Costume College- Thursday and Friday

Costume College 2014 has come and gone already.  I can’t believe it!  It was a great year, but it went too fast, as it always does.  I got to see some great friends who don’t come out every year (yay!) my regular friends who do come every year (double yay!) and met some new people, too (triple yay!)

Thursday Ginger of Scene in the Past and I drove up to the LA garment district to go fabric shopping.  Or, so we thought.  On the way up we were rear ended on the freeway :(  It kind of put a damper on the day.  So, after a bit of a mess there to figure things out, my sad little smashed car full of costumes made it to the garment district, where we met up with our other friend and roomie for the weekend for some fabric shopping.   I was a very good girl and didn’t buy anything.  But we saw some great exhibits at the FIDM museum, and Ginger found some great taffeta.

By the time we got to the hotel for Costume College, we were tired and hot, but we had a good few hours before our room was ready.  It was a long day.  Car accident, hot weather, and a long wait to unload.  I was in a pretty foul mood and decided to stay in on Thursday night and lick my wounds (and not subject people to a grumpy me. Other than my roommates, who were very patient.)

Luckily, Ginger snapped just a couple of shots with my camera:


One of my friends in her gorgeous tiki themed dress she made.


Merja of Before the Automobile

Friday I had an all day class.  I was making flowers in Candace Kling’s limited class Ribbon & Fabric Cabochons.  I want to make ALL the ribbon roses now.  Such fun!  Here’s a few I made in class.


I wore my Dust Bowl dress with totally non matching accessories, 50′s glasses, and a scarf over curlers during class. I was stylish. ;)

After class was the rush to get back, change into our outfits, and make it down to the Ice Cream Social.




Sara of Gilded Garb and Katherine of The Fashionable Past plus some familiar faces in the background (Lauren of American Duchess, Aubrey of A Fractured Fairytale, and Loren of The Costumers Closet)


Megan of MLSdesigns , and Ginger of Scene in the Past

I didn’t get any photos of my outfit, so I’m thankful the talented Jerry Abuan got a few of me.  I wore my gala dress from last year, but looped up the skirt and added a ribbon around the waist.

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Then, the marketplace opened, and we all swarmed the dealers to check out the beautiful things for sale!


I was pretty good (not really) and only bought a vintage 1920′s lace lingerie set and Kendra’s awesome 18th Century Hair and Wig Styling book.

Coming next… Costume College Saturday


Starting a New Regency Tailcoat

I’m back from Costume College (photos to follow soon) and I’m really excited about my new sewing project.  I have decided to make my husband a new Regency era tailcoat.

Pictured below is the previous tailcoat.  You can read all blog entries on that here.

At Costume College last year I bought the Laughing Moon Men’s Regency Tailcoat pattern #121.  The coat is a little late Regency, but I love that she said she took it from an original period garment.

P121-2TI made the mock up tonight and we tried it on.  My husband has more squared shoulders than the original and we had some other alterations to make, but the thing we noticed after the initial fit concerns was the strange roll line.  The roll line really popped up, and stood away from the neck.  It’s so against modern “classic” tailoring rules, and I started to make a new neckline, but my friend Ginger pulled out some books and we started seeing that my engrained view of collar roll lines was incorrect in this period.

For example:


Look how far Mr Brummel’s coat stands away from his neck, and how high it pops up at the roll line.

And looking at period paintings and fashion plates, and comparing them with modern period movies, we see the same.  The modern movies make the roll line where we’re accustomed to seeing it, while the original period sources make the collar stand up and out from the neck.

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So, while this post doesn’t show any actual progress, I thought I’d share this little revelation.  It makes my mind kind of turn inside out and I’m really trying not to look at it from our modern comprehension of fit, but the period one.  I have to keep batting my hands down from drawing or pinning alterations, because the way it is in the Laughing Moon pattern is actually the way the collar is supposed to fit in the period.

So, for those of you who are also interested in Regency era menswear, I thought this might be useful information for you on fit.

Have you made any Regency era menswear?  If so, share your info with me.


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Well hello again everyone.

I’m glad you’re back for my most complicated bit of this pattern so far, the sailors collar. I know that Lauren has been getting photos out there of the plain collar, so I decided to do the sailors collar version. A plus side being that the pattern of the front of the jacket does not need cutting down with this version. I always like to keep a pattern as full as possible for future use.

