A Modern Flounced Wrap Dress

After my most recent 1920s style wrap dress, I couldn’t help but whip up another, this time modern one, for the “Sew Together for the Summer of the Wrap Dress”!  This will not be a history based, or even a lengthy post, but this is a pattern which is only about a month old now so my dress is “hot off the presses” so to say!  Here’s just a quick post here to show off my newest make.

THE FACTS:

FABRIC:  a buff finish (peachskin) polyester

PATTERN:  Simplicity #8637, a Summer 2018 pattern

NOTIONS:  I just used what I had on hand to finish this dress – thread, leftover bias tape, a spare button and elastic.

TIME TO COMPLETE:  I made this in about 6 to 8 hours

TOTAL COST:  This fabric was bought from Wal-Mart back in March 2013 at $28 for 5 yards (only know this because I still had the receipt with it).  But when it is something languishing in my stash, I’m not really counting cost now, anyway.

This dreamy baby of a dress just floats as I move and is a weightless romantic thing to wear for summer!  Plus it is totally a throw on, or should I say ‘wrap on’, and go dress.  It was quite easy to sew overall, the biggest challenge was dealing with sooo much fabric…5 freaking yards!  This was an opportunity to use up a quaint floral polyester just sitting in my stash for many years with no previous idea of what to make of it.  Not too often (but every once in a while) a fabric makes its way home with me for no other reason than it was pretty and made me feel good.  I love when those purchases get justified when they become a garment I enjoy.  Funny, I recently saw a vintage Instagrammer make a 50’s dress from this exact same fabric (see it here)!

I did make a few changes to this pattern.  Firstly, shortened the length by 3 inches, taking it off of the hem.  This way I avoided having to adjust the entire flounce, and kept the seam where the flounce attaches to the skirt horizontal to the back of my knee (from the back of the dress).  I wanted a long dress, but not so long it hides my shoes or gets in the way of my ankles.

Secondly, I changed the front darts of the bodice.  I disliked the very basic darting as it was designed.  I find it very jarring to the elegant and flowing feel of the rest of the dress.  However, I feel that a basic bodice is needed with so much going on from the waist down.  So I merely closed up the existing darts and changed them into single French darts with go across the bias and come out of the side seam.

Thirdly, I stripped the pattern down to bare bones.  It called for a fully lined bodice with facings to finish the neckline.  As my fabric is semi-sheer, I wanted the whole dress to be the same, so I could wear different opaque slips underneath.  Thus I left my dress unlined, and did a bias bound edge along the neckline and armholes, in lilac too, to match with the flowers on the fabric!  Otherwise, all the seams are French for a clean, strong, and professional touch.

Finishing the flounce edges was a real challenge.  I knew a skinny hem was absolutely needed.  How to do that was the problem.  Sure I could do a skinny rolled hem or at least a ¼ inch (or smaller) hem by hand or with my machine but the thought of spending that much effort and time on a dress that took me only a handful of hours to make was not appealing.  Not that it wasn’t worth it, but my time is valuable too.  So, off I went to my town’s local community sewing room to use their serger (overlocker) machines to quickly and beautifully finish off the flounce’s hem edges.  I made a lovely, incredibly tiny, and very clean hem that is just as pliable as a raw edge by doing a rolled hem on the serger (overlocker), the same finish that many table linens such as napkins receive.  This finishing for the hem is something I want to venture and say is a must for this dress…this is how pleased I am.  Bribe a friend, find a sewing room, do whatever it takes to use a serger if you don’t have one just to finish an edge as if nothing is there with an overlocked rolled hem.  This is my first time doing such a stitched finish, and will not be my last!

I did go up a size for this dress and it’s a good thing I did too, because this seems to run small.  I also think the bodice runs long, as well.  It is not bad enough for me to warrant taking the time to fix it.  Nevertheless, it is something to watch out for with this pattern and I will be adjusting that if there is a next time for me to make this.

Honestly, I did not even use the instructions.  I did a preliminary once over before I did any stitching just to comprehend if there was anything unexpected to do.  After that, though, I wizzed through the dress on my own, which was easy to do as I made the pattern less complex leaving out the lining. 

I made the wrap dress’ closures completely a matter of my own taste.  I drafted my own ties because I wanted them super long to be flowing with the flounces.  For the inside closure, I didn’t want another set of ties…I’m used to that being for house coats.  Thus, I sewed a button to the side seam point where the bodice and the skirt join with a short length of buttonhole elastic coming from the other end for a comfy, stretchy, easy, and secure way to keep the inner wrap closed.  I love this elastic with its pre-made holes.  It’s so handy for so many things.

As much as I do like this dress, I mentally suspect that this is a sort of style reversal for me.  It reminds me of what I was buying and making for myself to wear in the late 90’s and early 2000s.  The skirts and dresses I picked out and sewed then mostly had bias flounces, bias panels around the legs, and romantic florals.  I really don’t think it was just because I could sew for myself either.  This was what was also in the stores, as clothes to buy and as fabric offered.  It’s not that I didn’t like the style…I did very much and still do!  However, my style as an adult has changed a bit and I feel sort of weirdly full circle to come back to my past through sewing my own fashion today.  The 90’s has been popping up again in recent fashion – just 6 months ago, for winter, I was seeing velour tank dresses worn with chocker necklaces displayed in some of our stores!  Life is weird sometimes…either I’m getting old or fashion is lost and desperate as to what to do for me to see styles from my younger lifetime popping up again.  I really think it is the latter reason!

