The Kimono and Obi are finished and it’s time to turn my attention to the Ladies Afternoon Wrap (Vintage Pattern Lending Library pattern #0291). I wanted a wrap to wear with my 1912 brown scalloped skirt (VPLL #0200). The buff crepe-backed satin I used on the skirt trim would be perfectly elegant for the main wrap fabric. After much contemplation (and wandering through fabric stores), I chose a crepe-backed satin in poppy for sleeve trim, collar, and belt. I cut the belt and belt trim backs from the buff color just for fun.

I altered the pattern by slashing and spreading, adding 8” to the bust and 2” to the length. I also increased the length of the points by 2” to maintain the original design relationship to the wrap length.

I looked for lining fabric in my stash, but though there is a good selection, none of it is wide enough to accommodate the bias cut of the wrap.  I cut out the pattern from the buff satin, and the pieces needed for the collar, belt, belt trim, and then made several yards of bias tape for the sleeve trim while deciding if I should shop for the lining fabric. After studying the pattern, I determined that I could piece the lining together by creating a shoulder seam along the line of the shoulder dart to the sleeve hem. This would eliminate the dart, and the seam would be all but invisible. I could use lining fabric that was 44” wide (of which I have a plentiful supply), and it would not require any additional length. I chose lining that is ½” checkerboard tone-on-tone print in dark brown.

Shoulder seam in lining

I followed the directions as written in the pattern, except for piecing the lining, and changing the order for making the pleats and attaching the belt, which were the last things I did. Also , rather than leaving the opening at the back collar for turning the wrap right side out, I left open a space in the center back seam of the lining. I find it easier and quicker to stitch together a straight seam, instead of a curved one.

The belt buckle is from my stash and vintage, though later than 1912. It works very well, I think.  I purchased the tassels for the sleeve points, securing them with hand stitching.

This pattern makes an elegant wrap, although to my eye more evening than afternoon. It goes beautifully with the skirt. For the pics, my dummy is wearing her lbd under the wrap.

I added one of my vintage brooches…

VPLL Checklist:

1. This pattern is the Ladies Afternoon Mantle (VPLL#0219).
2. I am an advanced sewer.
3. I rate this pattern a 4. I liked it, but did not feel it challenged my skills.
4. This pattern would give a challenge to a beginner due to the bias cut and finicky underarms, but could be well executed by the intermediate stitcher.
5. The instructions were easy to follow and gave me no problems. I did not make the pleats or attach the belt until the final step before attaching tassels.
6. The fit was altered to my measurements, but as this is not a fitted garment, this was easy to accomplish. The original seems true to size.
7. The alterations I made were to increase the bust size and lengthen it. Mostly for fit, but also so it would end at a flattering place on my body.
8. I did alter the lining pattern. This was for economy, as I did not have any appropriate lining fabric that was 60” wide. I made a shoulder seam through the shoulder dart to the edge of the sleeve, stitched the seam, and continued with the directions.

Pattern Review Checklist:

1. This review is for the Vintage Pattern Lending Library 1912 Ladies Afternoon Wrap, #0219. It is a draped wrap, lined or unlined, with no underarm or side seams. It is held in place with a belt with trim and a buckle on the back. The sleeves end in a point at front and back, have contrast trim along the sleeve edge with a tassel at the point, and fall to the knee. The contrast collar is wider at the bottom than at the neck, and hides a very figure-flattering dart that helps to shape the front of the wrap.
2. The pattern is sized for a 32” bust.
3. The finished garment looks like the artist’s rendering.
4. The instructions were easy to follow, although I changed the order for tacking pleats and attaching the belt.
5. I like the elegant drape of the bias cut, and found the pattern very easy and straightforward.
6. I used crepe-backed satin in Buff for the main fabric and Poppy for the trim.
7. I altered the pattern for fit, adding 8” in the bust and 2” in length.
8. I would recommend this pattern.
9. The trickiest part is the bias cut. I stay stitched each piece before starting assembly. It is a versatile pattern, and can be made out a variety of fabrics, depending on the occasion.

It has been a while since I posted any progress on my coat. There were several setbacks, so I continued with other projects while I rethought aspects of the duster. The further I went down the tailoring trail, the more particular I was about the results. I changed the lining, adding facings, and had some finicky stitching attaching under collar to the collar. This was due to the change in size of the under collar caused by the pad stitching. The pocket dilemma was the final issue, but in the end, the coat looks wonderful.