Anyhow on to the steps.

1. Cut out the pattern pieces.

I wanted to use the skirt material for the collar and thought I had plenty until it came to the crunch and I laid out the pattern pieces I needed. Oops. You may note that the front facing does not fit.

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So my addition to step 1 was having cut out as much as I could of the facing and then to sew a bit more material across the bottom and then cut this extra bit out.  It is much better to put the join at the bottom than the top as it might show on the bit that folds over otherwise.

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I also had to cut the facing side of the collar, cuff and belt in the main material, but then I was good to go.

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2. The Facing;

Sew a small hem along the edge of the facing that won’t be attached to the jacket.

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Pin the facing in place, right sides together


Sew along the seam line, I also like to sew along the bottom hem at this point too, just where the facing attaches.

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don’t forget to pivot at the corners and then clip to get a neat turn.

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When you get to the top, stop at the shoulder seam, there will be some facing sticking over with a raw edge, but we will cover this when we get to the back facing section.

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Turn and iron, here’s mine at this stage:

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3. The Sailor Collar:

Sew the collar and the facing along the 3 outside edges, right sides together. (The line down the centre is a crease not a seam so just ignore that, I ironed it out after.)

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I under stitched the facing down as far as possible, you won’t be able to get into the corners.

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So after a good iron, we are ready for the pleats. Here’s my lazy approach; place the pattern piece over the material and stick pins through where the lines are, all three lines. I use a padded ironing board covered table (cut an ironing board cover to fit a tv dinner table, it’s one of the most useful things in my sewing room.) for this as you can push the pins right in and they stay where you want them.

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Then bring one set of outside pins to meet the middle pins, using more pins, pin in place.

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Then do the same with the other set of pins, giving you a box pleat.

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Iron this well

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As you can see the pin marks stayed in the fabric, but with another quick blast from the iron, they vanished. If you fabric won’t do this then you may have to do the job properly and use tailors tacks.

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Then sew a baste line across the top of the pleat.

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4. Attaching the Collar.

Ok jacket prepped and collar prepped, lets put them together; I did this in 3 stages. I sewed the collar to the back of the jacket and then sewed the front pieces on.

So to start, matching raw edges, line the jacket and the collar up with the collar facing right side up onto the right side of the jacket along the back, matching notches and clip the jacket to fit.

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sew the seam stopping at the shoulder seams.

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You will now have the front of the facing loose and this needs to be attached to the lapel of the jacket.

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Pin it in place following the fold line, so that the sewing line will be on the fold line. But only through the facing not though the whole jacket.

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Sew in place but only through the collar and the facing. This will make it easier to sew the bit by the shoulder too as you have more to work with with the the facing spread out, it will make more sense when you reach this bit. Repeat for the other side.

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Next take the back collar facing and sew a small hem the same as we did for the front facing. Line up raw edges and pin to the jacket with the right side of the facing facing the collar, clip and sew in place only going as far as the shoulder seam the same as we have done for the other facings.

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Ok so now we have everything where it should be, but it will all look a bit of a mess, so it’s time to get the hand sewing going and tidy up a bit. The back facing will cover the raw seam of the collar at the back, and Lauren suggested using bias tape made from your fabric to cover the front area, but I decided to go a little easier than that.

Firstly I opened up the raw seam of the collar and trimmed right back the facing material, the paler colour in my pictures.

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Then I folded the collar seam over to encase the facing material, the bit between my fingers shows this.

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Holding this fold in place I hand sewed the seam in place

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paying particular attention to the end to make that neat

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I am still only working on the front facing so the front of the jacket is un-touched, here’s what it looks like from underneath.

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This picture shows the raw edge enclosed all the way up to the shoulder seam.

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Next sew the top of the front facing to the seam allowance of the back of the jacket, ensure that it all lies flat first

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Then fold the back facing down having turned the raw edge under and sew that into place to finish everything off neatly.

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And here’s the finished sailor collar fully attached.

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Well I that’s all from me. It’s been great doing these guest spots for Lauren who is such an inspiration. If you’d like to keep in touch you can always follow me on my regular blog Honey Pot Creations. Hopefully Lauren might let me back sometime to show you some of my hats. Check out my website for more details.

hugs and kisses




Clothing Sizes and Specifics- An Answer to Some Questions


So, a few days ago I released my “tentative” size chart.