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“Retro Forward” Burda Style: Kimono Jacket

Why is it that the nicer or the more unusual the fabric is, the more pressure there is to choose the perfect pattern to make something of it?  Sometimes this pressure can sadly prevent me from getting around to sewing projects I would want to pick up immediately!  At the same time, I do try (unsuccessfully at times) to avoid the stereotype pitfalls (such as copying the envelope cover, for one) and stay creative with my makes…true to my own tastes and ideas.  However, I cannot resist some killer vintage inspiration!  This perhaps sort of explains why I made the quick and sudden decision to use a very special and unusual rayon fabric to make a somewhat simple, unfitted, unlined jacket.  Sewing this had went against my normal practices for my sewing, but I love the outcome.

This jacket amazes me by the way I went from each end of the emotional perspective from its beginning being sewn to the final photo shoot.  I started out as very skeptical of the pattern and rather dismissive to the fact that it vaguely appealed to me, only because the sizing was for tall women (which is definitely not me).  Then, finding a Burda Style contest became the other enticement to try this pattern.

After the jacket was done (in one evening, mind you!), however, I was disappointed when trying it on.  Not that it didn’t fit and turn out great – I was tired, it was a late night, and didn’t know what to pair it with, nor did I know if it looked complimentary on me.  After a good night’s rest and a new perspective the next day, I happily found several neat combinations my jacket can be paired with (in this post, a “White House, Black Market” strapless brocade dress is worn underneath).  I finally felt justified for my time, effort, and sacrificing of my precious fabric with my going out on a ledge here.  Besides, I am still trying to have a good relationship in completely liking and understanding peplums, and how they do work on me.  This was like an “I’m getting to know you, peplum” project.  Now, I am actually a bit frustrated in a good way because I love my new jacket and want to find occasions and opportunities to wear it.  This is a good problem, though, I suppose!  Can’t let a new favorite just hang lonely in my closet, now can I?!  Especially not when it’s made of fabric like this!  (Pictures don’t do it justice, by the way.)

THE FACTS:

FABRIC:  A 100% rayon, with a slight, soft, crushed wrinkle throughout.  It also has a dull metallic (like an oil slick kind of sheen) finish on one side with a crepe-like matte finish on the other.

NOTIONS:  I had the thread, elastic, and hook-and eyes needed on hand already.

PATTERN:  Burda Style “Short Sleeve Jacket with Plunging Neckline, #107, 04/2015“

TIME TO COMPLETE:  I only spent about 4 hours to whip this jacket together, not counting taking care of the pattern (tracing and re-grading).  It was finished on July 29, 2015.

TOTAL COST:  This fabric was bought on deep clearance when my favorite Hancock Fabric store was closing.  I bought 2 yards of this fine specialty fabric for only about $5.

The pattern for this jacket can be found in their May 2015 magazine, on the insert page for tracing out or at their online store as a buy-and-download printable PDF file.   It was originally part of the “Design Academy“ Collection” (one of my favorite Burda pattern collections! I have made 4 of them…), but then it was up for everyone to try and make to have a chance to be the new “cover” in their “2nd Ultimate Member Model Challenge”.  If you visit the page for the jacket pattern, you can see that I didn’t win.  Nevertheless, I have my own prize…I was prompted to make something I would definitely not have tried on my own gumption, something that I am glad I have to wear after all is stitched and written!

It is a pattern made in tall sizing, which is one reason why I dismissed it at first as I mentioned above.  However, I figured out the proportions for tall as compared to myself looking over their measurements chart and suddenly the sizing made sense.  What I needed to do was the opposite of the up-grading I’ve done for juniors’ designs – I add in 2 inches between the shoulders and waist for petite and juniors’ patterns so this tall ladies’ pattern needed 2 inches taken out instead, between the same spots.  Folding out one inch at a time in two different horizontal segments did the trick, at the chest and just above the waist.  I did also lengthen the peplum by about two inches as well so I would avoid having it too short to completely cover my hips.  I didn’t want the peplum to pouf out awkwardly, but it’s still so gathered, in the back of my mind, I secretly wonder if it really sticks out like some sort of ballet tutu anyway (so I think in the back of my mind).

Styling can be deceiving, but this is a ridiculously simple and easy to make jacket.  It is unlined, and there are only 4 major pieces to use.  The lapels are all-in-one with the front and only an easy facing finishes it off (I used the matte side for a cool contrast).  There is no expert tailoring needed.  It is comfy, loose and unstuffy yet looks put together and fancy in a nice everyday sort of way (meaning, it can look just as good paired with jeans and a tank or over a good dress)!  This is why I feel this pattern is a good opportunity to use a really nice fabric.  As much as I try to save those complex or even stunning designs for equally killer fabric, this jacket has convinced me there is another option.  Choose versatile and easy-to-make patterns which both will let the fabric shine and will see more use than that special-occasion-only jacket.  Besides, using a simple design makes things more fail-proof, somewhat…or so we can hope, right?!

