbrand auf der guten alten Erde.

Was ich auf dieser Geschichte für mich mitnehme? Dass wir nie wissen werden, was uns die Zukunft bringt, aber die wertvollen Momente, die wir erleben dürfen, geniessen sollten. 🙂
Im Merchandise-Shop des KSC konnte man die Crew-Patches sämtlicher NASA-Missionen käuflich erwerben, auch wenn einige fiktiv sind (da die frühen Missionen noch keine offiziellen Patches hatten). Und so wählte ich nicht den Apollo 1-Aufnäher, sondern den wertvollen Moment, den Gemini-IV-Patch (der einer jener fiktiven bzw. nachträglich designten Patches ist).

blouse: tommy hilfiger - skirt: ette/burda - David-Bowie-brooch: Victoria & Albert museum shop - shoes: some small shop in Vienna
blouse: tommy hilfiger – skirt: ette/burda – David-Bowie-brooch: Victoria & Albert museum shop – shoes: some small shop in Vienna

Zuhause juckte es mich in den Fingern, ein neues, kleines Projekt anzufangen. Den Patch wollte ich ungern liegen lassen, denn dann würde er doch irgendwo vergraben werden. Als ich dann auf ein Stück roten Baumwollsamt stiess, der irgendwann einmal einer Restekiste entstiegen war, reifte der Plan. Beim Schnittmuster griff ich auf altbewährtes zurück, Burda 4868, ein schlichter Bleistiftrock aus den späten 80er Jahren. Das hatte ich schon einmal genäht und wusste, es passt und gefällt. Die erste Version war aus bedruckter Baumwolle und hielt nicht wirklich lange, da der Stoff einfach zu dünn war.

Reissverschluss und Knopf waren vorhanden, gekauft habe ich das gelbe Ripsband sowie das als Paspel verwendete türkise Satinband. Da es ein Rest war, musste ich den Bund quer zum Fadenlauf schneiden. Das könnte bei Samt zu einem etwas wanderwütigen Kleidungsstück führen, daher ist die Innenseite des Bundes mit einem breiten Gewebeband gearbeitet, welches noch im Nähschrank lag.

Tja, was soll ich sagen: ganz grosse Liebe! Er sitzt gut, er ist bequem und er ist genauso geworden, wie ich ihn mir vorgestellt habe. Eine der ersten Kommentare war zwar, dass er wie eine Schuluniform aussähe, aber selbst wenn, ein NASA-Crew-Patch darf gerne Uniform-Assoziationen wecken, vielleicht war das sogar ein wenig gewollt.

Ich hoffe er gefällt euch auch, alles Liebe

see you soon,
ette

For free and for bad weather

I have had this project finished for already a couple of months. But  somehow  all of a sudden it got warmer and warmer, too warm for it. Although I have to admit, at some point in between I might simply have forgotten that I still had and wanted to photograph it.

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But I’ll start at the beginning. On a visit to one of my favourite charity shop, it must have been two years ago at least, I checked the few items in the “for free”-box in front of the shop. And what I found was a brown midi-skirt made from pure new wool, size 38.
I don’t know about you but to me it screamed 30s the moment I saw it
Size 38 equals international size S, which mostly is a little large for me. Additionally, this skirt was a 1990s-skirt to wear on the hips, not at the waist. Doesn’t sound like much work to do, but obviously already too much as it lay on my to-do-pile until this winter. But a few months ago I finally tackled the task. I removed the waistband, re-shaped the darts and side seams to fit the skirt at the waist (not the centre back seam as I didn’t want to touch the invisible zip), re-attached the lining and the waistband and I was done. Well nearly, as obviously I had measured badly and it was too tight. So I removed the waistband again and re-sewed it while stretching the skirt as much as I could. The few centimetres I won were enough to make it wearable.

OLYMPUS DIGITAL CAMERA

After having worn it one day I topstitched the button-band in the centre front (yes, you don’t need it and still it was perfectly functioning, but tended to gap whilst sitting) and closed the walking slit in the back just until it ended appr. 20cm above the hem.
Now I have a perfect, beautiful and beloved pure wool skirt in a 30s style without paying a bit. And I am happy about the return of April weather for finally getting to wear it (yesterday was beautiful and sunny, but today it is cold and heavily raining).