Let me say, I don’t like size charts for the simple reason that I don’t like classifying sizes into titles.  In a perfect world, we would go from measurements alone and there would be no stigma of what size you fall into.  But we’re not in a perfect world, and ready to wear clothing sizes are all over the board, so I understand the complete frustration behind finding sizes, or figuring out what sizes you are.

I did get some response about not doing plus sizes, or larger sizes.  Trust me, I do hate having to limit sizing, too.  But let me take just a moment to explain to you why clothing companies can’t or don’t offer a broader size range.

Re-Sizing Patterns & Base Patterns

There’s a real, technical, reason behind sizing and sizing standards.  When you take one pattern and change it to different sizes, it’s called “grading.”  It takes a LOT of math.  But, as you’ll see, not all sizes can be graded from one pattern.

Generally, a “safe” grade rule would be up and down two to three sizes from your “base pattern”.  A Base Pattern is the pattern you draft your original pattern from.

But what is this Misses size vs Petite, Tall, Plus, and Junior’s?

All of those sizing types are based off of different proportions

Because of this, no amount of math will let you change from one size type to another.  So, for example, you can’t take a Petite and change it to a Misses.  You can’t take a Junior’s and change it to a Plus.  There may be Junior’s Plus, or Petite Plus, but that’s different than just Junior’s or Petites.

Why?  Because when we “grade” a pattern, we do this flat, with math, in 2-D.  The body is different.  It’s in 3-D, and it not only is 3-D, but it moves, and has different needs based on age, size, height, and weight.  That’s why we have each of these different size “types”.

Your Base Pattern Size Limits Your Size Range

In my case, my Wolf professional form is a Misses’ 34″ bust, which I bought after I graduated from fashion school, over 10 years ago.  Sadly, that means I’m already not in the middle of the size range for misses’ sizing.  That means my size range is already limited, because I can only size up so much and still have accurate grading from a small base pattern.

Why Can’t Startups Start with a Bigger Size Range or Different Size Types?

Well, most of it comes down to financial reasons and skill sets.

As of now, I’m not making any profit, of course, because my clothing line hasn’t launched yet.   I’m on a pretty tight shoestring right now, so I’m using the tools I already have, which includes the smaller professional dress form.

My Kickstarter goal will only cover production costs- not startup fees OR pay for my time developing this line over the past few months, or for filling orders or time I spend working after the launch.  After I actually am able to make a profit,  some of that will go into a new professional form, which can cost over $1,000.  It’s big money up front for a startup who’s not got much to start with!  So all of my “base patterns” are for my size SMALL form currently have.  All of my patterns are Misses’ sizing, because that’s what my form is.

Now, if the Kickstarter goes gangbusters and we go above and beyond the goal, adding larger misses’ sizing is a definite possibility with future releases!  But right now, I just don’t know, because, ultimately, my time and work and the future of my clothing line are in the hands of the future customers (that’s you!).

However, down the line when I get a size medium or large misses’ form for drafting my base  patterns, I still won’t be able to do plus sizes by using that form and my skill set.  Because to do that I’d need a different dress form, and a different, unique skill set for making those types of sizes.

Other Sizing Types Require A Different Skill Set

In general, fashion school teaches you to draft misses’ sizes, not plus, petites, or tall.  We did have one junior form in fashion school, and none of the misses’ outfits we drafted ever fit it, or vice versa.  I remember, we always had to be careful not to grab that form.  It made out outfits we were graded on look bad!  Because our outfits were drafted for misses’, not juniors’, and we were graded based on both our pattern drafts, and how our mock up looked on the form.

People can spend lifetimes perfecting their skill set.  I was always very skinny (and ridiculed for being so), so I learned some tricks for my size type then.  I’m now “normal” for my age/height so I have been making clothing in my personal size range for a great while.  I just don’t know what it takes, from personal experience, to do plus sizes, or petite’s sizes, or tall sizes.  But people who ARE in those sizes and have spent a long time learning to do what they need to for their size type are generally more used to the unique concerns of that size group.  For that reason, if I’m able to do different size types, I think it would be in everyone’s best interest, if I hired someone who KNEW that size range, their specific needs, and knew how to address them and make the best, most high quality clothing in that size range, that was possible.

