Irony

So......remember this?

It's the manual for a sewing machine I don't....er....didn't own.

But I'm getting ahead of myself.

 I wrote about this manual and the machine it came with in my previous post. 

Do you believe in fate? Sometimes I think I do. This weekend was one of those times. Saturday I found myself in an antique store helping a student find a reasonably-priced treadle machine (we found her one!) As I scoured the store, I found this:

barn-fresh and uncleaned - irony, coincidence, or fate?

Yep - it's an ACTUAL 128. 

Made May 26th 1925. 

the serial number tells me so: ISMACS serial numbers

My arsenal of cleaning supplies - missing in this pic: Murphy's Oil Soap. I have great luck using Murphy's to clean machines without damaging the decals. After they are clean I polish them with a thin coat of sewing machine oil. This machine was sticking a little bit when I turned the handwheel - a few drops of oil, and she now moves nice and smoothly.

Beautiful bentwood case - the scratches are actually very minor - the flash makes them look worse than they are. No missing veneer

Check out that key - the dealer I bought this from filed down an old house key to fit. I love weird, quirky things like this that individualize a piece. 

And like this - the original owner's name and phone number engraved on the plate covering the shuttle

even came with a second filed-down key. I think I will buy an actual replacement, but these rigged keys just make me smile

The knee controller - no foot controller here to clutter up the floor. Very serious and industrial looking. Was this machine originally on a stand, or were you meant to put her on a table? The knee controller is throwing me. Any ideas?

 And now, the caveat:

The scariest wiring I have ever seen (and that is saying a lot!)

I have no idea if this baby works - the wiring scares the crap out of me! Not only is the insulation shredding, it is brittle and hard, No way am I plugging this in!

the weirdo plug is actually in really good condition. I still don't trust it, but it looks cool!

the weirdo plug plugged into the machine (NOT plugged into the wall). ever see one like this?

but she's soooooo preeeeetty!  here's the front plate all shined up

And here she is - all cleaned up and ready for.......

 Ready for what? Do I re-wire? Do I turn it into a hand-crank? Right now I'm leaning toward hand-crank. It might be cool to have a portable hand-crank machine. The decals on this little lady are beautiful, and she seems to work pretty well. Next step is to thread her up and see if I can get her to stitch by moving the handwheel manually. If she stitches well enough, the next step is to decide what the next step is.

What do you say - stay electric (update the wiring), or go people-powered (turn into a hand crank)? The nice thing is, neither step is exclusive of the other. If I go hand-crank, I can always go back to electric if I decide I want to later.

The very best part? Once I get this baby working I can use it to wind bobbins for my fiddle base since the mechanisms are identical - except this one actually makes contact with the handwheel.

I swear I don't collect sewing machines.

Not on purpose, anyway.

Opinions? Give them to me in the comments below.

Oddities (or, the REAL fun in reasearch)

I just want to start out by saying I do NOT collect sewing machines. I mean, really - I just don't. Absolutely, positively, beyond a shadow of a doubt do NOT. Not in this, or any lifetime, reality, or parallel universe. After all, they are big, and bulky, and take up a lot of space. I mean, how many sewing machines can I actually use at one time anyway??? That's right - one. Okay, maybe two - three tops....but realistically, mostly one (or two).

That is why I am proud to say I only own the essentials: three Singers, one Kenmore, one Brother, two Husqvarna, one Necchi, and one Janome. (Do I count the Japanese machine for sale in the shop?)

Oh crap.

To be fair, you can't really count one of the Husqvarna or the Janome - the first is a serger, and the other my embroidery machine.....

So that only leaves.....<gets out calculator>

Oh CRAP.

Okay, okay - I don't intentionally collect sewing machines. (or coffee makers, or blenders - but that's a post for another day!)

All but two of my machines are vintage - the embroidery machine and the Husqvarna sewing machine are newer. Everything else is at least 20 years old. I thrift a lot, and every once in a while when I see a great old machine under a pile of detritus at an op shop (or antique store, or estate sale...), it will somehow magically follow me home.

Some of the fun in having these great vintage machines follow me home is that I get to research them once they are here. If you don't know, I am a huge history nerd, and I love to learn all I can.

I mean, I make Elizabethan and mid-century clothing, I collect and resell antiques and bits of mid-century modern decor, I even have a stash of mid-century clothing I am trying to talk myself into selling (I will never, ever, ever be that size - why am I holding on to them?), and don't get me started on my 1950s mannequin with the bullet bra breasts, or my Edwardian dress maker form - who in the world would have thought I was a history nerd? Go figure.

That brings me to the sewing machine manual at the top of this page. Isn't it fabulous? It came with the machine inside this beautiful case:

The machine is plugged in for more testing - I just set the lid on top for this picture. The red faux alligator is separating a little bit from the wooden case, but overall it is in great condition. Very sound and strong - no structural damage, and both latches are functional. The blue plastic handle is also nice aesthetically with the blue and red faux leather.