This is how I found it
This is how I found it

Auf Deutsch:
Dieses Projekt hängt schon seit geraumer Weile in meinem Kleiderschrank, aber irgendwie war auf einmal schon Frühling und das Wetter zu warm für so eine Jupe (Disclaimer: Ich lebe in der Schweiz, ich schreibe nach Schweizer Rechtschreibung, ich benutze Schweizer Worte. Eine Jupe ist ein Rock 😉 ). Zwischenzeitlich mag ich sie aber auch einfach vergessen haben.
Von Anfang an: Es muss vor etwa zwei Jahren gewesen sein, da fand ich in der Gratis-Kiste vor einem meiner liebsten Trödelläden eine Jupe, Midi-Länge, makellos, Grösse 38, reine Schurwolle.

Nun, 38 ist mir etwas zu gross, dazu war es eine dieser 90er-Jahre-Jupes, welche man auf der Hüfte tragen soll und eben nicht wie eine aus den 30er Jahren in der Taille. Nun ja, klingt trotzdem nicht nach viel Arbeit, verschwand aber erst einmal eine ganze Weile im Projekte-Stapel. Nun, wie gesagt, vor einen Monaten befasste ich mich dann einmal eingehender mit dem Projekt. Bund abgetrennt, Abnäher und Seitennähte neu geformt (nur nicht die hintere Mitte, den nahtverdeckten Reissverschluss wollte ich schön in Ruhe lassen) so dass sie schön in der Taille sitzt, Futter wieder darübergeheftet und den Bund wieder angenäht. Hatte mich leider zu früh gefreut weil ich meine Taille dann doch etwas überschätzt hatte und die Jupe partout nicht mehr zu bekam. Also noch einmal den Bund abgetrennt und so stark gedehnt wie nur irgend möglich wieder angesetzt. Die gewonnenen Zentimeter reichten zum Glück aus.

top: fogal – skirt: bardehle, altered – belt: my mum’s – shoes: flea market

Nachdem ich sie einen Tag im Büro getragen hatte, habe ich dann noch die Knopfleiste abgesteppt (ja, man braucht sie nicht, aber sie war voll funktionsfähig) und den Schlitz hinten bis auf 20cm geschlossen.
Damit habe ich nun eine sehr schicke, heiss geliebte Wolljupe die aussieht wie aus den 30ern importiert ohne auch nur einen Rappen dafür zu bezahlen. Und damit macht die Pause vom Sommer draussen endlich einmal Sinn, weil ich euch noch vor dem Herbst Fotos zeigen kann (nachdem es gestern noch sommerlich warm war freuen wir uns hier heute über 11°C und Regen).

See you soon, bis bald

ette

Journey to the far east…

Well, were should I start….

Back in 2012 I read a beautiful post on 1950ies Sari-dresses on Tuppence Ha’Penny Vintage. Obviously the 1950ies loved the gold-decorated fabrics and mixed them as well as some Sari-style elements with european contemporary fashion.

This put me back even further in time. In the early 2000 my father worked as as service technician, traveling half the world to install and repair the machines his company sold all over the globe. It must have been 2005 when he travelled to Pakistan for a couple of weeks. As you can imagine we children, my brother and I were always very curious to hear from his travels and sometimes he even brought us some gifts. This time he brought me a traditional garment he found at a Pakistani market. I always thought of it as a Sari, but obviously it is a Shalwar kameez with a dupatta: wide trousers, a long top with slitted sides and a matching scarf, I am sure you know this kind of garment, though you didn’t know its name.

parvasedapta.ch-theingredients

Unfortunately he was neither able to talk to the seller nor able to read the sizes on the wrapping. So when I unwrapped it I found myself face to face with a huge, huge! page of trousers and a not quite as large top (the trousers are meant to be wide and are gathered with a cord when worn, but this was still much too large for me).
Of course I was happy nontheless, thinking I could alter it sometime in the future ( I had just started sewing). So it went into my closet. Here you can see it hanging behind me in 2005, during me moving into a new apartment (therefore the wardrobe still misses its curtains).