I’m not even able to offer clothing in the size range I had a hard time shopping for when I was younger, either.  Based on the responses to my surveys, there was not enough demand.  My younger me would not be happy, so I understand the frustration when size ranges do not accommodate the size you need, on either side of the board.

So Why Does Sizing Vary So Greatly WITHIN a Size Type?

Most fashion companies use Misses’ sizing.  But there is no standard size chart, so a company is free to use whatever measurements they want to use to make up their sizing, and they are free to change it down the line (add or subtract sizing, change measurements, etc).

If a size chart doesn’t say it’s Junior’s, Petites, Tall, or Plus, you can bet it’s Misses’ sizing.  In general, it’s the industry standard UNLESS it has a target audience within the other sizing types.

Some have size charts varying depending on the particular design, too, so ALWAYS check your size charts before buying!

What are you doing for your size chart?

In my case, I made my “tentative” size chart based on what I felt I could safely grade from my Misses’ size base pattern.  I compared this to what other companies that my target customer base buy from, and I made my sizing.  It falls closely in line with Revamp, Stop Staring, and ModCloth.

I’m currently asking people I know are much more skilled than I am
with grading to see if it’s possible to expand the Large and XL sizes a bit more
.  But I want to make sure it’s a safe thing to do, so my garment quality won’t be compromised on those sizes.  I want to make sure what I do make will be the best I can make it.

So that’s it, in a nutshell.  I hope you can understand a little more clearly about how sizing works.  Truly, if other companies are like me, they WISH they had the resources and skill set to offer fashions for EVERYONE!  I really do.  It makes me totally bummed when I hear some people can’t wear what I’m making :(  But I can only hope that in the future I will be able to do so.  I’m hoping so, because I REALLY want to make this happen!

If you’re interested in more of a technical reason behind sizing, make sure you check out these links:

Colette Patterns:  Grading Patterns for Plus Sizes

Fashion Incubator:  What is an Optimal Size Range, Pt 2.

Fashion Incubator:  What is a Size Break?

Fashion Incubator:  Why Existing Manufacturers Don’t Add Plus Sizes

Fashion Incubator: Grading is Not Morphing

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Suit-along: The Pockets on Your Jacket.

Right then lovelies, you’ve sewn your skirts and marked all the sewing notations on to your jacket as per Lauren’s last post and you’re now ready to get your pockets sewn on. So there’s how I did mine.

There are a number of ways you can go about pockets, the original instructions didn’t go into any detail, but Lauren gave us more:

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As she had already covered facing quite well and it is fairly similar I decided to do the ‘cut a duplicate piece’ method to make my pocket.

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I cut the pockets out of the main fabric and then placed the pattern piece onto lining material and using the same pins pinned it to the lining material and cut out.

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Since the iron was already set up, I even gave the pieces a little iron at this stage and then pinned right sides together around the 2 side edges and the curved top edge. I am going to leave the bottom side open to turn later.

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Start sewing at a bottom corner pivot at the top corners, leave the needle in, lift foot and turn material, but I’m sure you all know that, and then take it slow around the curved edge. This is where I came a cropper first time as I was carefully staying the same distance away from the edge all the way round the curve, but then somehow ended up a lot lower and now in the centre. You’ll see what I mean.

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So I stopped and undid that bit of sewing and then marked up where I wanted to sew with my disappearing ink pen, which I just love, but be warned wash out reside even if you can’t see it if you want to make an heirloom. Or just use it on things that are for normal use, as I do.

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Then I re-sewed following the line instead, much easier.

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Next stage is important if you want a nice smooth curve, because you can sew a lovely curve but without clipping and ironing it won’t look good when turned. So carefully clip the edge around the curve getting as close as you can without cutting the sewing thread.  (If you do re-sew that part just a little further in).

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Cut down to the point in the centre and also cut the corners off

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and then give it a good iron before turning as this sets the thread in place somehow.

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I like to under stitch anything like this to stop any chance of the lining fabric showing. So next stage for me was to under stitch, the side seams as far as I could. Under stitching is sewing the lining to the seam allowance.

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Under stitched hem

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You can see the natural tendency is for the edge that has been under stitched to lie so the lining isn’t showing

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The rest I help out with my sewing knife, a blunt curve that can be held in the curve under the iron to help the whole flattening process. I now have 1 raw edge remaining at the bottom and I fold it under so the raw edges are inside the ‘bag’ area and iron flat, then when it is sewn onto the jacket there will be no raw edges to think about at all.