Canvas Interfacing Finally Arrived

I was waiting for a delivery of back-ordered hair canvas. When it arrived, I cut the jacket fronts. For the pattern, I altered the coat front, adding the collar to cut them as one piece. I traced the center front seam, around the collar, across the shoulder, down the armscye, and 4” down the side seam. From the side seam, I drew a line toward the center front which curves upward. For a large bust, this line should extend above the breast point; for a smaller bust, it can curve to just below the breast point. This line extends to within 4” of the center front edge. From this point, draw a line parallel to and 4” from the center front seam extended to the hemline. I also cut shoulder reinforcements. To make the pattern, follow the coat front shoulder from the collar seam line to the armscye cut edge, and from the collar seam down. Follow the armscye raw edge 2/3 of the way down. Draw a line parallel to the shoulder seam across to the line from the collar seam. Round off this corner, and you have your shoulder reinforcement.

Here are the instructions for the canvas interfacing:

1. Cut out the coat fronts from the hair canvas. As I consider this collar a modified shawl collar, I cut the collar as one with the coat front.
2. Mark the dart and collar roll line. Mark the pad stitching lines parallel to the roll line of the lapel and collar, and, except for the one row mentioned below, between the roll line and the cut edge. One row of stitches should fall 1/8” on either side of the roll line. Each line out from there should then be ¼” apart. As you near the lapel point (design notch), the lines should get closer together. The roll line on the collar divides it between “rise” and “fall”. The rise of the under collar, that part between the seam line and the roll line, is pad stitched in lines perpendicular to those seams. The fall of the collar, the part that falls over the shoulders and back, is pad stitched like the lapel, parallel to the roll line.
3. Trim the shoulder and side seam allowances, but not the armhole seam allowance.
4. Cut out the shoulder dart and whip stitch the dart closed, or use a piece of lightweight fabric to cover the dart and stitch it to the canvas.
5. To help prevent the front of the coat from swinging out, make the following dart in the canvas:
   1. Mark a line 2” long at the natural waistline and parallel to it on the canvas. Slash this line.
   2. Mark a vertical line from this point upward toward the bust point and within 1-1/2” of it. Slash this line.
   3. Mark a diagonal line from the top of the vertical slash to the halfway point along the horizontal slash. Slash this diagonal line. This will cut out a triangle shaped piece, creating a dart.
   4. Take this triangle shape and flip it down so the bottom of the triangle is now the top. Next, flip the triangle to the left and align the vertical side against the edge of the interfacing canvas and the horizontal side against the slash line. The diagonal edge should make a continuous slash line from the bust-ward end to the edge of the canvas pointing downward toward the side seam. Cut out the second triangle-shaped piece of canvas.
   5. Bring the raw edges of the dart above the slash line (created when the triangle piece was removed) together and whip stitch the two edges. If you prefer, you can cover the dart with a piece of lightweight fabric and stitch it to the canvas.
6. Mark lines on the canvas shoulder reinforcements vertically 1” apart and baste to the canvas front along these lines, matching shoulder and armscye edges.
7. Stitch the center back seam of the under-collar. Trim and press open.
8. Tailor-baste the canvas to the coat front. Tailor basting stitches are short diagonal stitches made by inserting the needle from right to left in vertical rows.
9. Baste the canvas to the coat along the roll line. (Even running stitches ¼” to ½” long.)
10. Cut a piece of 3/8” stay tape the length of the roll line from bottom of collar to notch. Although this is a shawl collar, it has a notch cut into it, mimicking a lapel collar. Place the stay tape 1/8” from the roll line on the side away from center front/raw edge and pin it only at the bottom of the line. Make a mark on the tape at the neckline seam. Pull the tape up ¼” to ½”, so it is slightly shorter than the roll line. Pin the stay tape in place, easing in the excess in the bust area. Catch-stitch or fell-stitch the stay tape in place.
11. Pad stitching is used attach the canvas interlining to the lapel facing and under-collar. It gives shape and body to the garment. Use silk thread for the pad stitching.
    1. Pad stitches are made in vertical rows, with stitches ¼” to ½” long. The needle is inserted from right to left, going through the canvas and picking up only 1 or 2 threads from the garment front and coming up 1/8” to ¼” to the left of the insertion point. For the second stitch, insert the needle ¼” below the first point of entry and bring it up ¼” below the first point of exit. Continue to the bottom of the first marked line. Do not turn your work. Move up the second row to the top. Continue in this manner, following the rows marked. On the inside/canvas side, the stitches are vertical rows of diagonal stitches. On the outside of the garment, they are barely visible.
    2. Use your hand under the collar to help shape it as you stitch. The collar stand, that part between the seam and the roll line, should be pad-stitched in rows perpendicular to the roll line. This helps the collar to stand away from the coat and roll nicely.
12. Once the pad stitching is complete, attach the canvas to the front edge of the coat with permanent uneven basting approximately 1” from the raw edge.
13. Trim the canvas ¼” inside seam allowance to the lower edge.
14. Pin 3/8” stay tape over front edge of canvas from collar notch to lower edge. Catch stitch or permanently baste both sides of stay tape in place.