Kimono sleeves always make for such an easy bodice assembly, great reach room, and complimentary curving for the shoulders.  Kimono sleeves in the fashion world necessarily have no direct association anymore to the traditional Japanese garment that it uses in its label.  Now a kimono sleeve is commonly meant to designate a sleeve that is drafted as one with the bodice, with no armscye, and a deep taper under the arm that usually ends at the waist.  This double interpretation is so ironic especially since the word “kimono” literally means thing to wear” or “clothing”!  As Kimono sleeves do offer a looser arm and bodice silhouette, they were a frequent feature used in many women’s garments of the 1950s.  This is why a 50’s suit jacket in a strikingly similar green was my main inspiration (as seen on the far left, below) which gave me the gumption to use my precious fabric.  It wasn’t the only one, however, the many other wide lapel, waist closure, kimono jackets and blouse-like wraps of the 50’s I was finding gave me the strong feeling that this is very vintage-inspired, which is why I am including this project in my ongoing blog series “Retro Forward with Burda Style”.  Peplums, too, were a preferred feature to the 1950’s when exaggerated hips were wanted to contrast visually with the tiny wasp waists women were expected to have.

However, at the same time, as I said, there is a blousiness to this Burda Jacket – a lack of the impeccable body fit that much of the 1950’s was all about.  So – I also see an influence of the 1980s and early 1990s on its style.  Technically, these eras are now over 25 years old, thus as weird as this feels to me, they are vintage now!  Peplums were also a feature of these two eras, most especially the 80’s, but the clothes in general were a lot baggier…even when they were generally fitted.  Suits of that time were not the impeccable outfit that you were supposed to sit pretty in.  They were unassuming and meant to move with you…the feeling I get when wearing this Burda Kimono jacket.  My preliminary inspiration might have been 50’s, but I think the 80’s and 90’s influence wins out here with the shiny, bright, almost neon green of my jacket.

The most challenging part of the jacket was figuring out the closure method for the double-breasted wrap-front waist.  Not that it was really that hard, either.  It’s just that the elastic gathered waist added an element of difficulty.  The waist seam made its own casing for the elastic when you sew it down, so luckily there wasn’t any more bulk than there needed to be and that was pretty simple.  I didn’t want buttonholes to pull on buttons, or snaps that could pop apart, so I used the most basic hook-and-eyes that I had (about ½ inch, large size 3) to make sure the closures wouldn’t get buried among the gathers.  I used the spring of the elastic to work in my favor here, because hook merely has to find the eye and I let go – the elastic pulls it closed for me!  The first inner hooking was easy because I just had to find a comfy fit around my waist, but with the overlapping second hook it was much trickier.  You need to keep a certain amount of the elastic to still stretch between the two closures to make the waistline seem evenly gathered.

I stuck to the casual feel of the jacket and left the inside edges raw and free, to do their own ‘thing’.  My reason for doing so at first was because I decided to add one more project to the sewing contest as well and I only had one more night to get it done.  Nevertheless, the fabric really doesn’t fray that much but for some weird reason, I – the perfectionist herself – actually like the soft, imperfect, and handmade feel of seeing and knowing those seams are left as they are.  Yes, as I said up at the top of my post…this totally is not my normal sewing practices.  You know, though, it feels good to change things up and gain a new perspective!

Making a style you’re unsure towards is hard enough, then to turn it around and actually find a way to have it work for you is a difficult and satisfying thing to achieve.  For a seamstress, taking the time to make a new style, especially when it needs a tricky size adjustment, or using a special fabric which would not be seen otherwise, is both a perk of sewing one’s own wardrobe and a scary challenge because it opens you up to the possibility of either failure or success.  Luckily this project was a victory, but if it wasn’t, I would have worked my way through it because an idea (and a good fabric) is worth it.  Keep those ideas coming everyone and don’t be afraid to make something out of that notion that popped into your head!  Nothing in the sewing world is off limits to have a crack at if you put your mind to trying and succeeding.

A 1920s Aesthetic for Today

It has been a while since I have posted anything 1920s here!  Unfortunately, part of the reason is not only the fact that the decade’s silhouettes can be hard to love on myself, but also the fact that I want something from that decade to wear today without looking like I am doing historical re-enacting.  It seems to me that something pre-early 1930s can easily be obviously vintage.  I generally love to bring my vintage style into my everyday life and wardrobe in a way that keeps it modernly appealing yet still true to the history of the decade’s fashion.  This is a hard balance to find all the time, which is why you don’t see as much 1920s things in my list of makes…and also why I am posting (with great excitement) about my newest Burda Style dress!

I somehow feel like life is so much more fun, free, and easy in this dress.  There are no closures (zippers, or the like) needed with the bias crossover bodice.  It is a popover dress that is flowing, comfy, unconfining, and freshly different.  I absolutely LOVE the garment make of mine.  It embodies the late 1920s crazed hype that lived life to its fullest – and foresaw many of the modern conveniences (television, computers, etc.).  The late 20’s overdrive (1927 to the crash of 1929) produced both short above-the-knee skirts and many avant-garde inventions that would not been seen for many decades later.

