-
Simplicity 1573 – complete!

I finished this dress last year, a very youthful Simplicity 1573. Here’s the pattern illustration:

Such a sweet neckline.

These photos where on a bit of a grey day, and the print is lost a bit…the skirt has a such a lovely shape!

I played around with a cummerbund, but felt it was all a bit bulky, and the shape of the bodice was a bit lost, and it took the eye away from the neck line, and the little cap sleeves.

Aren’t they pretty! I’m happy with this dress, and am psyching myself up to give the cummerbund another go, and enjoying styling it various ways. Here, I’m wearing a poofy petticoat, but it is just as lovely without one. I am so happy with the fabric choice as it holds the shape so well.

Horray for summer dresses!

-
Vogue 1195 – by Patou


I’m kicking off this year’s sewing projects with something very exciting. I acquired this elegant Vintage Vogue dress pattern, ‘designed by Patou’, last year. My plan was to make it in this lovely red wool crepe (pictured above) I have 3 metres of it, usually this is enough for a dress, so when I come a cross a lovely fabric at a bargain, I’ll buy the 3 metres….
However, when I sat down to read the instructions, and take a good look at ALL of the pieces, and how it comes together, it is looking like I am short a metre of fabric – damn! Aside from the wide front bodice piece, the sleeves are made in two parts, and cut on the bias – lovely, yes, but taking a lot of fabric.

Back to the drawing board, in terms of fabric choice, but on with the toile! These vintage sewing patterns are rare, so if you have always wanted to see what they are like, keep reading!
This one looks to be unused, or very, very carefully used, the pattern pieces look to be in their factory folds (gulp – handle with care!)
I carefully unfolded the pieces and gently pressed them, just enough for them to lay flat on the fabric (I like to keep the impression of the original fold, as sometimes that’s the only way to pack them up again, yes, I know it’s nerdy). It was at this point that I wondered what on Earth was I thinking! This looks complicated, and oh my goodness look at all the pieces!
The pattern piece notes:

And look at the instruction sheet:
Eek! But not impossible, regardless of how complicated that button up bodice looks…. I have been sewing with vintage sewing patterns, and most often, these punched patterns, for a while now, so this does make sense, I find these easier to look at then the printed patterns.
For this project I’m making a full toile, for a couple of reasons, I want to be sure of a good fit, this is the first time working with a Vintage Vogue Designer pattern from the 50s. With the asymmetrical bodice, I suspect any fitting adjustments are going to be more challenging than what I have made before; secondly, the assembly of the front closure looks a bit complicated – I want to make any assembly errors in the toile rather than the fashion fabric!

All these carefully marked pieces await my attention at the sewing table.

Here’s that gorgeous pattern illustration again!

Here are some other fabrics I was considering, a lovely grey wool blend, and a (not that nice) synthetic dark green crepe (with a lovely drape) that I will not be using…but are still nice to think about! I am thinking, for the new fabric, green, greys, violets or reds. Fingers crossed for that dream fabric find!

