Despite her last-minute change of plans and reservations about her alternative pattern choice, Gabrielle of Up Sew Late has sewn a gorgeously practical dress for #VPJuly! In her floaty coral number, she's certainly channeling Diane von Furstenburg by the Castle.

When you hear the name 'Diane von Furstenberg', wrap dresses are probably what spring to mind. They're the style she's most famous for of course, but she also designed loose fitting dresses like this one - and from the number of copies of this pattern I've seen for sale, I'm guessing it must have been a popular style.

The pattern is this one, Vogue 2065, a Diane von Furstenberg for Vogue American Designer Originals from the late 1970s:

The back of the envelope description reads as follows:

Loose-fitting, A-line, pullover, blouson dress, seven inches (18 cm) below mid-knee or ankle length, has scooped neckline, round collar, center front neckline slit with button and thread loop closing, elasticized waistline, pockets in side seams, narrow hem and top stitching and edgestitch trim.  Above or below elbow or full-length sleeves are gathered into buttoned, shaped turn back cuffs. Purchased belt. 

And why did I choose to use this pattern? Well, to be honest, even though I'm very happy with the dress I've made, this pattern wasn't my first choice!

I had two first choices: a red and cream striped 1940s summer dress, and a cream wool and lace 1940s winter dress, both already well underway.  I'm very sorry to say fitting issues with both dresses got the better of me when I tried to finish them up (for now - but I will conquer these dresses!), so I had to step away from the 1940s and towards a more recent era.

My next thought was to sew something fun and exaggerated from the 1980s. I got so far as to identify a couple of very cool and unusual Vogue Individualist patterns in my 1970s/1980s filing cabinet drawer, but then an annoyingly sensible voice piped up in my head and reminded me I already have a wardrobe full of fun clothes that get very little wear. So I made a second pass through the filing cabinet drawer, this time looking for 'wearable' and 'suitable for the office (or casual weekends)', and came up trumps - THIS DVF pattern; pretty, office-appropriate and very wearable, and even in my size.

I really hope the very bright pink fabric stops it from being a boring choice!

By the way, please excuse all the crumples in the photos - I did iron the dress properly, but I then drove into the city to take these photos wearing the dress, and apparently driving makes silk crepe de chine rumple and crease! 

I usually sew a size 12 in modern Vogue patterns for my upper half and a size 14 for my lower half, but I thought 1970s sizes might be a little smaller than modern sizes, so the straight size 14 in this pattern looked about right - and it was.  The pattern was straightforward to sew, though the amount of hand stitching required took me by surprise and meant the dress took a lot longer to finish than I'd anticipated.

My gorgeous, very drapey silk crepe de chine comes from last summer's sales at The Fabric Store here in Sydney, and it proved to be the perfect choice of fabric for this dress, even if  I didn't have quite enough of it (my neckline and cuff facings are cut from a different fabric).

It's hard to show movement in photos without jumping around (and also being a good enough photographer to capture the jump!); the next photo is the best we managed to show the swish and drape of the fabric:

You don't normally see castles in Sydney, but yes, the building behind me in a couple of these photos is very castle-like. The building was apparently based on Inveraray Castle, and was originally built as a 'palace for horses' (ie stables!) for the 5th Governor of New South Wales. And it's now the Sydney Conservatorium of Music, which I think is a much more suitable use of a small castle!

If you compare my dress to the detailed description above you might notice a couple of differences... firstly, my dress is knee-length, not 18cm below mid-knee, and secondly, where's that top stitching?

It's knee-length because I just thought the shorter length looked more balanced with the elbow length sleeves and simple bodice (I did try the longer length and it was rather nightie-like).  I normally add between 7 and 10cm to skirt or trouser lengths in Vogue patterns, so it was a novelty to get rid of some length - a full 16cm, and that's with enough fabric left for a nice deep hem too.  I should point out though that a lot of that excess length probably came from my fabric "dropping"; the much smaller collar pieces certainly stretched out significantly even with minimal handling.  And as for the top stitching, well it turns out it was only supposed to happen at the hemline, and other than that, the instructions are all about slip stitching and more slip stitching! I ended up continuing with the slip stitching theme for the hemline anyway - when you're on a roll...

