Cabriolet Climate

Where we live, the temperature outside is now set to bake, the spring flowers are a seemingly distant memory, and the kids have been out of school for far too long.  It’s definitely time to cool off by some water, grab the bug spray, and sport those fun summer fashions, in colorful floral prints.  Finally, I can look forward to dressing for those opportunities to take our newest car acquisition, a fold-top convertible, out for a spin!  Drive-in movies and drive-up dining is a par above now.

I do believe this post’s Burda Style make – fresh off the sewing machine – is the perfect thing I recently chose to put on for one of those occasions.  In these times of social distancing and limited availabilities of the traditional summer entertainments, our new convertible is our current favorite Covid-precautionary way to get out, mingle, and enjoy the weather…as well as a very good reason for me to use fashion to slay for the day!

This is another one of those wonderfully easy-to-sew, wrap on, no closures needed, minimal fabric usage projects which I have been sewing lately.  Happily, I made this work using a one yard remnant, yay!  It has colors that pop like fireworks on the 4th of July.  What more could I ask for?!

I only made the top you see here, and the vintage-inspired, high-waisted skinny jeans are RTW reproductions from Hell Bunny brand (‘Charlie’ capris that are full length on my petite frame).  I can’t recommend this brand enough for quality denim bottoms which are the best of both modern materials and vintage fit with great details (not sponsored, just an ecstatic customer, by the way).  My shoes are from yet another one of my favorite ‘modern with a vintage influence’ brands – Charlie Stone.  My bright red lips are not going to get smeared around anytime soon, even with wearing a mask or a breezy car ride, as I used Maybelline’s SuperStay 24 hour color (in Optic Ruby).  See?  I am so totally equipped for convertible riding!

THE FACTS:                                                                                                                     

FABRIC:  a cotton-polyester blend print remnant, semi-lined in a plain white poly remnant

PATTERN:  Burda Style #132 pattern, “Waistcoat” when released in 2012, “Wrap Tank” in 2014

NOTIONS:  lots of thread and several yards of (true vintage cotton) bias tape

TIME TO COMPLETE:  Even with all the fitting fuss I had to do, still from start to finish this was a 7 hour project, and finished on June 9, 2020.

THE INSIDES:  Part of the inside edges are covered because of the partial lining, the side seams are bias bound, and the complex front seams are raw as there is enough polyester in the fabric to keep it from unravelling.

TOTAL COST:  The tropical fabric was bought at a rummage sale, where everything I bought was $1 a pound.  As this fabric was a super lightweight poly blend, it cost nearly nothing on its own.  The little bit of lining I used was from my scrap stash…so this is in total as good as free.

This is an old pattern by Burda Style’s standards on their website now.  It is originally back from 2012, and this wrap top pattern was one of the very first that I bought from Burda (along with this dress pattern) when I first started up my blog.  Yes, it has taken 8 long years on my sewing queue’s backburner before I got around to actually finding the right fabric for it, and then finally making it!  I am getting around to completing so very many of these long planned projects ever since quarantine hit.  At least my sewing mojo has not taken a hit through all of this mess!  As I say every time I finish one of these projects, it feels so satisfying to finish such long planned ideas, also making them incredibly fun to wear!

Truth be told, this was a bit of a frustration to make, as I had difficulties getting it to fit me right.  I chose my normal size with Burda patterns, and sewing it together with no changes gave me a garment which was quite loose above the waist and perfect below that.  I had to sew slightly wider seam allowances in all the seams around my upper torso to evenly spread out to amount needed to take in.  This process involved lots of try-ons and a little stitch here, a little unpicking there.  All in all, I realized there isn’t a truly ‘perfect’ fit here since the fit of this top is fluid being a wrap-on.  The way it hangs changes with how I move.  Thus, the general fit I was aiming for was to eliminate any slop room for the wrap to have an opportunity to fall off my shoulders and gape.  This was supposed to have been a simple project, but hey – it was worth it.  I want every project I make to look its best…so I can look my best!