18-year old me, deciding which old greeting cards should be discarded
18-year old me, deciding which old greeting cards should be discarded

And there it hung for years. At some point I actually planned to fit it, but then I thought ‘when would I wear it’ and my motivation was gone the same second. At the same time I liked to fact of having three different, but matching fabrics, although we could argue about their beauty (still have to think of 1990ies nightgowns somehow).
Until the above mentioned post. As soon as I saw the dresses made from Sari-fabrics I had to think of my own oriental garment in the wardrobe nearby. But it took me until 2015 to actually realize this plan. Ten years, four moves, tree diploma (the university-entrance one from school and two at two different universities), two countries, this Shalwar kameez has seen a lot of my life.

parvasedapta.ch-theback

I knew I couldn’t turn this into an evening dress as the examples linked above, mine wasn’t silk fabric with gold embroidery, but printed cotton. So I searched for a pattern to make something like an everyday dress. I found it in my 1955/6-Lutterloh-book (see Klara, sooner than I thought!), a blouse with a matching skirt. I enlarged the pattern using my measurements and it fit without any alterrations (!). What I did alter a little was the skirt: I knew I wanted to use the scarf as a ruffle at the bottom. Because it was very wide I cut it in half and gathered it until it fit the width of the skirt pattern at half length (well, actually 2/3), the top part I cut according to the pattern.

For the top part of the skirt as well as for the facings of the blouse, I used the trouser’s fabric, the blouse itself was cut from the top fabric. I made bias binding from the trouser fabric to finish the sleeves and the hem and added a pocket into one of the skirt’s seams (Lutterloh patterns are very basic, they include the major pattern pieces, but things like facings, waistband or pockets have to be added and drafted yourself). The front parts and the collar of the blouse as well as the waistband are enforced with fusible interfacing. I only had three of the white buttons so I went for an assymetric closure instead of the two-row variant shown in the pattern. The skirt closes with a clear plastic button and two press buttons (the pleats hide any opening, so a zipper wasn’t necessary).

parvasedapta.ch-letslookserious

The two parts together are really…special. I don’t think I will ever wear them like this, the colours are a little too wild for my taste, therefore I styled it a little over the top. But I can easily imagine wearing the skirt with a white blouse or maybe even the blouse with high-waist-trousers. At the moment I wear a navy blue cardigan with it, so only the collar is peeking out. Like this and with matching navy shoes it might even work as a standard outfit.

Whilst the fabric pattern isn’t really oriental and the term Sari is wrong, I still think of it as my Sari-dress and it makes sitar-melodies stick in my brain. This and the fact that today’s post will be the last one in march because I will use the two weeks off work to come as two weeks off blogging and will maybe spend some days away from home, it seems fair enough to link to this month’s Krea-Kränzchen, themed “Fernweh”, so wanderlust.
I won’t be posting here for the next two weeks. Because I start a new job next month I don’t think I will be able to hold my twice-a-week-post-frequency, but have to limit it to one post a week from April on, I’m sorry.

parvasedapta.ch-helloooosir

So…wo fange ich an…
2012 las ich einen sehr schönen Post über 50er-Jahre Kleider aus Sari-Stoffen auf Tuppence Ha’Penny Vintage. Offenbar mochte man damals die gold-bestickten Sari-Stoffen und nähte modische Kleider mit exotischen Details daraus.

Das widerum warf mich zeitlich noch weiter zurück. In den 2000er Jahren arbeitete mein Vater als Servicetechniker und kam mit Reparaturen und Inbetriebnahmen in der ganzen Welt herum. Es muss 2005 gewesen sein, als er für wenige Wochen in Pakistan arbeitete. Wie ihr euch vorstellen könnt waren mein Bruder und ich immer neugierig, was er diesmal zu erzählen wusste und manchmal brachte er uns auch etwas mit. Dieses mal bekam ich ein traditionelles Gewand, welches er auf einem pakistanischen Markt gekauft hatte. Lange dachte ich, es sei eine Art “Alltags-Sari”, in Wahrheit nennt sich dieses Gewand aber Salwar Kamiz und besteht aus Salwar, einer Hose, Kamiz, einem langen Oberteil und der Dupatta, einem langen Schal. Auch wenn man den Namen nicht kennt, gesehen habt ihr dieses Gewand höchstwahrscheinlich alle schon einmal.