This era of the 20’s had an amazing modernity that I feel has been captured by this dress.  There is a zig-zag print on the skirt to pay homage to the hardened, mathematical form of Art Deco that flourished in the time.  The bodice is a mock-wrap to pay homage to the popular fashions of the few years before (1926 and 1927).  It’s also made from a soft textured gauze which reminds me of the lace, sheer, and interesting fabric bodices of many fashions in the 20’s.  The high-low hem with a fishtail skirt ‘train’ is later, very 1927 to 1929, though (see this post for more info).  All of these years are my favorites to this decade.  So – yes – this dress is a rather accurate combo of everything I love best in the 20’s from an unexpectedly modern source!

THE FACTS:

FABRIC:  a cotton gauze for the bodice, with a poly blend gabardine for the waist ‘belt’, a poly print lined in cotton muslin for the skirt

PATTERN:  Burda Style #118 “Wrap Dress” from April 2015

NOTIONS:  nothing complicated was needed to finish this – just thread and scraps of interfacing

TIME TO COMPLETE:  maybe 30 plus hours…it was finally finished on May 28, 2018

THE INSIDES:  a combination of French, bias bound, and raw seams

TOTAL COST:  This is a project that spanned 3 years, so I do not remember anymore but I know it didn’t cost much with 1 yard for the bodice, and about 2 yards for the skirt, with only scraps left over from these two projects (here and here) for the contrast belt.

My 20’s style dress project counts for my monthly “Burda Challenge 2018”, my ongoing “Retro Forward with Burda Style” blog series, plus the “Sew Together for the Summer of the Wrap Dress” challenge.  Now, you might say this is only a mock wrap and not a proper wrap dress.  Well, yes and no!

The name for the pattern is “Wrap Dress”, for the first thing.  More than that, though, the full ‘lap’, cross-body, tie-on dress that we tend to think as a proper wrap didn’t quite look the same 90 years back.  In the 1920’s, a wrap dress was a garment that was often faking it, with a cross-over bodice, a one-piece skirt, and a sash or tie of some sort on one side to continue the deception.  A mock wrap to us of today was a full wrap dress in the 1920’s.  Not only this, but mock wraps were immensely popular in the decade anyway, even in the blouse or jacket form.

By the next decade of the 1930s, wrap-on dresses were normally a one piece, full tie on garment, closer to what we are used to today, with a caveat.  They were often reversible and considered more of an apron or pinafore like garment meant for housework or grocery errand duty…the hum-drum efforts which only result in sweat and grime appearing on one’s clothes.  Many of these full wrap-on dresses were called “Hooverettes”, after the American president at the time of the Great Depression.  These were like a gloried robe for women to iron easily and look sensibly cute yet incredibly comfy to do all the things that the hard times required of them.  With the rationing of the 1940’s, an easy-to-make full wrap-on dress was glamorized even further to being included as possible for evening looks (with the right fabric).  The 1950s and 60’s widely used wrap dresses with great ingenuity in many of their designs, but Diane Von Furstenberg and the trending Boho Hippy look in the 70’s democratized the wrap dress as we know it today for all shapes, occasions, and materials.  Yet, according to this article, even for Ms. Furstenberg, her early “wrap dresses” started off as a cross-over top paired with a skirt!

Now, for as easy as this dress is to wear and put on, it was one of my most difficult makes, especially among Burda patterns.  As you see the dress now, it is in its re-fashioned form.  Yes, I do re-fashion my own makes…I’ll do whatever it takes to save a project and turn it into something I love!  So, this dress is not the original design – very close but still slightly adapted.  I did make the dress according to the pattern back in 2016 (at left), and it did turn out well after some difficulty with the curved, drop waistband.

However, as nice it looks on the hanger, the final fit on me was less than complimentary.  The gauze had more of a give/stretch than I expected, the dress’ fishtail train hung past the ground on me, and the drop waist back was way below my booty.  I really didn’t like that much of the contrast waistband, after all, too.  I did like the general shape, the colors I chose, and the print/texture combo.  So, the dress had been saved to sit in my “projects half finished” pile (which is quite small, I can brag) for these last two years until I felt I had the right idea of how to re-work it.  No wonder it feels so good to finally wear this!  This dress makes shaking my booty so good looking with such a swishy skirt!

A good drop waist dress should fall (in some small portion) somewhere through the hip area, slightly above the true hip line yet at least 5 inches below the true high waistline.  It technically should not be much below the bend of your body when you sit, from my understanding.  Thus, to ‘fix’ my dress, I figured on leaving the hem alone and making a new straight line (taking out the curved “belt”) across and around the mid-section, parallel to just below the bottom of the front contrast waistband.  I did want to keep a small portion of the contrast “belt” to transition the two fabrics with a solid color and give the appearance of a mock half-belt panel.  It was sure tricky to straighten out the skirt in turn around the back with that amazing bias to the skirt!  In the 1920s, the waistline traveled all over from very low to almost non-existent, but this dress’ waistline is a slightly higher, later in the decade style to match with the skirt.  Otherwise than this re-fashion step, I kept the bodice as it was except for pulling up the shoulder seam slightly.  To keep the full skirt weighted down nicely (so it wouldn’t turn wrong way up like Marilyn Monroe over an air vent) and keep it opaque, I fully lined it.