When I first brought her home, I did research on the Singer 127 and 128 models. I learned that they date to about the 1920s. Looking at the design and colors of the case, that could be about right. When I first saw the case my kneejerk reaction was 1940s, but it could be from the 20s...

I know, I know - faux leather.... in the 20s? Stick with me here - don't get ahead of the story.

The machine still has its shuttle and one bobbin (a big selling point when I saw it in the store). I threaded the machine up, sewed with it a bit, and then immediately packed it away - satisfied I had made a good purchase. I paid $50 for it, which I thought was a fair retail price. So it sat for quite a while in my weaving studio....

And then one day I was doing research on the Singer 66 treadle I mentioned in a previous post.  I decided it would be fun to get the 127 out and compare decals on the two old Singers (since they were of similar vintage, or so I thought)....

...and I was shocked to see this.

What's wrong with this picture???

Well, you see - I was expecting a square base, like on my 66... but this has what is called the fiddle base (because of its shape - isn't that a great way to describe it?). Now, if you don't know, the fiddle base is indicative of an older machine that the 127.

Like, 30 years older.

Exhibit A - the fiddle base.

the serial number and the decals (colloquially known as "Victorian") dates this machine to the 1890's 

Here is a website of a 127 so you can see how similar they are: ISMACS Singer 127 page

Clearly, I don't have a 127, I have a V2.  Actually, functionally and aesthetically the machines are almost identical.

Almost.

The biggest aesthetic difference is the decal set they would have shipped with, and the fiddle bed. The biggest functional difference (other than any mechanical changes under the hood that I know nothing about) is that this was meant to be a treadle machine only. It was never intended to be electrified.

Don't believe me? then tell me exactly how that bobbin winder is supposed to work.  Yep - that's right, it is supposed to be placed against a leather treadle belt. Which is non-existent with the after market motor being mounted on the back.

Here is the motor. Incidentally, when researching the motor's origins, I found a Japanese Sewtex machine in a case that looked very similar to my red and blue case.....

For those of you keeping score at home, Sewtex was a Japanese company that made high quality knock-off sewing machines and after-market motors after WWII.

That's right after WWII.....

 I'm so utterly confused.....

Here is the light - a brilliant add-on (ha-ha...get it? "BRILLIANT" add-on?
<crickets chirping>
You know...'cuz it's a light...and lights are brill...
oh, nevermind).
<AHEM> The light is attached to the back of the arm, so it throws off better light and is less likely to burn the user than a front-mounted light.

The front plate - all threaded up and ready to go! I haven't cleaned all of the bits yet, so that is fingerprints and schmutz you are seeing - not corrosion. Let's just pretend I cleaned her up all professional-like before I took pictures of her with my fancy DSLR that picks up EVERY detail.

the tensioner - slightly different than the model 127, but functions pretty much the same

Tensioner and access plate

 So there she is - my little conundrum. She is like a Mannerist painting - more questions than answers. My little sleuthing expedition has brought me to the following conclusions (that may be terribly wrong): The machine is from the 1890s. At some point it was taken out of its treadle base by a handyman, wired for electricity, and then put into a carrying case. Because of the motor used, I would guess this was done some time in the mid-to-late 40s. Why it was eventually paired with a manual from a 127 is beyond me. I did buy it at a reputable antique store, so maybe the seller knew a thing or two about machines. It is possible she knew that mechanically the two machines were identical enough and the mis-matched manual would still be useful to the new owner.

One burning question I have is exactly how one was supposed to wind a bobbin once the switch to electricity was made? I tried to use a spare sewing machine belt to hook the motor to the winder, but I just could not get enough tension on the belt. I was able to wind the bobbin full, but only with a wee bit of jiggery-buggery and whole lot of swearing because the danged belt kept slipping off of the bobbin winder. My better half and I may make a special belt for bobbin winding out of leather - sort of like a treadle belt - so I can wind the bobbin more efficiently.

I was originally going to resell this machine, but it is so unusual (and makes such a beautiful stitch), that I may just have to keep it for a while....I have a buttonholer that will work with it, and may just have to pick up a zigzag attachment as well. I can't remember if this machine came with any extra presser feet - I will have to look through my stash to see what will work. It is a standard Singer straight shank machine, so it should be easy to find parts for (unlike my 66 which takes the specialized presser feet that screw on the back).

 I guess I found my excuse to buy a puzzle box full of attachments!

It IS getting a bit claustrophobic in here with all of these danged machines, though....

<sigh>

What is your favorite machine to sew with? Would you prefer a great vintage all-mechanical machine, or a new, sparkly electronic machine with a billion decorative stitiches?  Any suggestions for the bobbin-winder on this machine?