-
Copyright infringement by the New Zealand Herald

I have had a bit of a lesson on copyright, moral rights and the right artists have to be identified as the creator of an art work.
In November 2014, magazines published by the New Zealand Herald used an image of my work, Hydra, which was all really exciting, except that it was the one image of art work in the article not credited. One instance of publishing one’s work uncredited might be unfortunate perhaps, but sometimes, people make errors. But for it to happen again, even after being informed of the error and advised of correct credit details, it is just not acceptable.
Details:
Weekend Herald, November 8th, 2014 Feature Story: Urbanesia Calling, page D6, D7, image of ‘Hydra’ appearing on D7.
Viva, Wednesday November 19th 2014 Right Now: Creative Spirit, page 4.
One starts to question whether they really can be bothered crediting artists, and of course, just how good a job a journalist is doing when they fail to credit images at all. How much does the NZ Herald care about meeting their obligations? It is probably considered New Zealand’s major news paper.
The first time it happened, I contacted the NZ Herald via their facebook page (after a lack of response via online contact/feedback forms). I had a response back saying that the online article was now correct (but no mention of the print edition) and that the writer was sorry. You can read the article here, it’s talking about Southside Art Festival, and Cult Couture. So that seemed ok, still stink though! It’s not like they had decided to republish the image in print with correct details.
The next thing that happens is my mum calling and saying ‘Hey that photo is in the Herald again, but it doesn’t say it was by you!’ What?! Again, really disappointing. My contact to the NZ Herald was again, less fruitful, the response was basically, ‘We were not supplied with, or told it needed to be credited, talk to the PR company, and Cult Couture’. Not really taking responsibility for the job of correctly attributing images or art works. Though said they would ‘Look into my feedback’ – I recommended that they credit artists when they use images of their work – shouldn’t they be doing that anyway??
Disappointing too, as other images in both publications had been credited. And is it really so difficult to obtain correct details? I managed to obtain the correct credit for the same image before I published it on my blog. I did have to email specifically, stating that I needed this information before I would use it. But I did get it. And I don’t call myself a journalist.
More phone calls to the PR company and a contact at Cult Couture. What happened is, the PR company was provided with images for use to promote Cult Couture and the Southside Art Festival, some images were credited, some were not. These images were passed onto the NZ Herald, as is.
Copyright Council of New Zealand has this to say:
“Under the Copyright Act 1994, creators have certain moral rights in relation to works or films they have created. Moral rights are often referred to as “personal rights” and are separate from copyright rights − which are often referred to as “economic rights”.
Moral rights remain with the creator, even when copyright is owned by someone else.
Moral rights give creators:
• the right to be identified as the author of the work, or director in the case of a film (right of attribution);
“Who has moral rights?
Moral rights belong to authors of: artistic works, including paintings, drawings, diagrams, maps, engravings, etchings, photographs, sculptures and architectural works.”
Further:
“Right to be identified (Right of attribution) Creators have the right to be identified (credited) in a clear and reasonably prominent way, when their work is used in certain situations.”
More from the Copyright Council of New Zealand:
“Authorising an infringement
A person who “authorises” someone else to infringe copyright will also infringe copyright. Courts have said that to authorise means to “sanction, approve or countenance” the infringing conduct. A person may authorise infringement by telling someone else to do something that amounts to infringement, or by permitting the use of equipment (such as a photocopier or CD burner) to infringe. ”
So from this, I gather that Cult Couture and their PR company have ‘authorised’ this infringement.
What to do?
Clearly, my moral rights have been infringed. So what does one do? Well, I got some legal advice, which confirmed that the New Zealand Herald has the obligation to uphold the moral rights of artists, and that they can be held accountable for infringement.
The Copyright Council of New Zealand explains that one can write a ‘letter of demand’ detailing the infringement, asking that it stops, in this case, I’m within my rights to ask that they re-print the image – correctly attributed. I have written to the editors of both the Weekend Herald and Viva magazine, noting that their publications have infringed my right to be clearly identified as the artist who’s work is featured, and requesting that they reprint the image. Was there any response? Not from the editors. I am surprised? Not really, still frustrating and disappointing. I did receive an email from the Picture Editor, apologising for the error and noting that the picture now has the correct credit attached to it, this would prevent any future uncredited publication of the image. Good, but doesn’t really put right what has already happened. For the moment I am looking into my options for further action.
Has this happened to you? Do you have any ideas or suggestions?
Love to hear from you!
Here’s the lovely image we’re talking about:

Hydra, 2013, by Angela Carter, worn by Sharne from Red Eleven, photographed by Paul Ross Jones.
-
Working with Vintage Sewing Patterns – tips


Working with Vintage Sewing Patterns
Vintage sewing patterns are lovely to use, and there is something special about using a sewing pattern that may not have been touched since it was packaged up 50, 60 or more years ago, or has been carefully used and looked after by another sewer. Obviously they can be fragile, and that is the main consideration with the following tips.
Angela’s tips for working with Vintage Sewing Patterns
* Store your vintage patterns individually in clear plastic bags, if damp and humidity is a problem, consider using silicone packets to prevent moisture damage
* Rusty pins and cello-tape; if you find pins have been used and left in your pattern pieces (often used for shortening pattern pieces, or for keeping small pieces together) just carefully remove (try twisting rather than pulling them out), and dispose of them, they can cause rust marks on the pattern pieces and envelopes, and cause tearing. Cello-tape often looses it’s adheasion over years, but it can leave pattern pieces sticky. If possible, carefully remove the plastic, as a last resort you may have to make a copy of the pattern piece. Do not iron pattern pieces where there is, or has been cello-tape!
* When a pattern piece has been cut, or damaged, I find the best solution is to carefully retrace the piece on pattern tracing paper, rather than cello-taping it together.
* Gently press the pattern pieces on a low heat, with your iron set on ‘dry’ (no steam)
* If the envelope is damaged or if your pattern pieces are bulky, store them in the clear plastic bag, with the pattern envelope visible, don’t put them back in the envelope as excessive handling can cause damage to both the envelope (with that fabulous illustration!) and the pattern pieces
* Consider making a paper or muslin copy of your most used, or very special vintage patterns
* If you need to make an adjustment to your pattern piece, do trace it off and adjust the copy
* Store away from bright sunlight, like fabric, patterns envelopes can fade
What do they look like?
This is from Butterick 9497, a Man Men Challenge.