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Furnished pocket ready to go.

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I also decided to topstitch the top of the pocket with two rows of stitching to match the stitching to the jacket and stop any chance of the lining moving.

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Here they are ready to go on to the jacket.

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I sewed them in place first before doing anything else to the front pieces, even ironing, well you know me. So mark where your pockets should be and the pin in the pockets place.

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 and then sew on.

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I sewed around the outside first with the needle set to the right hand position, down one side across the bottom and then up the other side. Without cutting thread or anything I then sewed 2 stitches across the top of the pocket and pivoted the material so I was then coming down the side I just sewed up. Then I followed the line of stitch and repeated leaving the needle at the right hand side. Without having a 2 needle facility on my machine, this is the best way I have come up with for doing this, if anyone has any better please let me know. [picture 21]

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So here are my pockets in place and I’m ready for the next step.

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 Did you notice my mistake, not reading the instructions first I sewed my top pocket onto the left hand side, so used to doing men’s vintage shirts I guess. Well I’m not moving it now.

Hope all that might help some of you, and I look forward to getting to the collars stage next.  Can’t wait to see all your creations too.

Hugs and Kisses



First Peek at Wearing History Clothing!

Hi all!

SO EXCITED to finally share what I’ve been working hard on making happen behind the scenes!

My Kickstarter will be up in August- a little under a month from now!  You’ll be able to preorder these then!



This shirtwaist dress was inspired by the late 1930s, and has great puffed sleeves and other details that make it both sporty and dressy.  There will be a second version of this dress, and I’m still working hard behind the scenes on getting that ready to show you.

jenntrousersIf you’ve been following me for a while, you may recognize my Smooth Sailing trousers.  Like all the clothing I’m selling in ready to wear, these are my own draft, and these have been updated to my new ready to wear sizing.

These will be a nice cotton denim in a light enough weight to make you feel cool, casual, and like you can wear these all year ’round!

Paired with a brand new top with a great collar, gathering at the top yoke, and slightly gathered sleeves.  This blouse will also come in another fabric… and I can’t wait to show it to you, because the print is unique to my clothing line!

Both the dress and blouse have been drafted for movement, so you can dance, raise your arms, and be active without loosing your vintage chic.

I’ll post more as I’m able.  In the meantime, my new website is

Bookmark it, because awesome stuff is happening!

1940′s Blouse and Late 30′s-Early 40′s Trousers. More info coming soon.

Many thanks to Jenn for modeling.  She does undo vintage hairstyles in Southern California and you can contact her via the following:
Instagram: jennofhair


Suit A Long: Jacket Part 1: Marking

I’m finally able to pick up the Suit A Long again!  If you’re wondering what it is, or missed any prior posts, you can find them here.

I’m starting on my jacket.  I picked a fabric that’s slightly too heavy, so please bear with me!


On a jacket, the markings are pretty important, and this jacket is no exception.  The markings show you where the collar should fold back, where the center front should be for figuring out fastenings, it shows the bottom of the pockets for alignment, and other things you may need.

To mark, I’m using a chalk rotary marker (usually in the quilting section at the fabric store) and Japanese cotton basting thread.  Regular thread in a contrasting color will do, if you don’t have this on hand.

- IMPORTANT –  Test your marking method on a scrap first, to make sure it will come out when your garment is laundered.  One time when I was working in an opera house, we made these amazing tailored white wool waistcoats with the most beautiful welt pockets.  Well, someone neglected to test if the yellow markings would come out, so those waistcoats looked yellow in all the seams.  What a waste of hard work!  Don’t do that to yourself.  Always test before you commit to your marking method.

- ALSO IMPORTANT-  We’re marking the WRONG SIDE.  When you cut, place right sides together, so the wrong sides are facing out and easier to mark


This is my “cheater” method for marking.  With pins, I mark the critical points I need to mark, and then connect the dots.  If you’ve worked with original perforated (unprinted) patterns before, this will probably make sense to you.

02Put a pin in the marking for your size.  Flat heads work better than the larger head pins.  I sort of wiggle the in around a bit to get a decent hole to pass the pin through.   Stab straight down, through all fabric layers.  DON’T GO AT AN ANGLE or your markings will be incorrect!