This dress’ skirt does need a tiny 1/8 inch hem so that it doesn’t get stiffened at all.  At the same time, such a tiny hem on a skirt like this was a major pain.  It might not be immediately obvious, but the length of hemline just seemed to keep going, and going…but all that turns out well in the end is worth it in my opinion.  Do tiny hems wear you out and seem overly tedious like they do for me?

It was entirely my idea to make a long tie piece and stitch it to the left side of the bodice, thereby continuing the mock wrap dress deception!  I especially like how much this little touch adds to the dress.  This is again another true 1920s feature, as most of the era’s mock wraps had ties on the corresponding side to continue the illusory appearance.  To me, the tie also adds a touch of asymmetric that was also so popular in the 1920s.

Somehow it seems so much easier for me to interpret a modern take on the 20’s when I am starting with a pattern from today, versus starting with an old original pattern.  I almost always recommend others to use vintage patterns because I think that they offer so much to learn from and have better details.  However, there are so many modern patterns that have veritable 1920s features if you know what to look for.  This presents two interesting points.

Firstly, here I am saying it’s hard to make an old 20’s pattern look modern, yet I’m also saying that many modern fashions (patterns and ready-to-wear) have very 1920s features.  Perhaps the era between WWI “The Great War” and the Depression of the 1930s has more in common with us of today than we think.  Looking at old fashion plates or extant garments might not make this as obvious as it could be…it just takes the styles of today to give us a new perspective!

Secondly, this proves how important it is to pepper one’s awareness of current styles with a knowledge of fashion history.  A good overall view of the big picture might just be something specific to me as others have told me, but looking around and seeing the beginning of a trend is always a good idea. Actually, style is something that seems to only be recycled over and over again the more one sees.  Besides, often finding the source, or at least seeing the ways a detail is re-interpreted, is fun, interesting, and always worthwhile…not to mention the benefit of giving me more ideas for my projects!  Don’t be afraid to dive into some fashion research next time you start wearing the “newest” thing and find out the reference of where it came from!

“Mystery Blogger” Award

I’m so humbled and honored to share the fact that Emily of “The Pretty and the Kitsch” has nominated me for the “Mystery Blogger” award.  Thank you so much for this wonderful surprise!  This means a lot to me and really bolsters me up.  I’ll not be shy in saying I am proud of what I have to offer on my little space on the Internet, and do find that the time and effort to do it is a real pleasure that brings out the best in me.  Yet sometimes I need to hear that what I do is appreciated (don’t we all?) and so this has been such a lovely blessing.

“Mystery Blogger Award is an award for amazing bloggers with ingenious posts. Their blog not only captivates; it inspires and motivates. They are one of the best out there, and they deserve every recognition they get. This award is also for bloggers who find fun and inspiration in blogging, and they do it with so much love and passion.” Created by: Okoto Enigma

Here are “The Rules” to the “Mystery Blogger Award”:

  • Thank whoever nominated you and include a link to their blog
  • Tell your readers three things about yourself
  • Nominate 10-20 bloggers you feel deserve the award
  • Answer the questions from the person who nominated you
  • Ask your nominees 5 questions of your choice, with one weird or funny one
  • Notify your nominees by commenting on their blog

And so to begin…

Three Things About Myself:

  • As much as I love to talk and write, I do not like talking about my personal self at all unless it’s in the context of some point I want to make or reference, or do some good.  I don’t know why.  Yes, I can be shy but also very outgoing…I guess it’s just a matter of being content with myself and enjoying a good conversation with others.  I have done a lot of varied and curious things in my life and know a range of subjects that keep surprising people I know, so I probably am interesting.  Yet, I do not like to lay those things out there generally.  Thus, consider this post as me being very brave and please respect the fact that I am going out of my comfort zone here!

 

  • I do love cars…a small percentage of the reason I am nicknamed “Seam Racer”. In particular, I love 80’s, 90’s, and early 2000 era fast sports cars, especially if they are a stick shift, manual transmission.  Years back, I passed up a reasonably priced vintage Lotus Esprit, and I still kind of wish I had gone for it, but I do love my “baby”, a hot red ’93 Ford Probe (with only 60K original miles mind you!) and taught myself how to drive a stick shift on her.  This led to me figuring out why a stick shift works the way it does, to learning more about cars than I thought I ever would, to knowing how to make the most out of my car’s peppy motor just so I can be the very first among other cars to get up to the speed limit when taking off from a stop light.  My little racing “baby” makes driving so much more fun than most people ever know it can be.  One day I want to find an old empty giant parking lot or a lonely winding road and really see what she can do with me behind the wheel.  Zero to sixty in a handful of seconds?  Yes, please!