An Academy 40s slacks pattern, front and back, a pocket and waistband.

Pleats marked with punch holes and arrows stamped on the 40s slacks pattern:
More complex (looking) punch holes marking a Vintage Vogue Designer pattern:
This pattern used three different size circles, squares and triangles, which mark: button hole placement, folds, pleats, notches, hem length, grain line (not shown) and seam allowance. It looks difficult, but I think it’s a good system.
Instruction sheets – often there is only one – can look like this, from the same Vintage Vogue above:
And the 40s slacks:
I have become more precious with my sewing patterns over the years, especially with the more hard to find (and possibly irreplaceable ones) so I tend to be more cautious, and I like the process of tracing and toile making, as much as for the learning and practice as anything else.
I’m participating in the Vintage Sewing Pattern Pledge 2015, and I have some exciting and more challenging projects lined up… Will you make a Vintage Sewing Pledge this year? Go on!
Do you have any tips for working with Vintage Sewing Patterns? What would you add?
-
Vogue 2759 – vintage pattern pirates

A random fabric and brown paper pattern package among some of Nana Shirley’s fabrics…
Nana had a copy of her friend Wynn’s four gore skirt, Vogue 2759. A four gore skirt is a classic for the wardrobe, I had to make it up, right?
The pattern does not include seam allowances, however, the fabric was cut with almost a generous 2 cm allowance, it had already started to fray so I decided to try out French seams. At the time I was in an ‘experimental seam phase’…. and wanted to give them a go. They worked quite well, the fabric was lightweight enough for them to sit well.
How did it sew up? Perfect!
This is probably as close as I get to a nautical look…
Scarf from a friend, David Elman shoes and Country Road silk blouse both from op shops.
Slightly bubbly hem! Needs a bit more pressing after all…..
Otherwise, perfect! I do like the idea of my nana and her friends sharing and copying each others sewing patterns. I’m thinking of making a corduroy version for winter, such a wearable style, I love it! Thanks Nana and Wynn.
-
Butterick 6039 cape in red crepe

I have wanted a cape for a few years now, and they seem to be a bit of a trend among sewers every few years, I started a wearable muslin a while back. I had about five metres of red wool crepe, with a few moth holes, I was a bit pressed to make good use of it. I was able to squeeze a pair of pants and a skirt, with what was left, a small cape seemed a good option. This fabric has a really lovely drape, too, so it seemed like a good choice.
I chose version ‘C’.
And here is the result. I have a few issues with this cape, and have some ideas for when I approach this next. I spent a while working on interfacing the shoulders and around the collar, I had some iron on in my stash. Although I was able to achieve a nice crisp edge, I’m not that happy with it. I used some remnant pieces of (very slippery) light weight lining material, and it is not ideal – too slippery! I also suspect that I need to find a better match for lining, and investigate interlining, perhaps for tailoring suit jackets, in the cape remake project.
Also, I think looks all together just to Papal to wear !! Argh, I didn’t think about that at all, just oh yes, red, I love red. Lesson learnt.
-
Simplicity 4730 – finally complete!

So, I’m getting up to date with finished sewing projects, this little number has been stashed away in the stash for well, a year, you might recall it here, I started with a toile, as it is just a touch small, and a new style dress (at the time) and lovely vintage fabric. It has taken a while, was worth the wait.
I wanted a fairly simple dress, so opted out of the collar or embellished neckline – which I kind of regret, at least adding a white band might have lifted it a bit? Elegant embellishment of garments is something I am learning to embrace, albeit slowly. It feels risky! I don’t want an embellishment to look like an after thought either.
I spent
agessometime working on adding a pocket (after adding a pocket to a pair of slacks recently, I find myself now unable to live without them). I also lined the dress, as the fabric was just see-through. So, after all that time, I am very happy with this and look forward to many sunny days to get it out for some fun!I played around with a much shorter skirt than I opted for in the end, partly, thinking shorter for summer, but my mum, well she thought there was something really elegant about this length, and I believed her.
I’m wearing a petticoat, and the skirt is lined, which is giving quite a nice shape and sharp edge to the hem, which I love!
I’m so glad the sun is finally shining and I can wear it out!
-
Butterick 7731, women’s shirt

