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These images are for the September-October 2012 newsletter.

Here are the pictures that inspired my herringbone suit--the original from the Armani fall ad and styled so brilliantly in Vogue's July issue on Emma Stone. This is as far from the "old" pantsuit as can be with just the difference in how it's styled. It's as Carmel Snow would have said, "A Dash of Daring."

September-October 2012

The versatility of the Herringbone Wool made with the 1945 Basic Jacket pattern and the 1961 Pants pattern (cut from the original pattern style) or from July the Day and Night wool and cotton blend fabric present two suits ready to be re-styled with a variety of knits, blouses, solid colored pants, scarves, wraps, coats and more.

The herringbone jacket is wrapped with the Blue Tweed Knit in this month's Luxe Line swatches--extras provided to the elite subscriber group. If any of the Luxe Line's fabrics remain in October, all subscribers are invited to order them too.

How many ways can I re-design the 1960 top?

More than several dozens so far with the latest this easy tie neck blouse. This red silk was my "muslin" for the design, but the clever closure worked out great. I put two buttonholes at the neckline. One I slipped in a Chanel cuff I had from a classic blouse I bought there years ago. Then I can slip that out and replace it with a narrow tie...put it through the buttonholes and VOILA! A great closure and a tie-neck. You can even use that tie for a belt. Directions for all are on pages 16 and 17 of this issue. Combining prints and textures, pattern on pattern, and unusual color combinations just makes adding a print silk or silky an easy choice when we're seeing so many more woven blouses and shirts appearing in designer collections.

Hate to match stripes? Then don't! I used the striped knit for the front of the shell top (also from the 1960 pattern) and the back of the cardigan. Layer them and you get the stripe to show on the front and the back...add a self-fabric scarf that combines both stripe and solid and you really have something special.

Speaking of the shell from the 1960 pattern--this was my muslin for that. I combined the red and black floral knit with the black rib swatch 9128 this issue so there's no hand work at all--rib at the neckline, armhole and bottom edge. Couldn't be easier or more wearable.

My daughter is so lucky--at least that's what I tell her all the time.... I made her a simple sweater coat from swatch 91212 with the 1960 cardigan pattern that I had added the front panel of the 1945C pattern and the mandarin collar template from the Jackets Workbook. For buttons I used the Green Black Leather Shank Button--the green looks more like a verdigris finish. She was perfecly dressed in this just a couple of days ago when the termperature's plummeted as she and her husband attended an outdoor concert. I told you she was a lucky girl.

These little fabric collages show some of this issue's fabrics with some button choices too. For the grey fabrics, if you'd prefer an all wool for the coordinate, I have a great grey wool crepe in limited yardage that coordinates brilliantly too.

Here's one of the Luxe Line Fabrics, Autumn Collage and below, two knits that still have a bit of yardage remaining from the July newsletter's luxe collection.

The Blue Tweed Knit is the 1960 top with a matching scarf (also shown above with the herringbone wool jacket)--also in luxe line is the same tweed in black.

The Red Wool Geometry is a contemporary argyle pattern--would be very cute as a little 1945C jacket--unlined similar to the leopard print knit jacket a couple of years ago--56" wide, swatch 8122, $34.00/yard.

The Black Knit Geometry is a cotton and nylon blend, 52" wide, swatch 8124, $32.00/yard. Both are from great young designers.

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