03Peel back the paper pattern, and your pin should still be in place.  If you accidentally pick it up,  make the hole a little bigger, place it back on the fabric, then stab it again and pull it through.  It takes both hands (one to hold the pin, on to remove the paper).

04Now I draw an X mark where the pin was, with the center of the X as the place the pin was.  DON’T REMOVE THE PEN YET.  In fact, carefully pick up the fabric at this point, and push pin all the way through the fabric…

05… and here on the back side, you can see the point.  Mark another X there, so both front pieces of the jacket are marked.
After you’ve marked all the critical points, connect the dots using a ruler and your marking method.  Use the original pattern piece as reference for placement.


Here’s the pattern piece, all marked out.

Keep reading below for the next step…


Now, with jacket making, it’s important that the markings be transferred to the RIGHT SIDE of the jacket.  But we don’t want all those tacky looking chalk lines visible, so we are going to mark the jacket properly with contrasting thread.


With traditional thread marking, you need to mark a cross mark at the beginning and end of a stitch line. It’s also used to mark notches, but I don’t think we need that with this jacket.  So, first up, mark a cross line by going in and out.  Leave a tail sticking out the end (no knots in thread marking! Makes them harder to pull out later).

Then, go in and out of the same stitch (so it’s marked on both sides.


Next, you’re going to start your basting line.  Go in and out.


When pulled through, there should be a diagonal line.  Don’t pull it tight!


Here’s what it looks like from the RIGHT SIDE of the garment.  See your nice little cross mark?


Continue the basting line.  I make smaller stitches on the back side, so the markings on the outside are longer and easier to see.  Sort of like “narrow- long- narrow- long- narrow- long”, not an even running stitch.  I hope that makes sense.


Don’t forget to do a cross mark the end!  See, above, we have the markings to line up the bottom of the pockets.

14 Here’s one front all marked.  You can see I marked the roll line, center front, and both pockets.  Do the same to both sides.

Next up, we’ll start on the pockets.

Hope this helps you with your marking!

Have an alternate method?  Please let us know in the comments!


Updates: Wearing History Clothing and Other Stuff


I’ve been SO bad at blogging lately.  It’s mostly because of how completely insanely busy life has been since announcing that I’ll be launching my own clothing line.  SO MANY i’s to dot and t’s to cross.  Wow.  I hope you guys will bear with me.  I promise, I’m here behind the scenes, working my butt off to make this happen.

The BIG NEWS is that I was studying like a madwoman so I could take the test required to register as a clothing manufacturer in California.

A few weeks ago I got a big packet of booklets in the mail to study, a registration number supplied, and I had to set to work studying for the test.


Even though I don’t have any employees, California requires anyone who is a “garment manufacturer” (also meaning you’re going to be hiring someone to make clothing for you, or you’re planning on making them to sell yourself) to register.  Part of registration is this test.

The bummer thing is that there’s really no guide as to what will be included, so I had to muddle through hundreds of pages of information, most of which is in legal language, and try to retain the information.  If you’re wondering what sorts of things were included, there’s PDF’s of the booklets here, here, here, here, and here.  It was especially hard since I’ve never worked in a garment manufacturing job, but luckily I could envision things from my dad’s manufacturing in a different field and some of the safety stuff from having gone through training at the La Jolla Playhouse last year.  It’s mostly about building regulations, safety regulations, how to set up an injury protection plan, fire regulations and safety, but also about wages, laws about contracts, legal proceedings against contractors and manufacturers, and all sorts of that type of stuff.  It was HARD to study all these and try to decipher the legal lingo, and try to put myself in a place that’s on a much larger scale than I ever anticipate to be, but I really understand why I’m excepted to learn it if I put it into context of this recent article about the garment industry and shady contractors taking advantage of workers (in this case, focused on Forever 21).

Anyways, I muddled through and had a study buddy.


And got my hands quite messy with highlighters and pens.


My forearms actually still ache from all the writing, highlighting, and note taking I did.