Press lapel and collar over a tailor’s ham or a folded towel to shape it.

The Rest of the Coat

Because of the extensive tailoring I did to the coat, I decided to add facings. I cut these using the garment pattern. I stitched the fronts to the back at the shoulder seams, Trimmed and pressed the seams. I removed the lining from the upper-collar and attached the facings instead. This seam was then graded and pressed toward the facing.

To attach the facings and upper-collar, I matched the edges and stitched. The seams were graded and pressed over a folded towel, carefully shaping the collar. I recut the lining to fit the facings and attached it by hand to the facing and along the armscye, remembering to take in the tucks at the armscyes and center back where I allowed extra ease in the lining.

I finished the backs of the buttonholes by marking the facing through the holes and clipping the length and to the corners. I turned under the cut edges and whip-stitched them to the canvas.

For the sleeves, I cut a piece of 2” wide wigan the length of the cuff edge. I basted it to the sleeve cuff seam allowance between the sleeve and the lining. (The lining has already been attached.) Pinning the sleeve into the armscye, I adjusted the drape until it was straight. I basted and stitched the sleeves in place. On the inside, I turned the seam allowance for the sleeve lining and stitched it in place, covering the shoulder seam allowance. I decided not to use shoulder pads, as the armscyes are designed to be tight.

Once the sleeves were in place, it was ready for a final fitting. I am so happy with the fit through the shoulders, as that seems to be one of the tricky bits of these older patterns. I did notice, as I slipped my hands into the pockets, that something wasn’t quite right. One pocket was about an inch higher than the other one. The trim made it obvious. Back to the unsewing!

I let the coat hang for a couple of days before setting the hem. After that, the lining was hemmed and a final steaming and pressing was in order. I made covered buttons out of the trim fabric and attached four 1-1/2”, four 7/8”, and six 5/8” buttons.

VPLL Checklist

1. Duster Coat VPLL #0402
2. I am an advanced sewer.
3. I would rate this pattern a 5. It is beautiful and fairly simple for a coat.
4. The sewer needs an intermediate level of skill for this pattern. The collar can offer a bit of a challenge.
5. The instructions were easy to follow and straightforward.
6. The fit is generous, but my alterations came out correctly, so I would say the fit is accurate.
7. I altered only for fit. I increased the bust and back and shortened the coat to fit my 5’3” frame.
8. I love my new coat. My daughter tells me it is fit for a Doctor Who convention!

Pattern Review Checklist                                                                     

1. This pattern is for a ladies full-length duster cut wide to fit over large skirts. It has shaped trim on the collar, cuffs, and pockets, and a total of fourteen buttons that are both useful and decorative.
2. The pattern is for a 34” bust. It is sized generously, I think, as it is designed to wear over ones other garments.
3. It looks exactly like the illustration.
4. The instructions were straightforward and easy to follow.
5. I like the trim, but found it a little tricky on the shaping of the collar.
6. I used canvas weight linen for the coat, cotton home decorating fabric for the trim, and polyester lining.
7. I altered the pattern for fit only.
8. I would recommend this pattern to other sewers, as it has a lovely line.
9. This is a great coat and I’ll be wearing it this winter.

My skill level is advanced/professional.

I would rate this pattern a five.  It was easy and fun.

I think that a beginner seamstress would find this pattern fun, and fairly easy.

The pattern and instructions were fine, but again as usual I went about the construction in a different manner then instructed.