parvasedapta.ch-thepattern

Leider konnte sich mein Vater mit dem Verkäufer absolut nicht verständigen und verstand auch die Größenangaben auf der Packung nicht. Als ich mein Geschenk auspackte, sah ich mich daher mit einer wahrhaft gigantisch großen Hose konfrontiert sowie einem geringfügig weniger großen Oberteil (die Hosen sind weit geschnitten und werden zusammengebunden, aber es war trotzdem viel zu gross).
Natürlich freute ich mich trotzdem und war zuversichtlich, das ganze irgendwann mal auf meinen Körper anzupassen. Daher wanderte es erst einmal in meinen Schrank. Oben seht ihr ein Foto das während eines Umzugs 2005 gemacht wurde, hinter mir im Schrank seht ihr es hängen.

parvasedapta.ch-thecoldshoulder

Ja, und da hang es erstmal. Zwischendurch nahm ich mir dann wirklich vor es zu ändern. Dann überlegte ich, wann ich so etwas tragen würde und meine Motivation sank zugleich wieder. Gleichzeitig gefiel mir der Gedanke, drei zusammenpassende Stoffe zu haben, auch wenn man sich darüber streiten, ob sie so schön sind (ich muss bei der Farbkombination die ganze Zeit an 90er Jahre Nachthemden denken).
Bis ich dann den oben verlinkten Post las. Bei den Sari-Kleidern musste ich sofort an das lila Mitbringsel denken, das da neben mir im Schrank schlummerte. Aber es brauchte doch bis dieses Jahr, bis ich das Projekt endlich in Angriff nahm. 10 Jahre, vier Umzüge, drei Abschlüsse (Schule und an zwei verschiedenen Universitäten), zwei Länder, dieser Salwar Kamiz hat sehr viel von meinem Leben gesehen.

parvasedapta.ch-dontmesswithme

Mir war klar, dass ich kein Abendkleid aus diesen Stoffen nähen könnte, es ist keine gold-bestickte Seide, sondern bedruckte Baumwolle. Daher schwebte mir eher sowas wie ein Tageskleid vor. Fündig wurde ich in meiner Lutterloh-Ausgabe von 1955/6, eine Bluse mit dazu passendem Rock. Den Schnitt habe ich mit meinen Maßen vergrössert und komplett ohne Änderungen genäht. Einzig den Rock habe ich an die Dupatta angepasst: Ich wusste, dass der Schal als Saumrüsche Verwendung finden sollte, also schnitt ich ihn in der Mitte durch. Danach war er immer noch so breit wie ca. 2/3 der Rocklänge. Ich rüschte ihn auf die laut Schnittmuster erforderliche Weite und ergänzte den oberen Teil mit dem Stoff der Hose. Aus demselben Stoff schnitt ich die Belege der Bluse sowie Schrägband für die Ärmel und den Blusensaum. Die Bluse selber schnitt ich aus dem Kamiz.

Lutterloh-Schnitte geben nur die absolut notwendigen Schnittteile an, Belege, Bünde und ähnliches muss man sich dazu basteln. Daher fügte ich auch direkt noch eine Tasche in eine der Rocknähte ein. Der Rock schliesst am Bund mit einem durchsichtigen Knopf und darunter mit zwei Druckknöpfen, durch die ganzen Falten reicht das vollkommen. Bund, Kragen und Belege sind mit Vlieseline verstärkt. Da ich von den großen weißen Knöpfen nur drei hatte entschied ich mich für diese assymetrische Lösung, abweichend von der Zeichnung.

parvasedapta.ch-betterbuttoobright

Nun, zusammen getragen ist es wirklich sehr…speziell. Die Farben sind mir auch einfach zu viel. Daher konnte ich nicht anders, als es für die Fotos absolut over-the-top zu stylen. Mit einer weißen Bluse stelle ich mir den Rock aber tatsächlich sehr schön vor, oder auch die Bluse mit einer Hose. Grad trag ich eine dunkelblaue Strickjacke drüber, so schaut nur der Kragen raus. Zusammen mit dunklen Schuhen könnte das sogar alltagstauglich sein.