The test itself, I think I did fairly well on.  I won’t officially find out for a while (online says from 7 days to 45 days), but it was a little over 50 questions which were multiple choice and true and false.  There were a few math questions which were actually outdated, since our minimum wage in California just changed to $9.00 an hour on July 1st, so I’m really, REALLY hoping they don’t mark me down for those questions, since the amount wasn’t applicable to the current minimum wage standards.  I wrote the DSLE and let them know.  If they catch it, I think I should pass.  If not, I can retake it for another $25.  But I’m hopefully all my studying paid off and I’ll pass with flying colors :)


I have my label design, the fabric design waiting to be printed, and I had truly hoped I’d have samples to share by Costume College, but since I’m waiting on the test scores and I have to re-send some information to the IRS and DSLE, I don’t think that will be happening quite as soon as I had hoped.  All in all, this process has been PAINSTAKINGLY SLOW and quite complicated, before I can even show you the fun designs I’ve come up with!  This process has been one of the most challenging things I’ve done in my entire life.  It’s not easy, and I can’t wait until I can do something more creative!  I’m so tired of paperwork and studying and learning laws, but they’re all necessary things to do my dream, so I keep on plodding along and will never give up :)


Speaking of Costume College, it’s sneaking up on us fast.  Since I’ve had pretty much no time to devote to personal sewing projects, I don’t anticipate to have much of anything to show for myself.

I’ve been puttering on my first all hand sewn Regency dress.  It was started as something I could easily pick up and put down, as a relaxing break from trying to do all the above mentioned.  It’s actually coming together pretty swiftly!


And I just cut out my 1910′s jacket, so I’m hoping to get some more sew-a-long posts up really soon!  I know a bunch of us wanted to wear them to Costume College on the Sunday.  I just haven’t had the time to devote to that project that I thought I’d have!


I still have photos from Missouri I haven’t managed to get off of my camera yet, too.  Man!  Just not enough time in the day!

I hope soon I’ll have more exciting visuals to share of my secret projects for my clothing line!  I really hope to have the Kickstarter up by August, but I’m waiting on all the legal stuff to be done before I can anything going, and I’m somewhat at the mercy of the system on that front.

Hope you’re having a fabulous Summer!



In Restrospect: Vintage Viewpoint Panel Discussion

Last night I attended the Fashion Group International of Los Angeles’ event, “Vintage Viewpoint: Vintage Influence on Contemporary Fashion” at the Fashion Institute of Design & Merchandizing (my alma mater).


The panel was composed of four individuals who come from backgrounds in fashion- either as antique dealers or as designers.  Present were Alicia Estrada, CEO/Designer, Stop Staring!Madeline Harmon, Owner, Chuck’s VintageShareen Mitchell, Owner, Shareen VintageDoris Raymond, Owner, The Way We Wore, and the moderator/master of ceremonies was Kevin Jones, FIDM Museum Curator.

As soon as this event popped up in my inbox, I signed up right away.  Never mind that I’m still not back to normal after the time difference of the midwest, never mind that I’m tired of traveling- I was determined to go.  So I got my little self up to Los Angeles, hung out with my best friend, then dolled myself up vintage (and neglected to take any pictures), and headed out to FIDM in the evening.

I was slightly hesitant, after thinking about it, as to whether or not it would be applicable to me and my upcoming clothing line.  After all, critiquing and noticing fashion trend’s influence to vintage fashion has been sort of a hobby/interest of mine and many of my close friends for as long as I remember.  To be completely honest, I mostly went to see if I could glean some knowledge from Alicia Estrada, who is the designer behind the highly successful vintage-inspired clothing line “Stop Staring.”

And I’ll be honest.  As soon as I drove into the underground parking garage, a fear and dislike gripped my heart.  I am a survivor of FIDM. When I went to school vintage was not “cool.”  I left just at the cusp of vintage becoming mainstream.  I was laughed, made fun of, talked down to, and chided for wanting all of my designs to harken to different eras.  I was told I should do costume design, and that my designs really had no place in modern fashion.

Now, as a graduate, and a gal who spent a lot of time making a brand and an (albeit tiny) name for myself and my vision, and now among the rank of those hopeful to start a ready to wear line, here I am, back in my old stomping grounds, feeling pretty shy and yet willingly submitting myself to a “fashion event.”  I even paid for the privilege.

I exit the elevator, head down to the galleries, and find I am one of the only people wearing head to toe vintage fashion.  I’m mixed in among the “cool”, sporting fancy jeans mixed with bohemian vintage.  Students who attended for some reason.  Designers and big wigs who know their stuff in the industry.  I generally feel really confident in myself and believe in my vision, but those old feelings crept back and I felt like no one really “got me.”