I stripped down the construction and instructions so make this as effortless and summer-appropriate as it looks.  The design calls for full body lining and material such as twill or suiting.  These would make it more like a menswear inspired structured vest – not the perfect material in my mind for something relaxed and casual, much less for something for hot temperatures.  I only lined the center back panel to help the top lay flat against my back, use up a lining scrap, and cut down on the amount of visible raw edges.  The dual back slit vents were ditched in lieu of basic straight seaming.  Nothing was interfaced except for the faux pocket flap.  I eliminated all facings along the edges and opted for a tiny ¼ inch bias tape hem which was then turned under.  The amount of extra time I spent to adjust the fit was balanced out by the easy finishing techniques. Otherwise, everything else to the design lines and length proportions was kept as-is.

The pattern called for just over two yards of material originally, but if anyone knows me, you now I like to have my piece layouts be as efficient as is humanly possible.  I also love to use up smaller scraps of material in the most inventive ways!  So – yes – I somehow made this top work out of one yard.  I slightly slanted the grainline of the front panels, but as the fabric weave was so tight I figured (correctly) that it would not make that big of a difference.  I completely ignored the grainline to the pockets as well, since they are interfaced anyway.  This is something I rarely do but hey, I was determined.  I really felt this was the right fabric to pattern pairing and was going to make this work out in some form or fashion.

I must say I am so much more impressed with my new wrap top than I ever expected!  I am sure the convertible drive while wearing it added to my preliminary love for my new project.  Yet, the more I wear it, I still fall head over heels for it and want to say it’s my favorite.  (All my projects are really my ‘favorite’, I never can decide when it comes down to it!)  The interesting engineering, simple individuality of it is fantastic.  It is a remote relative to these previous wrap projects (the 3 armhole 60’s dress and this halter 70’s dress) but only tweaked and worn backwards to great effect – a smarter blouse version, in other words.  The front faux pockets and tricky seaming there added a touch of tailoring that confuses me but seems to balance out the longer length.  It all works out so well together.

Oh, how I do love to go all out and wear my vintage hats and vintage scarves to keep my hairstyles in place when convertible driving for a practicality and to make a chic presentation!  Ultimately, however, I do love the irony of this outfit – it is a German pattern design worn in a car from a German car company.  For modern patterns, Burda Style is my preferred choice for reasons such as this top.  German engineering always has been quite commendable.  For being a modern car (I like 90’s and earlier sleek and fast sports cars normally), this convertible VW EOS is pretty darn cool, besides being a bargain of a deal, as well.  The electrics of the fold-away hard top – hence why it is technically a cabriolet – are amazing (watch someone else’s video of the process here, if you’re interested, jump to time 2:25).  It’s too bad summer weather here is such a short time out of the year!

Peony Blush

Peony buds are so pretty but quite fussy to appreciate in their prime beauty, much like finding the perfect ripeness of an avocado.  The peony bushes are one of my favorite spring blossoms in our backyard except they have a very small time frame before they get musky in smell, with wilted petals and droopy stems.  It’s as if they are either bashful beauties or merely overwhelmed by their own superfluity.  This year though, we not only were able to photograph that ‘sweet spot’ for our peony bushes, but I also matched with their particular color, too!  So – small, urban backyard ugliness be darned – I happily sported my newest vintage-style make for the occasion.

This simple dress has all the qualities to be a chic, versatile, comfortable, yet easy-to-sew wardrobe staple item.  There is no interfacing and closures needed (no zippers, hooks, snaps, or extra notions) so it’s perfect for these Covid times when sewing supplies and mail deliveries are hard to come by.  You pop it over the head and you’re good to go!

Only two yards was enough to work with (no matter what the envelope back says) so it is not good for smaller remnants – unless you use one fabric for the front panel and a different one for the back…just a wild thought!  Crazy prints, large scale florals, and hard-to-match designs are all great fabric choices for this pattern as there are basically two very large cuts with nothing to break them up except for two, small, French-style bust darts in the front panel.  Unlike many of the other “Jiffy” line of patterns in the 60’s and 70’s which I have tried, this one does have the best shaping and fit out of all of them.  As you can tell, I am completely sold on this pattern and wish I had sewn this dress a few years back as I originally intended!  I am so glad I finally got around to whipping it together.