 

  • I not only stick to being creative through sewing, but I also love almost all other aspects of the arts and crafts world. I think I have an inbred desire to see something made with my hands.  Ever since I was little, I have made what I wanted with my hands using what was on hand. If I wanted a playhouse, I used a cardboard box to make something way cooler (and cheaper) than anything I saw out there for my parents to buy.  If I get excited about a book or setting, or just want a new picture to hang on the wall, I paint or draw something.  It’s the same with my clothes creating too, I suppose.  If I see it, or if I visualize it, or come up with an idea, I make it happen.  I can make jewelry, do calligraphy, make plastic models, cut hair, make rubber stamps, I can do flower arranging (I had been a florist for a year), mix and master music, or just plain make a killer meal.  I love it all and do it in spurts, although with a family and a household to take care of, I’m am mostly focused on sewing and writing at the moment.

Now – Questions for me to answer:

If you had a time machine, where in time would you take it to first and why?

I love history.  Pick a time, any time or place.  This is too hard to narrow down…really.

If you could be a character in any book, film or TV show, who would you like to be?

This is also tough!  I would have to say I would love to be a companion to some of the heroes in the half-fictional classic stories that I love, ones that seemed so real to me when I read that that I’ve almost been half-there.  There is “King Solomon’s Mines” in which the intrepid but wise Allen Quartermain would take me through the most dangerous yet picturesque regions of Africa to meddle in the action arising from the Zulu and Boer Wars.  Or I could visit “Prisoner of Zenda”, where I could see the handsome Rudolf (or Rupert) in the imaginary territory of Ruritania and get to know the Princess Flavia better.  Or there is Narnia, of which I still half-hope to find a portal to one day, and I would love to go there with Jill Pole or Lucy Pevensie.  So I suppose this is not really the clearest answer to the question, but the most honest one.

Who would you say inspires you the most?

My Grandmother (on my dad’s side), who died early in 2017, is my greatest inspiration on so many levels, I can’t even explain it right now.  I miss her so much.

If you could only eat one meal for the rest of your life, what would it be?

It would have to be a rounded out meal, because I love a good amount of meat, with veggies and a starch or carb at every supper, with a healthy dessert.  I can certainly live without sugar, I don’t have much now the way it is.  I really don’t know though.  There is hardly any food that I don’t like so this would be a very hard punishment for me.  I like variety in my meals, and I cannot live without the occasional strong drink or rich morsel of chocolate.  Whatever, I could chose here would be something I would regret.

If you could have a super power, what would it be?

Bi-location, definitely.  (I guess this would count as a super power!)  I have so much to do, remember, and take care of, that I am often sorely aware at how much I wish I could use that time to spend instead on other things I would rather enjoy.  If I could bi-locate, part of me could do the soccer and t-ball game drop-off for my son, house cleaning, wash the laundry, make meals (not all meals mind you, I enjoy cooking but do need breaks), pay bills, and other boring adult/mom things so that I could actually find leisure time to enjoy blogging and sewing better, write my dream stories, read more books, practice my other artistic outlets, or just sit in the sun with my dog for just a handful of examples.

So – enough about me!  (Yes, please!) To return the “Mystery Blogger Award” favor to others, now, here is my list of 15, in no particular order:

Now for my 5 questions to those bloggers I have nominated to answer!

  • What everyday tool could you not live without?
  • Do you have a preferred heel height for your shoes?
  • What is next on your “bucket list”?
  • Who makes you laugh the most?
  • Is there a pet that you wish you could have?…no limit!

That should sum things up here!  Thank you again, Emily, for nominating me for this!  Go visit her blog and show her some extra love, too. I want to end this post with something very important – that every one of you dear readers also gives me a little award for every comment and viewing.  Thank you as well!  I wish I could have a mile long list to include all of you for a nomination.

A Sybil Connolly Skirt Suit

Of all the items I have made in my life, it is hard to believe that only now is my very first sewing using a designer Vogue pattern! Even though this might not be the most spectacular or glamorous project to start with, the beauty is in the details and the rich, significant background of the designer.  This is also a very comfortable and useful dressy set, to boot!  I present my year 1976 suit set of Sybil Connolly, the leader and founder of Irish Couture.

First of all, I want to say that I am counting this as part of my 21st century progressive Easter day creations I have been making since 2013, starting with a dress in the year 1929 style.  Since that Easter day outfit, I make something from the following decade for the next year’s holiday.  (See my 1930s Easter dress here, and my 1940s one here.)  Only since I made this set from the year 1954 did I begin keeping with suiting. This year 2018 was naturally supposed to be something from the 1970’s (after this one last year from 1960), but as our Easter day turned out to be incredibly cold and snowy, this suit set had to be put off being showcased until the next spring holiday – Mother’s day!  Happily, the grass and trees were overly lush and green by the time I wore my new vintage suit set!

THE FACTS:

FABRIC:  a cotton-rayon blend “linen-look” material, in a solid orchid color for the contrast and a floral for the rest of the set.  Leftover polyester lining (in a matching orchid pinkish purple) from my stash was used to line the jacket inside.

PATTERN:  Vogue #1503, year 1977

NOTIONS:  I pretty much had everything I needed – thread, zipper, interfacing, and bias tape.  The only thing I needed to buy for this specifically was a button making kit for matching fabric buttons!