Here's a close up of the collar - it's not perfect, but given the amount of adjusting that was involved to cope with the un-interfaced collar upper stretching out I'm pretty happy with it:

I did have to make another surprise adjustment as I was sewing the dress - but it's one that's not as noticeable.  When I tried the dress on with the cuffs pinned in place before sewing buttonholes, I noticed that the cuffs were very tight on my arms, so to gain a few millimetres of width I've sewed press studs with buttons on the outside instead of buttonholes.  There was actually supposed to be a second button on those cuffs, just in case the cuffs were too loose, but I didn't see any point adding buttons that I will never be able to use so I left them off.

Obviously too I have yet to get a purchased belt, and my hemline really needs one.  I did a lot of measuring and marking and trying on to make sure that hemline was horizontal, but you wouldn't know it because the elastic at the waist tends to move up at my hips when I walk around, and that makes the hem rise at the sides! I wish I'd noticed before we took photos... but I know it'll be fine when I add a belt.

So, what's the overall verdict? Well, pleasantly surprised!

Mid-way through making this dress I was really worried about my pattern choice; it was looking so much like a nightgown that I thought it was going to be a wadder - and what a waste of hours of handstitching that would have been! Thankfully the elasticized waist pulls it back into "dress" territory, as does the shorter hemline  - phew! - and I know this dress is going to get a lot of wear.

Thank you so much for having me, Marie!
Reproduction patterns are a wonderful way to dip reluctant toes into sewing vintage, so I'm happy to be sharing this lovely 1950s-inspired dress by Kacy of Miss Kacy Sews today. She's chosen a very pretty floral print for her #VPJuly contribution and speaks highly of the pattern and its instructions.

Whew, Butterick B6055, great pattern, beautiful dress. I am living for this dress right now! This pattern is one of the patterns in Butterick’s Retro collection from 1950. Super quick and easy pattern. Easy to read and super simple to follow. 

I was worried that because of the collar it would be difficult but not at all, the directions walk you right through the harder parts and it went together like a breeze. I would certainly recommend this pattern if you’re on the fence about it. I sewed a 14 in the shoulders and top of the bodice, 16 at the waist of the bodice and a 16 skirt.

I chose this pattern because I loved the pockets!! I mean seriously, these pockets are the stuff!! 

I used a lovely, bright floral fabric from my stash. I’m pretty sure I got the fabric on clearance for either $2 or $2.50 a yard! All notions were also from my stash. 

All in all, I think this took about 6 hours total start to finish. I love this pattern and I will be making it again. I would like to make another in a solid colour, perhaps without the sleeves. I think this dress is a very flattering fit for my body type and I’m very pleased with how it came out! Here’s the finished dress!!

I hope you’ve enjoyed my #VintagePledge make, I know I’ve enjoyed seeing everyone else's!
Burgundy Belle. That's what Claire of I Want To Be A Turtle has called her #VPJuly contribution, but I totally think it applies to her good self as well. She looks incredible in this early 1950s number and choosing a block colour has made the interesting details really pop!

Have you ever made a pattern just for the lines of the item? This is what happened here - it is an indulgent rather than a necessary make. I fell completely in love with McCall's 9009 from 1952 when I was browsing Etsy. It offers three options: a sleeveless dress, a jumper and a blouse. I couldn't get past the red dress in the illustrations - that collar and off centre buttons! I had to own this pattern, even if the envelope was falling apart.

The suggested fabrics are pique, denim, gabardine, rayon suiting, lightweight wool, linen, corduroy and velveteen. Plenty of options to get your imagination running! I wanted a plain fabric so the lines of the pattern would shine and dug out this redcurrant wool from my stash. The fact that it is the same colour as the pattern illustration is a pure coincidence. 

The wool is medium weight and comes from a delightful little fabric store in Zadar, Croatia. The dress is underlined with a white cupro bemberg which takes the insides up a level, but also keeps the wool's itch factor under control. Black flower shaped buttons finish the outfit to add a little more interest. The dress works perfectly in this wool although I wouldn't use anything heavier due to the bulk it would create, especially in the skirt which is made from six pieces and includes button plackets.

Getting the fit right was tough - three toiles of the bodice were needed. I knew a number of changes would be needed as the pattern is size 12 and I'm bigger across the board. Alterations included: 2" FBA, bringing the side seams forward, adding a small amount to the back bodice and quite a lot more to the front bodice. I chopped off about 15cm from the skirt length so the hem finishes at mid calf as designed. Removing this additional length meant I could squeeze out the pattern from two meters.

Sewing up the dress was straightforward but it isn't a quick make. It demands six bound buttonholes almost immediately and a lot of hand stitching. The collar and sleeves are finished with facings and these are fully anchored into place with slip stitching. I tried to avoid this and just tacked the facings in places but the finish was comprised. The hem of the skirt is also hand stitched. 