This pattern was so easy for fit and size, after all there wasn’t much to fit.

The only pattern changes I made were for fit.  I slashed the front section from the dart/slash point to the front hem edge and spread  the pattern as needed.  For the back I just added the needed amount to the center back.  I then lengthened the collar at the center back.

I cut the pattern main pieces as instructed (front/back and collars).  I cut the belt,  belt trim, and (bias) wrap trim as instructed.  I interfaced the collar and the belt pieces.  I cut two front/back pieces from the lining as well.

I start by doing the reinforcement stitching on the front/back sleeve/gusset area (do not slash yet).   Stitch, slash, and press the darts at the front/neck and shoulder areas.  Stitch, and press open the center back seam.  Pin and stitch the tucks in the front and back pieces (you can use the tucks to help with fit).   Repeat these steps on the lining pieces.

Sew the bias trim to the sleeve’s lower edge.  Place the trim (right sides together) above the UPPER placement line.  Overlapping the seam lines.  Stitch along the seam line.  Flip the trim downward, , align the lower raw edges (both pieces should be right side up, and the upper stitching is hidden) press.  Baste lower edge if you wish.

Place the belt pieces (with a layer of interfacing), right sides, together.  Stitch both long edges,  Grade the seam allowances.  Flip the strip right sides out and press.  Repeat this process with the belt trim piece.  Leave short ends open on both pieces.  Trim the length of the (main) belt piece to fit the waist in the desired manner.   Slide the buckle onto the belt (I will position later).  Position the belt at the desired location and PIN.  Baste the front edges of the belt in place along the center front edge.

Place the lining over the main body piece, right sides together, pin or baste in place.  Starting at the center front edge, where the collar end point is (collar is NOT attached yet), and sewing around the whole piece to the opposite center front edge collar end point.  Making sure to catch the lower edge of the sleeve trim and the front edges of the belts.  Following the stitching line at the underarm junction.  Slash along the cutting line.  Clip, trim, and grade the seam allowance as needed.   Flip (using the neck opening) the piece right sides OUT, press.  Understitch where needed. Match the raw edges of the neckline, pin or baste.

Stitch two collar pieces (right sides together) along the center back edge, repeat on under collar pieces.  Lay the interfacing pieces over the under collar piece, (wrong side up), lapping the center back seam.  Basted in place.  Place both collars, right sides, together and stitch along the outer (long curved) edge and the lower front edges.  Stitch, clip, trim and grade seam as necessary to create a flat lay.  Understitch to prevent the under collar from rolling.

Place the collar INSIDE the wrap.  Upper collar facing toward lining.  Pin (or baste) leaving under collar free (unattached).  Stitch the collar in place, again leaving the under collar free.  Clip, trim, and grade the seam allowance, press toward the collar.  Fold under the seam allowance on the under collar and press.  Match the fold to the stitching line and hand stitch in place.  Roll the collar to the front and STEAM (do not press a hard edge) into place and shape.

Try the wrap on.  Pin the belt in the desired waist location.  Place the buckle at the center back.  Slide the belt trim piece into the buckle, over the main belt,  trim the belt trim to an appealing length and fold the raw edges inside and hand stitch closed.  Hand stitch the belt in place along the upper and lower edges.  Leaving the appropriate GAPS at the sides.

Stich snaps or hooks and eyes (or decorative hooks) at the center front closure. Sew the tassels at the sleeve points And you are ready for an evening out.

I had a lot more fun with this pattern then I expected I would.   I (again) did two.  The first one I did in black velvet with black satin trim, belt, and collar. It is really beautiful, and very wearable with todays styles.  But I just had to go a little WILD with the lining.  I chose a wonderful outline style chrysanthemum print in black and gold.   It works really well and since the inside SHOWS as part of the wrap, lining should really be considered as part of the garment.   I used a lovely antique belt buckle (I received from my grandmother).  That was black enamel with a gold peacock inlay.

The second one I did was QUICK AND EASY,  but oh what a look.  I did this one out of white lace.  I skipped the collar and sleeve trim.  I did not line this piece so the beauty of the lace could shine.  I used an overlap, stitch, and trim method for all the seams and darts.  I finished all the raw edges (hems and neckline also) with a narrow flat lace.  I used satin RIBBON for the belt and belt trim.  For this one I used a chrystal buckle at the center back.  I had I matching chrystal hook set for the center front (at the belt),  to create a closure.   Just the right amount of bling.