TIME TO COMPLETE:  This was a relatively easy pattern for being a detailed designer project – but of course leaving out the skirt lining step helped, too.  I made my suit set in about 25 hours’ worth of time and it was finished on April 8, 2018.

THE INSIDES:  I’ll admit I took the easy road here for the internal finishing.  My seams are covered by the lining for the jacket body, left raw for the sleeve seams inside the arm, and bias bound for the skirt.  Bias seams are not my preference for making my own copy of a designer garment, neither are raw edges, but this fabric doesn’t really fray and I wanted my set done for Easter-time…only I didn’t wear it for Easter anyway!  Oh well.

TOTAL COST:  This fabric was bought on deep discount when the now defunct Hancock Fabrics had been closing several years back.  I believe I bought the fabric for about $2 a yard. With about 3 yards used, and the notions I bought, this suit set cost me just over $10…how awesome is that?!

For some reason, I found it incredibly difficult to find a dressy suit set from the decade of the 1970s.  I have a sneaky suspicion that this is due to the casualness that the youthful-oriented and stretchy knit fashions introduced, as well as the greater political and social liberties of women.  Enough said.  Whatever the reason, suits of the 1970’s seem to be quite relaxed, mostly with pants for the bottom half, and frequently with a tunic-style jacket or a safari-style over shirt.  Leave it to a designer to offer my taste just what I was hoping for but having trouble finding!  This suit feels unpretentious, but still polished, as well as being timeless with a 70’s flair.  It was just enough of a challenge to make, yet still easy enough to enjoy the sewing.  It has unexpected details to make my creative heart flutter yet these are subtle enough to go unnoticed to the casual observation.  Besides, now I have the opportunity to both appreciate and share the story of a designer that deserves to be better known.

Ireland had long been considered a country without its own fashion.  Sybil Connolly changed that.  She had been brought up in Waterford County, and trained as an apprentice dressmaker in London starting in the late 1930’s at seventeen and by the time she was twenty-two (WWII times) she was a workroom manager and company director for Jack Clarke, a fashion retailer in Dublin.  In 1954, Carmel Snow, then the editor of Harper’s Bazaar, discovered Sybil Connolly who had just come out with her first collection, featuring the use of her native Irish fabrics and embellishments, most notably Irish linen, only the year before.  With the combined help of the Irish exports board, Connolly launched Irish Couture into an international spotlight with her introduction to New York’s fashion scene.  What she made often showed a woman’s natural body form (in contrast to the likes of Balenciaga) with such dresses as her white crocheted evening dress that was featured on the cover of LIFE magazine in August 1953.  Her inspiration the sentiment A woman’s body is inside. It breathes. It moves. So I must see movement in a dress.”  By being true to herself, her tastes, her roots, and her determination, she stood out in the fashion world, gave women attractive options to wear, and gained a new respect from the world for her culture.  By March of 1955, Vogue magazine was mentioning Dublin in the same sentence as Paris, London, and Milan!

Connolly was adamant about using her fashion line to support business and export trade in Ireland, by not only using Irish textile manufacturers, but even employing over 50 local women to hand make some of her laces. At the Glencolumbkill Agricultural show in 1956, she had said, “I feel that as long as we can show such beauty in design and texture as we do in our Irish cottage industries, we cannot ever be called a vanishing race.”  Click here for a “Glamourdaze” article to watch (in color!) Sybil Connolly’s 1957 fashion show at a lovely Irish castle.  Most of her designs at this time were inspired by rural, traditional garments and materials.  This is cultural approbation at its finest.

For me, I have strong Irish roots on both sides of my family, Sybil Connolly’s work is a personal thing that touches a tender spot.  I too love and appreciate the fine laces that my Irish (paternal) Grandmother hoarded (which I now have) as well as the Irish simple beauty of life that my Irish (maternal) Grandfather enjoyed.  If you follow my blog you have already seen and read my great appreciation for linen, in all its forms.  Now, I know – my suit is not real linen.  It’s made from modern linen-look fabric.  It’s also not in a solid color, as was her wont in her creations.  However, I feel that this is me personalizing my own Sybil Connolly fashion, and I can see this step as something she would approve.  I love a linen-look fabric, and I LOVE a purple print…so, this is a set that is all me, for me, designed by a woman that I respect who has my same cultural ties.

This pattern is from 1976, though, decades after the height of her career (the 1950s).  She had dressed all the most well-known social and political names such as Jackie Kennedy, the Rockefellers, and Liz Taylor through the 60’s and began designing for Tiffany & Co. (glassware) as well as releasing luxury home goods (such as fine table linens) by the 1980s.  So this, pattern was at the far end of her fashion career, when she was trading talents.  I have seen that her mid-to late 1970s patterns have very similar, repetitive qualities to my own pattern’s set.  Many of her skirts (excepting her trademark hand-pleated, taffeta-backed linen skirts) have the same paneling with pockets (see Vogue #2998).  Many of her garments had a recognizable continuity even in 1992 as they did 40 years earlier.