Obwohl der Stoff nichts orientalisches hat und die Bezeichnung Sari falsch ist, in meinem Kopf bleibt das mein Sari-Kleid und ich muss die ganze Zeit an Sitar-Musik denken. Das und dass dies  mein letzter Post ist, bevor ich mir zeitgleich zu zwei arbeitsfreien Wochen auch zwei Blog-freie Wochen gönne (und vielleicht sogar ein paar Tage wegfahre), machen dieses Projekt einen schönen Beitrag zum diesmonatigen Krea-Kränzchen mit dem Thema “Fernweh”.
In den nächsten zwei Wochen wird es hier also sehr ruhig sein. Da ich ab April zusätzlich einen neuen Job habe, werde ich den 2x-die-Woche-Rhythmus wohl nicht beibehalten können, nach der Pause geht es dann wohl mit nur einem Post pro Woche weiter, sorry.

parvasedapta.ch-ohthewind
blouse and skirt: ette with Lutterloh-patterns – hair veil: flea market – flower brooch: nos, gift from mum – belt: from my family – gloves: antique shop – shoes: Siemes Schuh Center – fragrance: Stella McCartney-Sheers

 See you in april, love

ette

A confession…or maybe two..no…ahem, three?

First I want to thank you all for your comments on my 2014-round-up and your advise on how I should cope with my concerns.
Yes, you are completely right, this is my blog and I should show here what I want. But I still like the setting of this blog as it is. In the end I have come to a conclusion, consisting of mainly three changes:

– I won’t participate in this year’s Historical Sew Monthly (it has changed to only half the challenges for 2015).  If something I make coincidentally fits a challenge I will maybe post it in the facebook-group, but on the blog it will appear as a project without any greater connection to the HSM. Participating in this project means that you are willing to participate in as many challenges as possible. As I can’t say I want this to be my aim for this year, I would consider it weird to post accidentally fitting projects as challenge entries.

– in the future I want to be less strict with what I show here. If I make something with a modern pattern that I consider suitable for the blog, I will show it. Short, I want to be less strict to myself. First product of this change of mind you can see further below.

– I still won’t include modern looking patterns, I would like to keep the historic/retro touch of this blog. But I can’t deny that I love some modern styles, too and so I want to be able to give in and sew something completely different when I want to. At the same time I want to push myself a little, try new styles and materials, I just like a good challenge.
Therefore I joined the monthly stitch collective. As with the HSF you face monthly challenges, but these aren’t limited to historical styles and you have a group-blog for all participants instead of a link-up (Oh, and you are free to join as many challenges as you like).
I am sure you will see some projects published both here and on the MSC-blog, but other projects will be shown on just one of the two.  My most recent post on the MSC-blog will be linked below the MSC-button on the right and I will inform you about them on my facebook-page. Like this I am able to show you my modern sewing projects as well, without changing this blog’s  focus.

I hope these changes will help me find a balance between historic and modern sewing and I hope you are ok with them.

Now, let’s come to the confessions mentioned in the title. First, I cut my hair and this already in late november. The photos I posted in december were all made only days before this. The better part is still long and brown, but on a day off alone in our flat I apparently stood in front of the mirror too long and cut myself a fringe. I had considered this already for some time but always convinced myself, that long hair without a fringe is more versatile (and it is!). Well, this particular morning reason lost and enthusiasm took control.
I am still not sure wether I want to keep it or will already start to let it grow longer again.

Second and third confession are very closely connected to each other: I have to much fabric, that’s for sure. I don’t want to buy any new fabric, at least that’s what I keep telling myself. But when I went to Ikea a couple of days before Christmas I somehow ended up in the fabric section…oops. You see where this is going 😉
Amongst all the bolts lay a leftover of white lace with polka dots, 1,5m to be exact. And before I had even realized what happened it lay in my basket. But only because I had a very clear idea in mind and indeed, I managed to realize this idea before Christmas eve. This is the third confession because this makes it a 2014 project and I didn’t include it in the round-up. The main reason for this is, that I didn’t know wether I should show it or not. But, as said above, I decided to be less strict with myself and because I wanted to show it, I just do now 🙂

parvasedapta.ch-Lace Skirt IV

My idea was a very simple half-circle-skirt with a layer of lace on top. As fabric to go underneath I chose a magenta-coloured microsuede I bought already years ago. I loved the pattern on it, but soon considered it to be “too much” and so it lay in my stash for a very long time (very long in this case means at least seven years, though I can’t tell exactly).
Some years ago I turned some of it into a wrap-dress (Burda easy fashion spring/summer 2006), using the shiny back as the main fabric and the patterned right side only for accents.