Again thank you for your time.   Shelly

In the process of making the Duster Coat, Vintage Pattern Lending Library #0402, I needed four large buttonholes. As I was custom-tailoring the coat, I decided on bound buttonholes. I found several different sets of instructions on how to make them, but in the end created my own simplified method. I’d like to share it with you.

Mark the center front line on the garment. Then draw a line parallel to it, and on the straight of grain, 1/8” away, toward the center seam allowance, and extending 2” above and below the buttonhole area. This is line A-B. Determine the length of your buttonhole, and  draw a line parallel to A-B that distance toward the side seam. We will call this line C-D.

Mark your buttonhole positions, like ladder rungs, between the two lines, then mark lines ¼” above and below each buttonhole line. These lines should extend 1” on either side of A-B and C-D. Using contrasting thread, baste lines A-B and C-D, and also each crossing line that is above and below the buttonhole line. Also, baste the buttonhole line. (This will make is easier to determine where to cut the buttonholes, when we’re ready for that step.)

I used self-fabric for my buttonhole binding, but you could use a contrast. Heavy-weight fabric is more difficult to manipulate, so be forewarned. Cut your buttonhole binding 1-1/2” long (on the straight grain) and the width of your buttonhole plus 1”. Mark the binding ½” away from each cross grain edge.

Place the binding strip on top of the basting, right sides together and matching the marked lines with the cross line basting (above and below the buttonhole) on the garment. Pin and baste the strip to the garment along both lines.

Press one edge of the binding strip at the basting line, toward the buttonhole mark, wrong sides together. This creates a fold that is the finished edge of your binding. Pin and/or baste in place. Stitch 1/8” away from the folded edge of the binding between lines A-B and C-D,  being careful to stay between the lines. Trim the selvedge edge to 1/8”. Repeat for the other half of the buttonhole.

Remove the basting holding the binding fold in place at the pressed edge. Cut through the center of the buttonhole and the binding strip along the basted line, stopping 3/8” from each end. Angle cut to, but not through the stitching at each corner, angling the cut to create a triangle at each end. Turn the binding down and through the buttonhole and finger press into place.

Fold the garment away from the triangle on the back of the garment and stitch through all layers, securing the ends of the buttonhole.

Hope you find this useful next time you need a bound or tailored buttonhole!

As I noticed on the other pattern the waist line is placed off perpendicular to center front and center back which always puzzles me too. At the very least it makes it trickier for lengthening/shortening. I’m 5″ taller than average so maybe the lengthening issue is my problem! I’m planning to lengthen before cutting to get the full effect of the cut and drape for my height.

I’m having a snag making progress with the first muslin because none of my stash fits the 60″ wide requirement. I lost my job so buying more fabric isn’t in the budget. I will go to Goodwill etc. and see what I can find.

I really like this wrap and am quite sure I want to make it up to really wear!

Maggy

My skill level is advanced/professional.

I would rate this pattern a  4.   I added a front facing piece.

This pattern might require a bit of experience in garment sewing.

The instructions were fine for this period.. Some more detail wouldn’t hurt.  I used a slightly different way to do the lining/facing connection.  It worked well and was very easy.

Fit and sizing were fine.  This was a garment that had a fair amount of ease built in.  So the fit was fine, even by todays standards.

I created front and neck facing pieces.  This was easy.  Using the front and back pieces I cut a piece that followed the center front/neckline edge and was six inches wide   This piece should follow the contours  (curves and darts) of the center front/neckline edges.  I cut the facings from the fashion fabric.  Even though I lined the coat, I cut all of the cuff and collar pieces from the fashion fabric.  I also interfaced the front  (facing edge,  the pieces I created), as well as  the collar and cuffs.  I cut the collars and cuffs on the bias to creat a better lay.  I cut the lining fabric as indicated (directly from the pattern).  I lined the sleeves, front and back, and the pockets.

I start by doing all the decorative padded satin stitching.  I decided, after studying the pictures,  that it was decorative stitching (not buttons) on the collar.  So I did a decorative pin wheel stitch here.  I did all the decorative work with a fine silk cord and silk ribbon.