Please comment below :)

Is the "Mad Men" style craze a thing of the past? Furthermore....do I care???

The show Mad Men has been a force in our culture since 2007. When it first hit the airwaves, a stunned crowd was hit squarely in the face with a show the likes of which had never been seen before. I have read several blogs that have touched on the Mad Men phenomenon. Some bloggers love (like Gertie), and some are not-so-much (like Peter). Both are very respected bloggers in the community (if you haven't checked out their respective fashion/sewing blogs, you really need to), and both have valid reasons for feeling the way they do. As for me, I'm more in the Gertie camp (which has absolutely nothing to do with me being a total fan-girl) - when I first saw the show, it took my breath away! I couldn't get enough of the characters, the sets, the acting and most of all....the fashion! I have always been obsessed with 50-60s fashions (I was dying my hair Joan Harris red and teasing it into a bouffant in the 90s!); suddenly here was a show that seemed like it was tailor made for ME! It seems lots of people felt that way as the show became a cultural phenomenon. The cast and crew have received several awards (loads of awards for costume design) over the years. All of a sudden pencil skirts, flowing dresses, cardigan sweaters, and all sorts of other "period-style" clothing, makeup, and accessories came back into fashion. Even pattern manufacturers got in on the craze -  the big names like Simplicity, McCalls, Vogue, Burda and Butterick all started to market either reproductions of vintage patterns from past lines, or vintage inspired clothing (or both!). 

Now, I am not one to generally fall into trends - I'm just a rebel like that. I like to march to the beat of my own drummer - and all that sort of malarkey. However, this was a trend I could really sink my teeth into. Subsequently I have fallen full-force into the gravitational pull of vintage and vintage reproduction patterns. Every time I have wanted to make a new vintage or vintage-inspired garment, I would Google the pattern number to see pictures of fellow seamsters who had already completed the project.  If you are interested in making your own clothes, I highly recommend you do this. You can then see what the garment will look like on someone with a similar build - this will serve to illustrate if the lines will be at all flattering. Also, you can discover any fit/construction issues by reading that person's pattern review/blog. Check out this site: http://sewing.patternreview.com/ if you can get past the terrible 1996 formatting, it is a wonderful treasure trove of information.

That brings me to today. I'm looking for a project to keep me busy until the Next Big Thing comes along. Plus I have some holes in my summer/spring wardrobe I would like to fill.  Mostly I am looking for a fun, comfortable everyday dress I can wear to work, as well as around the house when entertaining casually. I started to go through my stash of patterns, and found a few candidates to investigate.

the stash

My pattern stash may be modest, but it serves me well. keep in mind this is only my commercial patterns - any heavily modified or self-drafted patterns are kept elsewhere.

Here are the candidates - a nice mixture of summery options - some vintage reissue/inspired, some not

Here is the haul from my last thrifting mission (missing - 4 yards of the palest pink satin - more on that later) The two rightmost pieces are actually vintage bedsheets. My grandmother used to use her worn bedsheets for quits and aprons, and I have always heard that sheets were often repurposed into dresses. I don't know how much fabric comes on a standard sheet, but I thought they were both really cute prints. At $1.50 each, they seemed like a good gamble!

And that brings me to this combination - an old sheet, and Simplicity 1459. I bought this pattern recently, and I think it may be a new release. That being said, when I Googled the pattern number, I only found one person who had made and reviewed it. I don't know about you, but this seems like the quintessential 50s-60s dress, so I was surprised there weren't multiple examples of this made up on a variety of blogs. I know they labeled it "1950", but I think it is more early 1960s because of the higher hemline - what do you think? It's a basic shirtwaist, but I love the collar and the really full skirt. When I pulled the pattern from the stash, I immediately thought of this sheet.  How cute would this dress be made up in this fabric? Something about the cut of this dress demands an ultra-feminine fabric, or fun novelty print. The sheet is very old and thin (notice how you can see the roses from the layer underneath), so I will have to fully line the dress.  Anyone who knows me knows I can't be trusted with an all-white dress - so I may have to overdye this sheet. Maybe a pale pink? Or maybe a hot pink layer underneath with help disguise the inevitable light stains?

Like this piece of hot pink in my stash (let's just ignore that ugly white thread hanging out on the right and pretend I took a really beautiful, professional picture - ok?). I have completely forgotten what I originally bought it for, so it can totally be repurposed for this project. There are only 2 1/2 yards of the hot pink, but it is just a broadcloth, so I can easily get more. Funny how with the hot pink fabric you can more clearly see the soft pink polka dots on the white background. Very subtle and pretty.

But now I have a problem...when I was digging that hot pink fabric out of its drawer, I found this - another great vintage bedsheet - wouldn't that look great made up into this dress???

Also works with the hot pink fabric as an accent.

