As you well know, my love of vampires is year-round, but it did work out nicely that this first pair of blood drip socks were ready just in time for Halloween! 🩸🧦🧶 I had the idea for these blood drip socks a few weeks before and I’m so pleased with how they turned out!
As promised, after sharing our usual daytime photos to document all the different ways it can be worn, the seamlines, and details, etc, I really want to take some photos of my recent Wolfkiller Cloak at nighttime, too. I mean, it’s a coat inspired by a vampire AND it’s nearly Halloween, so what better way to capture the vibes than to do a photoshoot in a local graveyard??
Yes, you read that right – these are just the photos from the daylight shoot – the nighttime shoot photos will be coming coming up shortly! Even so, this is a very photo-heavy post with a lot of detail to cover, so grab a cuppa and settle in…
As you recall from my earlier post, I planned to sew a tribute to the iconic Wolfkiller Cloak from Interview with the Vampire, but adapt it to be a swing coat with a detachable fur-hooded capelet in order to make it warmer and more wearable. Honestly, if you haven’t read the other post yet, you really should!
One of the first parts of the actual construction (after all the flannel underlining basting I did as prep) was to create the bound buttonhole in the swing coat, so no pressure there! Since it’s been a while since I’ve sewn one, let alone in velvet, I thought I’d make a buttonhole in test fabric first, and it’s good I did because I needed to make it a bit longer to accomodate the thickness of the wolf button. I swear I was only pushing the wolf button through to double-check it fit easily through the bound buttonhole I just made, but then his little fangs went over the edge and I had a little giggle! Yup, this is a Lestat coat already. 😂
Yes, this is both a big project AND yet another make inspired by “Interview with the Vampire“! Big enough that you’re going to get at least one In Progress post, in addition to the final reveal. I’m really excited about this one, though, and in a way that I’ve not been fired up for a long time…
So what is the “Wolfkiller cloak”? In the second novel of Anne Rice’s Vampire Chronicles series, the (still human) Lestat heads out into the woods to kill a pack of wolves that were terrorising his village in 18th c rural France. After barely escaping with his life, the villagers thank him by presenting him with a cloak (and boots!) made with the pelts of the slain wolves. This scene is absolutely iconic, and it’s his wearing the cloak later in Paris that partially attracts the notice of the man who attacks him and makes him a vampire.
Now, because, in the show, they’re not adapting The Vampire Lestat book until season 3, no one was expecting to see anything of Lestat’s 18th c past, let alone THE cloak. But we got a surprise taste in episode 3 of season 2, as part of a 15 minute flashback sequence (entirely in French, too!)
After talking about the inspiration and my goals for this outfit, the drafting and sewing of the cape, and the incredible details of the silk shirt, we’re now onto the final piece – the plum trousers!
If you recall from my first post, the trousers used in the show were high waisted, wide legged, with a wide waistband and presumably a side zipper (as there’s no front opening on the wastband). I actually hate wearing all of these things, so making this fit my own tastes while still looking similar was going to be a challenge!
Earlier this week I talked about my inspiration and goals for this project, as well as taking a deep dive into the making of the cape, and today’s it’s time to talk about the shirt!
The shirt was the garment I could see the least details of in any of the reference photos or sketches, so it actually meant that I gave myself the most room to make what I wanted here, and one that I would want to wear again and again! I already had some beautiful textured black silk in my stash for a number of years, so it seemed the perfect opportunity to put that to good use.
Whenever I need a woven, button-down shirt these days, I tend to reach for the “Saraste” pattern from Named’s first book, “Breaking the Pattern”. I’ve made the dress version twice now, and the swing top once (with another planned), but I’d somehow not made the classic long sleeved shirt yet. One nice detail I love about the sleeve pattern is that they’ve shifted the long seam so that it falls at the side of the arm rather than the underarm. It means you can just fold the seam allowances under rather than faff around with sewing a full sleeve placket, making it much quicker to sew.
After yesterday’s post detailing the inspiration and fabric sourcing for this outfit, today I’d like to talk about the standout piece – the cape!
As I mentioned in the earlier post, I sourced the exterior cape fabric from MacCulloch and Wallis’s Soho shop after finding a few that I liked online. But before I cycled up there, though, I noted that all of my candidate fabrics were a) expensive! and b) 140 or 135cm wide. Because of both of these, I didn’t want to buy too much or too little fabric, so I drafted my pattern pieces first to ensure I only bought exactly what I needed.
I drafted this cape myself, using the same principles of a standard circle skirt, except the “waist” would be my neck, and the length would be my neck to wrist measurement. The fabric width meant I couldn’t get a complete circle, so I kept changing the angle until I could fit it into the 140cm.
It’s been years since I’ve had a reason to sew something for Halloween. I’m pretty sure the last time was when I made the badger and fox suits for J and myself, and that was 6 years ago. So when I found out we’d be in Cornwall over Halloween AND there was a local outdoor fancy dress party, I started plotting. And when a friend said she’d be hosting a vampire party on Halloween weekend, I really got down to some serious planning.
You’ll already be aware from my tribute teeshirts how much I adore the recent “Interview with the Vampire” tv show (Brits, it’s on iPlayer now!), so my immediate thought was to try and recreate one of the vintage costumes from it. The first season takes place from 1910-1940 but the main female character, Claudia, is introduced in the 4th episode and spans 1920-1940. Unfortunately, for a good portion of that she’s dressed pretty juvenile, so those early outfits really didn’t appeal.
I’ve done a bit of impulse fabric shopping while I’ve been stuck in bed (no jury would convict), but the one that’s had the shortest stay in my stash has been this bat print jersey. I saw it on a few Instagram accounts but then ended up buying some when it was nearly sold out everywhere! It’s Art Gallery Fabrics “Winging It” (95% cotton 5% elastane), and I bought my 1.9m remnant from Sew Sew Sew for £27 total (now sold out pretty much everywhere!).
The fabric is super soft with great stretch and recovery, but has some white show-through when stretched. It’s also a dark grey rather than a black so it looks a bit washed out even brand new…
I decided to pair it with the Named Tuuli (bodysuit and dress) pattern which I bought a few years ago, possibly in one of their great advent calendar sales(?) but never quite got around to sewing. IMHO this is a criminally overlooked pattern and such a wonderfully flattering winter knit dress!
My obsession with the “Interview with the Vampire” tv show has not waned in time since it premiered (and broke my brain) last October. In fact, I think it’s safe to say that not a day has passed that I haven’t thought about this show. The brain rot is real.
Anyway, I’ve been playing with my Silhouette cutting machine recently, as I talked about in my last post, but this shirt design is one I worked on for quite a few weeks, and the idea just wouldn’t let me go.
It started with San Diego Comic Con, where AMC put a ton of money into building a recreation of a New Orleans street with live actors and swag, but also filled whole buildings with enormous posters to promote season two (out some time next year). But the image that really stuck with me was from some lifts (elevators) within a hotel, where there was a huge photo of the four main characters on each wall inside.