parvasedapta.ch-Lace Skirt II

For the skirt I proceeded similarly, the lace is facing the shiny side (making a very slippery slip indispensable because the patterned side is …well…sueded)) while the waistband shows the patterned, right side of the fabric.
I treated both layers (lace and fabric) as one and only hemmed them seperately. For the underskirt I used white bias binding, what  is my favourite hemming method for round hems. When the skirt was done and had hung for one day on my dress form I cut the lace’s hem , leaving it a little bit longer than the fabric underneath.
The skirt closes with a zipper and a hook in the centre back.

parvasedapta.ch-Lace Skirt I

Well, and that’s all I suppose. The waistband is stiffened with fusible interfacing. I didn’t calculate how it works with other sizes, but the cutout in the middle of the half-circle was enough to make a 2cm-wide waistband from it, of course with a seam in the middle. But if you don’t have any more fabric, 70/75cm (depending on the width of your fabric, 140cm or 150cm) is enough to make this skirt in a small size.  Please consider that the length of the skirt depends on your waist circumference, the larger this is, the slimmer is the ring that forms your skirt and thus higher is the final hem.

parvasedapta.ch-Lace Skirt III
pullover: Lyon flea market – skirt: ette – underskirt: ette, (used to be a curtain) –  stockings: ars vivendi – shoes: limelight – hairbow: ette (pattern: Der Bazar 1872)

As you may have imagined, this whole idea, spontaneous lace-buy and quick execution before Christmas was an attempt to substitute the not finished Christmas dress. Funny enough, even though I finished the skirt I didn’t wear it on Christmas Eve, as was planned, but the next day when we visited some friends.
Today I can tell you I finally finished the Christmas dress yesterday, now I only need some time to make some good photos with it.

I wish you a lovely sunday!

ette

Me-Made-Mittwoch or: What I wore today

Usually there are two things that make it impossible for me to participate in the Me-Made-Mittwoch (= me made Wednesday, like me made may, but once a week): first,I forget it and only remember it took place when I read my blog feed the following morning. Second, even if I remember it I am not content with my outfit or do not wear anything selfmade that day.
Miraculously today was a day were both premises met, so welcome to the first pure outfit post in months!

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Some readers may recognize the skirt, my version of a 1955/6-Lutterloh-Pattern.

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The shirt was sewn after a Burda-Pattern (issue 2/2010) and I already made it in july 2012. There were a few holes in the sleeves’ seams I fixed a few days ago, so this feels nearly like a new garment. 🙂

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Yes, I was in a really good mood, although I had just come home from work. And no, I didn’t wear these shoes for work, but they look so much better than the burgundy loafers I wore during the day.

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shirt: ette/Burda – skirt: ette/Lutterloh – tights: Fogal, high heels: 2nd hand (Secondo Berne)/Christian Louboutin, 40s watch: flea market, ring: heirloom from my grandaunt

I wish you a nice evening, love

ette

And half October like a thousand years…

You know, one thing is to find time to participate in the HSF-challenges, the other thing is to find a matching project.

Challenge #18 was “poetry in motion – bring to life a garment inspired by a song or poem.“.
This really gave me a hard time. I know many poems but not a single one that could inspire a garment came to my mind. And the ones I could think of were all pre-raffaelite medieval-themed ones, but I really didn’t want to sew a medieval dress, I already have one and never wear it, no use for a second.