The pocket and pocket lining are layed out right sides together.  Sew the sides and the bottom edge ( bias trim is NOT applied yet).   Trim and clip the seams.  Flip the pockets right side out and press.  NOW apply the bias trim to the top edge.  Top stitch the pockets in place onto the coat.

Stitch the darts and press open.  Stitch the shoulder seams and the side seams.  Press all the seams open.  Repeat this process for the lining and facing pieces.  Baste the interfacing (stitch and press the darts) pieces to the coat.  Place on the inside and ease the raw edges to fit.  Overlap and catch stitch at the shoulder seams.  Lay the coat and lining together.  RIGHT SIDES OUT.  Baste along the seam line at the front/neckline edges, and around the arm scythe area.  Lightly tack along the seams where needed, being careful not to cause pulling.   If you’re doing bound buttonholes now is the time to do them.

Sew the center back seam on both the collar and under collar, press open.  Lay the collar pieces wrong sides together (with the interfacing in between).   Pin and stitch the bias binding in place, around the collar.  Work the corners and curves as needed.  Pin or baste the collar in place on the coat.  Both with right sides up.   Pin or baste the facing in place, right sides together.  Stitch the facing in place leaving enough open at the bottom for the hem to be worked.   Grade the seam to reduce bulk.  Clip and trim as needed to help the seam lie flat.  Flip rhe facing to the inside and press.  Finish the raw edge of the facing with a narrow gimp braid.  Then catch stitch to the lining.  Do the buttonhole facings (or machine buttonholes) now.  I found that by doing the lining this way it was very easy,  much faster,  and has a  professional, tailored, finish.

Sew the seams in the sleeves and the lining.  Place the lining inside the sleeve, wrong sides together. Tack along the seams if needed.  Baste at the cuff edge.  Having done the buttonholes (and decorative stitching) in the outer cuffs.  Place the outer cuff over the under cuff (wrong sides together, interfacing between the layers), lining up the raw edges.  finish the buttonhole facing (or work machine buttonholes) now.  I place bias trim around all but the bottom edge of the cuff.  I use a narrow binding on the sides and the inset (the button/buttonhole area) and the wide trim on the top edge of the cuff.

Place the cuff inside the sleeve, lining up the bottom (raw) edge.  The outside (right side/ decorated) of the cuff should be facing the lining (inside/wrong side) of the sleeve.  Overlap the button/buttonhole area so that the cuff fits.  Stitch, grade to reduce bulk.  Press this seam upward (toward the sleeve) and hand stitch gimp braid over the seam stitching it to the sleeve.  Flip the cuff out and upward into place, covering the seam.  Cuff and sleeve should both be right side out and all seams should be finished or covered.

Pin and baste the sleeve into the armhole.  The lowest part of the sleeve should match the coats side seam.  While the sleeve crown should match the shoulder seam.  Ease the sleeve into place being careful not to let tucks or gathers form.  Stitch in place, being sure to catch the coat lining, but not the sleeve lining.  After you have re-enforced the sleeve stitching, trim the excess seam allowance.  Pin the sleeve lining over the seam allowance to the seam line.  Hand stitch in place easing in excess over the crown.

Pin and stitch the hem of the coat.  Now pin and stitch the hem of the lining.  Lining should be an inch or so shorter than the coat. So it does not show with the movement of the garment.  After both hems are done finish the work at the facing/front edge.   Stitch the buttons on and the coat is finished.

I had the hardest time finding fabric that spoke to me for this one.   Especially one that was period appropriate.  I finally settled on a beautiful silver-gray light weight wool  with black velveteen trim and covered buttons.   I chose a dark gray tone on tone for the lining.   All in all it came out classically beautiful.

Again thanks for your time.

Shelly

Right away I feel the need to check out the grainlines just to be sure. I have some lovely soft drapey fabrics to choose from and believe I will probably want to do the lining.

This garment is so in style right now, did anyone else notice this? With the uneven hems, belting and angel wings that have been popular for a while this really fits right in. I’m hoping to have more comments soon.

I may have posted this in two places; selected the Wrap category but it doesn’t seem to be going there…

Maggy

Right away I feel the need to check out the grainlines just to be sure. I have some lovely soft drapey fabrics to choose from and believe I will probably want to do the lining.

This garment is so in style right now, did anyone else notice this? With the uneven hems, belting and angel wings that have been popular for a while this really fits right in. I’m hoping to have more comments soon.

Maggy