Adding the button plackets to the skirt was the most confusing part as the diagram and instructions weren't too clear but once you work it out, it's relatively simple. The instructions are succinct but enough to get you through if you have some experience. I was impressed with how they explained bound buttonholes effectively in only a few steps!

While I loved almost every moment of making this dress, I had this nagging fear that it would end up hanging in my wardrobe with very little wear. The style feels rather different to what I normally wear and I wasn't sure I would be comfortable in something that is so clearly a vintage style. I finished the dress mid-March to give me time to wear it before the spring weather came and the dress got a surprising amount of wear - I'm now disappointed that I have to wait until the Autumn to bring it out again. 

It turns out that this dress is a confidence booster and one that I'm not scared to wear in the office. I would wholeheartedly recommend this pattern if you're looking for something a little different. I'm convinced I will get more out of it - I'd love to make the jumper in addition to a summer version of the dress.
The first year Sue of Fadanista first took part in #VintagePledge, she blew me away with over 20 lovely makes. Although she not be churning them out quite as fast this year, today's ensemble is truly special!

I've done the #VintagePledge for the last couple of years, but  was quite surprised to receive an email inviting me to participate this year, so of course I blithely said yes, not realising that the game had changed a little bit and that my efforts would be featured as a guest blog.

Aaagh, this caused me to rethink my usual offerings  and make something we wouldn't all be ashamed of. So, without further ado, here is my outfit consisting of a dress and a capelet.

The dress is a 1937 Lutterloh pattern with some lovely bodice detail and a slightly flared skirt.  Because I didn't use any colour blocking some of the detail is a bit hard to see, but this image from the book shows the interesting shapes in the bodice. The sleeves have a dart that runs from the wrist to the elbow, giving a lovely line.

First I had to trace  off the pattern and tweak it to fit me. This is what Lutterloh patterns look like.

I even toiled it! I took it off to my pattern making class to ensure that I had a perfect fit, and felt a bit Greta Garboesque; but then I cut a hole in the dress so that stopped me making it  the final dress if I ran out of time. 

The fabric that I finally chose for this challenge is a beautiful brown and black viscose that I bought a couple of years ago from  Tessuti. I am so glad to have used it, particularly for a dress that I love so much. 

The back view, which has tiny buttons all the way down. There is no way I can dress myself!

I did have one major blunder. Lutterloh patterns do not include seam allowance, so I carefully added it to every piece...except the sleeves. I only realised as I was cutting out, so the sleeves are a bit snugger than I would like, but I can, at least, get my arms in them. 

The button detail. These are from the 1930s or 1940s and I bought them at Buttonmania in Melbourne some time ago.

The belt detail. The buckle is an art deco one that mirrors the diamond shape of the centre bodice. The buckle background almost exactly matches the dress fabric. They are a match made in heaven and the buckle was in my stash!

The belt is literally made from scraps. I did not have a strip long enough, so it has multiple joins along its length. Luckily the busy fabric hides them.

The jacket is the Decades of Style 1930s Capelet, a pattern which I've had for at least a year. Isn't it gorgeous?

Once again I toiled it and then I made a practice one, which I'll blog in another post. This one is made from green silk velvet that I got from Sarah  and she and I tried to dye it brown. Epic fail on that! I lined it with some Japanese gold silk, so it's pretty luxurious. Unfortunately, the two fabrics that I enjoy sewing with least are velvet and silk, and here I had them in combination.

Of course velvet doesn't really press crisply, so I feel as though my edges are a bit rounded instead of being sharp, but, given some of the issues I had with it, I think it's something I shall enjoy wearing. 

I used this little art deco buckle  to hold the two fronts together.

Finally, I knew that I had to style this outfit properly, so fussed and fretted about the backdrop for the photos. I explored art deco buildings in our general area and even took some photographs outside one of our movie theatres, but in the end I got Mark to take my photos outside  this beautiful art deco building, which just happens to be our local town council building. The building burnt almost to the ground in 2010 but they managed to save and restore this beautiful facade in 2014 to the joy of all the local residents.

I did toy with having a Marcel wave (see here for my trial 1930s hairstyle  - nothing like a marcel wave really!), but felt a bit silly to be honest. Sooo, it's hair as usual I'm afraid. 

A final word here. I would so much like to thank Marie from astitchingodyssey and Kerry from kestrelmakes. I was so flattered to be asked to join this lovely challenge and I am pleased that I have made something I can wear to a variety of occasions.