After having consulted all my (english) books containing poetry I still had no concrete garment to put my finger on, but two poems that left me with some inspiration. The first got dismissed because I couldn’t find neither a matching pattern nor had I a matching fabric (R. Aldington – In the tube). So I was left with

Ford Madox Ford – Antwerp

Those of you who know it might wonder how this might serve as an inspiration for a garment.
The poem was written in late 1915 and tells about the horrors of war the author experienced himself in Flanders after having joined the British Army in August of the same year.
In a little London-Poems-Anthology I found an excerpt of this quite long poem, part VI, the last part. It describes how a crowd of women dressed in black waits for the soldiers at Charing Cross station, not knowing that their beloved are long since dead. Though they do not know there is no hope left in their faces, who appear as dead as the ones of their dear ones.


A great crowd, all black that hardly whispers aloud.
Surely, that is a dead woman – a dead mother!
She has a dead face;
She is dressed in black;

And there is another and another and another…
And little children, all in black,
All with dead faces, waiting in all the waiting-places,

In the dark of the night.
This is Charing Cross; it is past one of the clock;
There is very little light.

There is so much pain.

This black crowd with no hopes left, waiting in the gloom of the station at night created a very clear image in my head. The poem when read aloud has a very impressive rhythm that makes it appear even more vivid to me (I experience very similar effects when reading Paul Celan’s “Die Todesfuge”, maybe some german speaking readers might know the poem).

I can clearly see all that women facing the bare tracks, waiting. They have stood there too often to expect a train and still refuse to stop coming there. They face hunger, the salary of the beloved soldier is missing, they fear to think of the coming winter. The mothers miss their sons, still virtually children. The wives fear the loss of their Sweethearts and have long ceased to answer the whining questions of their children, missing their fathers.

I imagine them dressed in long, droopy robes with no colour, shine or elegance left. Maybe some still haven’t given up hope and have bought a new suit to welcome the homecomer, some may have to work hard to survive and come straight from their masters or in simple clothes they wore to clean the house or harvest some apples.

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Therefore I searched for simple patterns with only few elegant touches and no decoration, something like this, imagine it in black cotton or wool, not ironed and without these laughing faces and elegant postures. This was the picture I had in mind.
In the end I went for a pattern from “The Ladies’ Tailor” from 1915, printed in Nora Waugh’s “The cut of women’s clothes” (fig. 50, for those who own it).  Because I ran out of time I only made the skirt and not the matching jacket. The skirt is very tight fitted around the waist and the hips, below the hips it is wide and ruffled. I did not copy the Waugh pattern, but constructed a broad, corset-like shaped waistband on my dress form. A little calculating and dedusting of my geometry skills helped me to construct the ruffled, slightly  flared lower part of the skirt.

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The waistband consists of one layer of thick upholstery cotton tabby-weave, covered with the skirt-fabric, a black cotton twill with little stretch.

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It is closed with a row of star-shaped buttons in the back. Not historical, I know. But when it was nearly finished and I first wore it, it reminded me of my black, goth teen years and I remembered that I had long wanted to sew a long black all-purpose-skirt. Very unexpectedly, there it was! And because I had used these black star-buttons on so many of my goth garments it seemed to be only appropriate to use the last ones I had for this skirt.

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This is also the reason why I made it slightly longer as 1915-fashion would have been. Historically correct it would end just above the ankles. But I really liked the almost floor length look when first trying it, I couldn’t help but make only a narrow hem to leave it as long as possible.

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The Challenge: #18 Poetry in motion

The Poem: Ford Madox Ford – Antwerp (esp. part VI This is Charing Cross)

Fabric: black cotton twill with a little stretch, waistband doubled with heavy grey upholstery cotton

Pattern: self-drafted after “The Ladies’ Tailor” 1915 as printed in Nora Waugh’s “The cut of women’s clothes”

Year:  1915

Notions: black thread, eight plastic buttons.

How historically accurate is it? The pattern is close to the original, cotton twill is at least possible for the time. I am sure the construction would have been done differently, with boning and stiff horse hair interlacing instead of upholstery fabric. Buttons aren’t historical at all, nor is the closure itself. A hidden row of hooks and eyes would have been more likely.

Hours to complete: The waistband needed a lot of basting stitches, the buttonholes are handsewn. And the construction of the pattern took a little time. Maybe 5h in total.

First worn: not yet/for photos

Total cost: Fabric was a gift from a friend of my mother’s, lining upholstery fabric a gift from my uncle. Buttons were 25ct each, so 2€ in total, without the thread.