Who wouldn’t want a shirt like this? Fabulous isn’t it, kimono sleeves, cuffs and a simple, sharp collar, it really is a ‘quick ‘n easy’ project.
Here is the first version of this blouse, made with a black and white striped fabric which was given to me by a friend. The fabric was a remnant, and I had to piece together the front facings, but managed to fit the pieces in – except for those great cuffs.
It has had a lot of wear over the last few months, and I’m now finally blogging it, it is another Vintage Sewing Pattern Pledge project for 2014.
I have teamed this shirt up with yet another vintage sewing pattern project, these slim leg pants, from a really old project. I started them ages ago, initially in red crepe, then I picked up some other fabric and decided black would be much more practical. So, I made these and started wearing them immediately, so easy to wear and wash.
They are a simple cut, high waist, with one pocket, slit at on the outside leg.
I must admit, I usually wear them with flats, by they are fun in the lovely red polka dot heels!
I have another shirt almost complete…..I just can’t commit to buttons yet! But here is the fabric, this time I have made the cuffs too, and they really do make it that much more vintage and fabulous. You’ll all just have to wait till I make up my mind on the buttons.
-
Summer fun times – baby rabbits and Hornby Trains

What are the chances of reaching into a rabbit hole and grabbing hold of a baby rabbit?
The chances seem pretty good if you are Luna!
Exploring the lime orchard at the grandparents place, Luna investigated the first rabbit hole we came across, only to pull out six wee baby rabbits.
They had tightly closed eyes, were so soft and just wanted to snuggle up together, so sweet, it is a shame they are such a pest in the area. We talked all about them, how old they might be, where their parents might be, and so on. Luna has been dreaming of having a pet rabbit, unfortunately, in our situation, it’s not practical or safe to have one in our backyard, so this was extra special.
Elsewhere, my great grandparent’s Hornby Train set was an instant hit.
This used to be set up in a shed next door to where my dad grew up, his mum’s parents lived next door, and it was apparently grandfather’s special toy train.
I am very impressed with how well it works after all these years.
Clock work! So easy for small hands to use, and it moves so beautifully on the tracks.
Check out all the extra cars….
Most of them have their original boxes too.
Two working engines, and two for parts, a level crossing, tunnel and a bridge, this is serious clockwork train fun.
And heaps of extra track!
I was able to squeeze a few new – and soon to be completed – sewing projects, especially for the Vintage Sewing Pattern Pledge…
New to the project pile:
Academy 2953, slacks in a lovely brown cotton blend from nana…
Getting back on track with the Vintage Play Suit sew along, Vogue 6435, a really stylish house pyjama outfit from all those months ago…
I needed to line the bodice, and didn’t get it cut out with the rest of the fabric, now it’s all ready to assemble!
Happy holidays xo
-
Academy 2953, classic slacks.


This has been the year of mastering slacks and pants. These, 40s? (I think the pattern is from the 1940s, or early 1950s) slacks have become my new ‘go-to’ pants for day wear. I love the classic wide legged slacks that Katherine Hepburn made so iconic, and when I found this pattern, I could hardly wait to whip up a pair.
Close look:
I made a wearable test pair, partly to test my techniques, and to test fit, from wool, fully lined (which are waiting to be hemmed…..). When I was sure I had a good fit, I pulled out this lovely, lovely piece of linen my nana gave me. I don’t usually go for natural tones, but I wanted something breezy and elegant – and easy to wear for the beach and such.

I have been wearing these baby’s for a while now, and I just had to have a couple of photos on the way out the door. They are perfect and I love them! Yikes – possibly my most self conscious series of photos ever?! Austin attempting a cameo appearance too…
Did I mention the pocket? Now I cannot live without them. Pockets in all the clothes!
The hem is a wee bit long, which I see better in these photos… but they are super comfy and I’m very pleased. I have some more wool to make up a winter pair as well.
Technical details:
The pattern was a touch small, so I gave a little extra at the side seams of the pants, and let the front darts out a wee bit too. I made the belt a little higher, so more of a 50s waist there. If you can make out the front pleats from the pattern, the they are tacked in place, which looked a bit odd, so I unpicked them and left them as soft pleats. For a future version, I would just sew them as darts, pleats around the middle can be nice, but can also pucker around. Overall, easy to make and work with, this will become one of those well used patterns.
This was also the first time I have worked with linen, and oh my what a pleasure, I have enough to make a skirt or blouse. Such a lovely fabric to wear, wash and sew with, thank you nana!
Earlier this year I signed up for the Vintage Sewing Pattern Pledge, and this is one of my projects, I’ll be adding to the group pinterest board shortly…
In a moment of enthusiasm and courage, I pledged to sew twelve garments using Vintage Sewing Patterns, it might not sound so preposterous when I note that my pledge was based , ahem, on completing projects I had already started using Vintage Sewing Patterns, and that I still so far only really use vintage sewing patterns….lets just say I have a few projects to document in the next week or so…





















