UNTIL I heard Alicia Estrada talk.   What an inspiring story!  One of eleven children, she got into fashion via the punk scene, and decided to do vintage inspired clothing, because she “hated fashion.”  Thank the LORD, I felt so much more at ease.  I was always the weird one- more tomboy than girly as a teen, the one who hung out in the art room and mixed authentic vintage with modern clothes just because I liked them.  In fashion school, I hung out with the outsiders- the punks, the artists, the alternative fashion scene.  In fact, I wrote some pretty horrid poetry about how much I disliked fashion and fashion school in general.

But vintage fashion- that’s another thing.  I can talk all day, study all day, and drool over the tiniest detail.  It really is “timeless”.

Whatever your take on her clothing line, Alicia Estrada’s story is fantastic.  She takes vintage elements and makes them apply to our modern culture and body types.  She really bridges the gap between authentic vintage and modern fashion, and she does it well.  At first, she was shunned by the authentic vintage clothing shops.  Modern fashion thought she designed costumes.  But now, she’s featured in mainstream magazines and has celebrities wearing her dresses.  I only dream of meeting that success.

Not only that, but I’ve found out she’s a woman of faith (like I am), and into family.  She was encouraging, she took time to talk to people after the panel, and she said many times that “there’s room for more designers in the vintage market.”  It’s SO refreshing to not hear someone get all up in arms when a noob comes along with a dream in their niche.  I always said “there’s always room for more vintage patterns.”  Now I’m glad that there’s others saying “there’s always room for more vintage fashion.”  Because, you know what?  The market just keeps growing and growing.  So I was incredibly blessed to go and hear her answers and speak with her very briefly.

The other panelists were mostly those who dealt with high end authentic vintage fashion, and sell primarily to designers, celebrities, and those with money for those higher price point vintage items.  I admit, I didn’t recognize half of the names that were dropped during this panel discussion (I don’t keep up too much with celebrities and designers), but it was interesting to hear just how many designers now come to authentic vintage clothing dealers searching for inspiration.  I remember I even had Betsy Johnson say “Nice dress.” to me at a LA Vintage Fashion Expo once.  That was pretty cool.

But, also hearing the perspective of the curator of the FIDM museum was interesting.  Some vintage is so rare, it really should be preserved for future generations.  So, although it may make me squirm to hear of someone wearing authentic Victorian garments in everyday life, others have no problem with it.  And still others want a recreation of it.  So there’s room out there for the authentic vintage clohing, the reproductions, and the archivists- but all are under the banner name of “vintage”.

An interesting point that was brought up was the question of “knocking off” vintage fashions. I’ve seen this question asked in the blogoshere in relation to wearable fashion and vintage sewing patterns.  In general, all panelists were agreed- unless it’s a modern designer knocking off another modern designer (say, for example, the 90′s is back- doing a knock of of another designer’s piece from then is in pretty poor taste), most agreed that they have no problem with someone making copies of vintage originals as long as it’s not iconic to a specific designer.  And with the wide world of the internet, someone out there will know where it originally was from.  Most modern designers, however, will just take elements of vintage for either structural design elements or textile inspiration.  There’s a few out there who do head to toe (Ralph Lauren springs to mind), and there’s niche brands who will do this, like vintage reproduction companies, but most take something and put their own spin on it.  And, if you know real vintage, you know sizing and textiles now are VERY different than they were back then, so getting an exact replica is really pretty rare and not always in your best interest.

So, in the end, I still don’t really like “fashion.”  I don’t like hobnobbing and “networking”.  It feels fake and forced.  But I do enjoy the insight from people who have been on the road and survived in what I want to do.

And hey, one of the vintage expert panelists actually asked if the dress I made was vintage.  So I must be doing something right.

Got any thoughts? Please let me know below!


Important Poll- Tell Me Your Trouser Preferences

Howdy, Everyone!

I’m back from a 10 day trip visiting family on both my side and my husband’s side in Missouri.  Now I’m back at it and I have two very important questions for you!


My first collection will include the Smooth Sailing trousers in a dark denim.  Very similar to the photo above, but no belt.

I need to know the following, so please help me out by submitting your answer!  The one with the most replies will be what is made.

Because vintage style trousers have a longer rise (crotch length) than modern trousers, I also need to know the length you need from waist to hem. NOT the inseam length. I need to know the full length from your natural waist to hem.

Please add your selection and share with anyone you know who would be interested in buying ready made vintage style trousers!

Thank you!