 

blouse: mavi - shawl: from my grandma; laced boots: flea market (used to be skates)
blouse: mavi – shawl: from my grandma; laced boots: flea market (used to be skates)

See you soon, love,

ette

 

Sources: All information about the author and the poem as well as the excerpts from the latter I drew from:
Adolf Barth (publ.): London Poems, Stuttgart 2001 (first publ. in 1988), pages 53f and78f

Basic in black

One of my most worn wardrobe basics is my black half-circle-skirt. I made it in july 2012, inspired by a post on Casey’s Elegant musings.
From its beginning it had a few flaws, the worst one a lack of fusible interfacing in the waistband (simply because I didn’t find it and was too eager to sew to search it).
As for so many projects, I used the black fabric I originally had bought for my prom dress, with the wrong side out, because of that terribly shiny surface on the right side; you have seen it in my victorian sewing supplies box I showed you in january.
Now, having worn the skirt everytime as soon as it re-entered my wardrobe after washing, it began to show signs of use, the fabric turned grey and to make things worse I managed to iron it too hot, leaving a shiny mark next to the back seam.
I desperately had to sew to a successor!

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After consulting my patterns and sewing books and having considered what would be suitable for every day wear, I went for a 1955/56 Lutterloh-Pattern.

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I used the same fabric (but it was the rest, there nothing left of it, finally!) as for the old skirt, again with the wrong side out. For the back of the pocket and the waistband I used the right side, I don’t know if it is really visible in the photos (I have to excuse myself for the photos anyway, the camera settings were complete rubbish and I only noticed shortly before publishing this post, but I didn’t want to wait until I would be able to take new ones).

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the bright dot is the zipper’s slider.

When looking closely at the shadow the pockets casts in the drawing, you could see that the two parts of the skirt should both form the pocket, creating a really large pocket.

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I decided against this, because I know me. Though I love pockets, I would have my hands in them all the time and I would carry around half my handbag in them. Instead I sewed the pocket’s rear piece, cut in one piece with the back of the skirt, directly onto the back of the pocket. The edge on the front part was finished with a wide facing and this facing I connected to the back of the pocket. This left me with a different pocket opening, the rear part lying flat and it left me with a very shallow pocket of maybe 5cm, enough to store some coins for the coffee-break, but not enough to hide my whole purse.

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The pattern didn’t include a waistband. So after I had sewn the rest of the skirt, all I had to do was to cut a strip of fabric as long as I wished (it could have been longer, though), enforce it with fusible interfacing (yes, this time I knew where it was!) and a strip of stiff upholstery fabric (because it is really wide and really tight-fitting, I shouldn’t eat too much wearing it).

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Because old Lutterloh-Patterns are not really made for cut-and-go-sewing I started this skirt working very fast and without any serging at all. After I saw that this skirt was really going to be a success, I finished all seams by hand with a red satin binding.

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The zipper is hand-inserted, too. The waistband closes with a skirt clasp and two small press fasteners.

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blouse: collectif, skirt: Lutterloh/by me, petticoat: Blutsgeschwister, shoes: Ochsner

 

So much for today, see you soon, love,

ette

What I wore…Strawberry Picking

I’m sorry for the lack of posts these days.

It is so darn hot at the moment, I do not feel any urge to go outside. I am a spring and autumn lover, I hate hot weather, burning sun or getting a tan,  I don’t even like to swim. But I am not in the mood of working at the sewing machine or the computer, either. Don’t ask me what I do the whole day, it is more existing than living.

I am especially sorry, because I do have some finished projects to show you, I just have to manage to take some photos of them to present them here.

In the meantime I will leave you with some photos my boyfriend made a few weeks ago, while we were picking strawberries. I wore my table-cloth-skirt and some new acquisitions I made at the Blutsgeschwister-Outlet in Weil am Rhein.

(shirt and petticoat: Blutsgeschwister, skirt: ette, shoes: Dosenbach (Deichmann), handbag: flea market, silk scarf and belt: second hand shop, fragrance: Nina Ricci – L’air du temps)

And because my boyfriend loved the first photo so much, he toyed around with it a little:

See you soon, love

ette