Often, designers who began in the pre-WWII times (such as Mainbocher) had difficulty dealing with the harshly contrasting ‘hip’ and youthful trends of the 60’s-70’s-80’s.  However, she was a multi-faceted woman (she even wrote books!) and found a way to keep her head up apparently to still have wonderful, lovely designs like this pattern for many decades.  That is pure ingenuity and a stamp of a classic style.  Connolly maintained that she knew, as all women designers should, that “good fashion does not need to change”.

One of the major details which slightly dates this suit is the enormous collar.  This is so 1970s and a natural style for Connolly to adopt here to be on point for 1976.  An oversized collar is the most common, recognizable feature to shirts and jacket necklines that I see and make from the 1970s.  Other than that, the rest of the details are pretty timeless, and finely crafted.  The sleeves are the classic two panel style seen on most suits.  The body of the jacket has a princess seam running vertical down through the bust, starting from sleeve and running to the hem, separating the front from the side panel.  The side bodice panel has a sneaky extra shaping dart close to where the side seam is while the back is pretty bare bones, yet still shaped nicely.  As this is supposed to be a warm weather jacket, I didn’t line the sleeves and I left out the shoulder pads to keep this lightweight.

As I left off the bias tube belt the pattern called for to wear over the jacket, I instead made sure to keep another accessory detail that can be spotted on the example garment shown on the pattern envelope cover.  Can you find it?  I made my own clip on fabric flower to match for the collar!  I used the 1950’s Dior-style bias method (which you can see here or here) to start with and slightly adapted it so the flower is more compact like a double rose.  Making fabric flowers is my new favorite thing to do with my scraps.  Not only does it use leftover fabric, but I end up with a wonderful matching accessory.  Plus it’s fun (very important) and is an excellent way to practice precise hand sewing.  Small-scale, often time-consuming details like this fabric rose remind me of the labor of love which went into Connolly’s creations.

My favorite feature to this set is possibly the smart button placket to the jacket.  It is only on the exterior front, made a bit more obvious by my solid contrast color.  There is only a wide facing on the inside.  This is unusual but lovely.  I couldn’t find it in my heart to break up the color and texture of the front placket by using anything other than matching fabric buttons, so I bought a kit to make them myself.   I feel like this brings the jacket’s detailing to a whole new level equal to a designer pattern.

My next favorite feature is the smart pockets in the unexpected gore design of the skirt.  It is a four panel (or gore) skirt with no side seams.  There are center panels in the front and the back, with one wrap-around panel to either side.  The waistline has small darts coming out of it, ending at the high hip, adding shaping there in the absence of a side seam.  I think I have only seen no side seams with a side seam darts with my 50’s pencil skirts (here and here), so it is another uncommon feature for the 70’s.  With such seaming, do you know where the zipper closing went?  In the left back side seam.  This makes it kind of tricky to close unless I twist it around to the front of me while dressing.  The pattern called for a flap closing back much like the front buttoning fly to men’s trousers and historical breeches.  I simplified that by sewing one side closed then adding a zip in the other.  Then I continued with the contrasting color I had been using on the jacket to make the skirt waistband out of the solid orchid color linen-look, as well.

I suppose you have noticed my hands slipped into some well hidden front skirt pockets.  What you may not have detected was how the skirt is a straight A-line shape from the front, while the back is gently fuller.  Anyway – back to the pockets!  They are so handy in the way that they are deep and generous to hold many things, and they are at the perfect height for my arm length.  The pockets inside swoop in towards one another, and to keep them that way there is a small length of bias tape to connect the two.  Whenever there are pockets like this I always think of them in connection to a kangaroo, because they give me room to hold things over my tummy!

The pattern I had was a slightly bigger size than what I needed, so I used the same method I used for this 60’s dress.  I cut off the seam allowance on the side and shoulder seams, and made slightly wider seam allowances.  Read more about it in this post.  I’m really liking the perfect fit I end up with this method.

I am now quite eager to dive into my next vintage Vogue designer pattern.  I have already bought a few more while I was in the post-project happiness – among them ones from the 80’s and 90’s for my Easter suits of the next two years!  I love how designer patterns give me a reason and opportunity to learn more about the talents, individuality, and biography of garment creators that made it big.  Unfortunately some of them have been better remembered in history than others!  In fact I prefer the forgotten or little known designers because it helps me associate myself better with them.  I might be sewing using a designer pattern, but most importantly anything I make means I become my own designer.  Home sewing is so underestimated.  One person does all the jobs of a whole fashion house.

Sybil Connolly had bystanders remark of her (at a party she attended in 1946, before she had her own line of clothing) that “Wearing her own designed dress, she was her own best model.”  That is my ideal, to have me – the creator of what I make – be the foremost representation for what can be accomplished at the hands of a dedicated seamstress.  It’s like wearing your art on your back and being your own silent spokesperson for what you do.  Whether it gets seen or appreciated, that fact should alone make one who sews happy.  You don’t need what you make be strutted down the runway to be proved it’s worthwhile…nowadays, half of what is seen on the runways is trash in my opinion anyway.  Just make sure what you make for yourself is 100% you for you to show the beauty, individuality, and artistry to the powerful talent of sewing!