And then there is this....this terrific piece of tropical fabric on the right is from Haberman Fabrics in Royal Oak. The fabric on the left is some muslin I dyed to match the print. This would also be perfect for this dress Aaaaaauuurgh!

Now I have to let this sit on my cutting table for a while until I decide. Which combination do YOU like???? (yes, yes - I like the hot pink with the tropical too. Stop complicating matters!)

  Either way, stay tuned to see this dress come together. I think it will be a great addition to my spring wardrobe.

Yet, I still can't get over the nagging thought that only one person reviewed this pattern.  Is it just too new? Are people burned out from "another shirtwaist" pattern?

Is Mad Men as a fashion craze dead?

Do I care?

(no, because like I said: I'm just a rebel like that!)

What do you think?

Body Politic: My First Solo Show at Delta College

For those of you who don't know, I teach art classes at my local community college. It's my day job, but it is also my passion. I feel like I learn as much from my students as they learn form me. I have been lucky enough to have this position for a few years now, and even though I am not full-time, I am able to (just) pay the bills with this job.

This year I was invited to have my own solo show in our Galleria. We don't have a "proper" art gallery, but we do have an open atrium on the main floor of the humanities building with glassed-in cases called the Galleria. This is where we house our art displays - unfortunately, the glassed cases on the wall only allow 12" of depth, so they stink for 3-d pieces. I spent a lot of time in the year before my show measuring the cases and going through my inventory of costumes to decide what to display. You see, I am also lucky enough to be the costume director at the Michigan Renaissance Festival. On top of that, I have played a character out at our festival for almost 9 years. Before that I was what we call a "playtron" - that is, I came as a customer to the festival dressed up in Elizabethan costuming. All of this combined means I have a large backlog of costumes in my basement. For my show I decided to do a mix of costumes made for myself and made for others. After many months of sketching ideas and nail-biting, I finally decided to display some of the work in the large stand-up cases the school has (we dug out 2 of the 4 available. The other 2 are buried in the storage room under a layer of detrius). The rest of the the pieces I hung from industrial hooks on the wall (thank you Ben Clore for all of your help! See his brilliant work here.) I have to admit, I was surprised I had so much work to display - it is amazing how it adds up over time!

My character is Mary Jayne Fitzhugh - the village seamstress. I PROMISE I was thinking of the shoes when I came up with her first name...and Fitzhugh sounds like "fits you"...yeah, we love puns.

The "opening" of my show culminated in a performance - a few of my fellow performers were kind enough to add their talents to the list - we had belly dancing, court dancing, bag pipes, jokes, and basic nonsense. It was a TON of fun!

 My show came down this week, but if you missed it here are some pictures (as always, click on them to enlarge):

An overview of the galleria - photo by Lindsey Franzel of the Delta College Marketing Department  

From a different angle

Ball Gown for the 2013 season.

The actress who played my assistant for three seasons decided she wanted to join a singing group, and needed a court gown to be a part. This was the commission I did for her.

The hat I made for her - Photo by Lindsey Franzel

Left: Seamstress 2012 dress (with handwoven fabric) Right: My first apprentice, Alice (skirt made by Alex Spittle who played Alice)

Closeup of Mary Jayne's  famous hat

As I was photographing my hat, I realized why I get so many pictures taken of me during the run of the show - this thing really is like a walking still-life when it is on my head!  It's very sculptural, and there is something different to see from every angle.

A selection of works on the wall behind the main cases - photo by Lindsey Franzel

A pink Florentine-style dress I made a long time ago. I haven't been able to find the sleeves for it in ages.

This is a silk duipioni gown I made ages ago, and then remade it 3 or 4 years ago for the royal ball the festival puts on. I don't wear this one anymore, though - as I made a new ballgown last year (see above pics)

2010

The top 2 doublets are women's, the bottom is a man's. The cut is virtually the same - the biggest difference is the woman's is shorter to accommodate a shorter torso. The top doublet is from my first year playing the seamstress in the 2006 season

2011

2009

Florentine gown loosely based on styles worn by Eleanora of Toledo. Worn by me as a parton, so this must date to 2004-5.

Meanwhile, on the other side of the room....

Originally we had 5 princesses, but we sadly lost one to illness before the run of the show began. The girls are all named after various gemstones - here you see Amethyst and the back of Opal. Not in the show - Garnet and Emerald (I just ran out of room!). The dresses are shot silk dupioni, and they just shimmer in the light. I didn't take a picture of Opal's dress as they are all the same style. In this pic you can see the shoulder swag. 

Closeup of the princess jewelry - they also all have matching necklaces and bodice jewelry - both worn by the mannequin in the previous picture

The guard uniforms overlooking the safety of the princesses 

And finally I leave you with this....are YOU brave enough to put your underwear on the wall????