Krizia Playsuit – McCall’s 6624

Krizia_coverup

It’s officially fall now, but the recent warm weather gave Naomi and me the chance to photograph my late 1970s Krizia playsuit, made using McCall’s 6624. (See my post on Krizia patterns here).

McCall's 6624 by Krizia - 1970s playsuit and wrap skirt
McCall’s 6624 by Krizia (1979) Image: Vintage Patterns Wiki.

The playsuit bodice and shorts are pleated into a pointed, one-piece midriff band, and the whole thing closes at the front with a zipper and buttons. I love the shaped side vents on the shorts.

I used a black glitter stretch knit from my stash, found at Fabricland’s old downtown location. The pattern needed extensive resizing. Due to the mid-1970s unofficial sizing change (thanks to Peter for drawing my attention to this) the 10 was fine on top. (That’s my copy on the wiki.) I added some ease to the midriff band and adjusted the bodice and shorts to match up to it. I also lengthened the rise, added to the crotch length, and slashed to add some room in the hips. Yes, it’s a stretch knit, but I was trying to be faithful to the ease of the original.

This was my first time sewing a McCall’s “Carefree” pattern, and I found the instructions involved a little guesswork. I have also made up a ’70s Vogue pattern with similar design elements—midriff band, pleated dirndl skirt—and can vouch for Vogue’s more extensive markings and instructions. The McCall’s didn’t even have markings for the buttonholes. I carefully followed Vogue Sewing Book’s buttonhole instructions, but I suspect I made them too big. Perhaps vertical buttonholes would solve the problem?

If I were to make the playsuit again, I would add markings to the midriff piece to help line up the side seams etc., and also ease stitch across all the pleats (rather than just hand basting) to keep everything in place. The instructions say to finish the shorts with a narrow hem; I couldn’t see that working with my knit and the shaped side vents, so I did my best to mimic a serger finish (zigzag, trim, topstitch) and pressed the sides into relative submission. If I were making it again I would use fusible stay tape.

We photographed the playsuit by a local graffiti mural by Anser and Chou.

McCall's 6624 by Krizia (1979) - Noble St. mural in Parkdale, Toronto

McCall's 6624 by Krizia (1979)

The sparkle only shows up close:

1970s Krizia playsuit pattern - McCall's 6624

McCall's 6624 by Krizia (1979)

Here’s a view of the back pleats:

Krizia_back

The playsuit is so strappy, short, and unstructured that it falls more into the realm of loungewear. It’s a bit more practical when worn with a coverup.

McCall's 6624 by Krizia (1979)

(Sandals: Gareth Pugh for Melissa)

(Cross-posted to We Sew Retro.)

1930s Children’s Coat – Pictorial Review 6128

30s coat pocket
1930s child’s coat detail — Pictorial Review 6128.

I made our little niece a vintage ’30s coat as a Hannukah gift. For the pattern I used Pictorial Review 6128, a double-breasted coat with optional back belt and pockets.

1930s child's coat pattern - Pictorial Review 6128
Pictorial Review 6128 (1932) Child’s Coat.

Here’s the diagram and description from the envelope back. It’s a unisex coat for small children, and was available only in sizes 1 to 6:

Envelope back with technical drawing of 1930s child's coat - Pictorial Review 6128. Child's coat. Snug, sturdy and comfortable is this little double-breasted coat with straight fronts and a belted back. The fronts may be worn closed to the neck or rolled to form revers. Belt and inserted pockets are optional.
Technical drawing and description, Pictorial Review 6128 (1932)

The recommended fabrics were flannel, camel’s hair, piqué, velveteen, cheviot, and serge. We had a length of purple Woolrich tweed that felt the right weight for a coat. (Established in 1830, Woolrich is North America’s oldest woolen mill. Today, Woolrich tweed is a wool-nylon blend for durability.) I cut some leather trim for the welt pockets from an old pair of leather gloves, and my modest button stash yielded a set of one-inch vintage Civil Defence buttons for the front and belt.

Since the pattern is the old die-cut type and needed no alterations, I tried cutting using the original tissue pieces held down with weights.

I’m new to tailoring (and coat-making), so throughout the process I referred to Paco Peralta’s tailoring tutorial and my 1970s Vogue Sewing Book on tailoring techniques. The coat collar gave me the opportunity to try out pad stitching. The pattern even gave instructions; the undercollar is to be interfaced with muslin and pad stitched, with the collar stand first worked with a running stitch:

1930s instruction diagrams for undercollar - Pictorial Review 6128
Instruction diagrams for undercollar – Pictorial Review 6128

Here are some progress photos of the pad stitched undercollar:

30sCoatPadstitching_a

30scoatcollar_a

This is the undercollar attached to the coat body:

30s coat collar
Pad stitched undercollar on Pictorial Review 6128

You could call my approach to the coat half-tailored—somewhere between the pattern’s Depression-era muslin collar interlining and modern tailoring’s padstitched hair canvas interfacing, all catch-stitched along the seam lines. As a compromise between vintage and modern methods I used a sew-in interfacing on coat facings, belt, and pocket welts. (None was called for in the pattern.) To handle the heavy tweed, I had no tailor’s clapper, so I pounded the steamed seams and edges with a small cedar block we had on hand. Paco’s tip of making a few stitches across lapel corners worked wonders for my first-ever lapels.

I bagged the lining and added handworked keyhole buttonholes—fanned at one end, with a bar tack at the other. Partway through making the coat we decided against the convertible collar, so I omitted the lapel buttonholes. (As with many vintage patterns, there were no button/buttonhole markings.) It was my first stab at handworked buttonholes on heavy fabric; I love how the hand stitches create an edge that curves out to the ridge of knots that lines the buttonhole opening.

Here are some photos of the finished coat:

30schildcoat

30schildcoat_detail

I think of Civil Defence buttons as ‘Keep Calm and Carry On’ buttons since the font and crown are similar to those on the WW2 propaganda poster originally produced by Britain’s Ministry of Information. (More on the Keep Calm font here.) Some closeup views of the buttons and buttonholes:

30schildcoat_buttons1

30schildcoat_buttons2

And the little back belt:

30schildcoat_backdetail

Our loft’s walls have some mysterious industrial hardware that proved useful in showing the scale of the coat:

30schildcoat_side

30schildcoat+friend

Cutting straight from a die-cut pattern was an interesting experience, but I still prefer printed or traced tissue for cutting and marking. An oft-cited drawback of unprinted patterns is that the notches and other markings don’t always line up. This was true of the coat pattern, but it wasn’t hard to correct.

It’s always a pleasure working with wool, and I really enjoyed the challenge of trying out tailoring with a heavy fabric. The finished coat is something our niece will grow into, especially in the shoulders. But she does love the pockets! I see more coat-making in our future…

(Cross-posted to We Sew Retro.)

30schildcoat_back