The shoes (60’s era), bracelet (80’s from my childhood), and earrings (from my Grandma) to my outfit are true vintage items, but the flower accessory you see along the waist was made by me.  It is a trio of airy rosettes composed of lime green chiffon leftover from this retro dress project.  It was a quick and relatively easy accent to assemble that I think provides the right contrast to the overwhelming amount of pink in the print.  As I used a duckbill clip on the back, I can also wear this in my hair if I please!  There is a Threads magazine tutorial which I used as my guide – you need no pattern – and a scrap of heavy muslin or interfacing as a base.  It’s all in the article “Coming Up Roses” by Kenneth D. King from the Threads magazine #142.

THE FACTS:

FABRIC:  a sheer polyester crepe print fully lined in a solid light pink sheer cotton batiste

PATTERN:  Simplicity #1356, also sometimes numbered as S0567.  It is reprint from 2014 of an original Simplicity #8125, year 1969

NOTIONS:  All I needed was lots of thread!

TIME TO COMPLETE:  Making it from start to finish took me about 6 hours.  It was finished on May 3, 2020.

THE INSIDES:  What insides? All raw edges are encased by the cotton second dress I sewed inside lie a lining.

TOTAL COST:  I really don’t remember.  I bought this on deep clearance when the now defunct Hancock Fabrics was closing.  Two yards of each fabric probably didn’t cost me much!

Sure, this might be a pattern from 1969, but I think it is quite timeless in design, if a bit unusual.  A kind and knowledgeable reader commented on this post on my wrap-on, 70s era, apron-sundress to let me know about Andrea Zittel and her “Smockshop” project of 2006.  Andrea Zittel’s basic smock pattern – with her simplified outlook to the basis for creativity – is really no different than this vintage pattern when you look at the basic outline.  A little tweak here and a tweak there to Zittel’s basic idea and we have this pattern.  I am not saying that either copied off of the other, but I’m just sharing a different way to look at this style of garment.  If you Google all the amazing versions artists and creators came up with using Andrea’s smock pattern (A wrap-on evening gown? Yes, please…), I am envisioning all the different ways this vintage 1969 pattern could be tweaked to make something completely different than where it started.  This pattern has so much hidden potential. Certain slight details to this dress have won me over.  For instance, I am completely enamored by the squared neckline.  It is such a subtle feature yet so different and appealing.  Something I never expected from making this dress is the way the back wrap half opens up when you walk or when the breeze blows and gives the impression of an overskirt.  The front skirt half fully wraps around to the back for full coverage and no fear of a peek-a-boo of thigh, but at the same time this makes the skirt seem more slim fitting than the back half which wraps over it.  Yes, the fact that I used a solid contrast color to fully line the inside of this dress emphasizes the impression of an overskirt.  But either way, this pattern’s neckline and lovely skirt were two surprises I did not see coming when looking at the tissue pieces as I was cutting it out.  Beforehand, I looked at plenty of other reviews on blogs as well as Instagram, with no hint or mention of these features, so perhaps it has to do with the very lightweight fabrics I chose.  Yet, I believe it has more to do with the slight changes I made to the pattern.

The most obvious change is the fact I added sleeves.  Sleeves to a wrap-on dress are not the norm, and you all know I like a challenge!  I traced out the little cap sleeves which are part of this mid-1940s dress because I liked how the ‘hem’ is really a fold so that there is two layers, i.e. self-faced sleeves for a pretty underside.  For a wrap dress, pretty undersides are important because fabrics’ wrong sides and any raw edges are easily seen unless the garment is fully lined or has French or bound finishing.  I slightly altered the sleeve pattern to have a longer armscye to work with the wrap under the arm and I also added more curving to the shoulder portion so as to match with the dress’ non-40’s style of a sleeve which is set further into the main body.  It was really much easier to add on than I expected and completely upgrades the overall appearance to the dress from saying “summer fun” to also “chic” in a really subtle way.

As a side note for clarification, I keep calling the solid light pink cotton side of my dress ‘a lining’ because I do not like polyester against my skin.  Because of that, I only intend on wearing this with the floral side out.  Technically, this dress is completely reversible, and the pattern intends it to be that way but I just do not really like this solid color when worn on the outside.  I look too washed out and think the dress seems more like nightwear that way.  I have a few reversible dresses already (here and here) and so I felt I did not really need this particular one to be yet another.  The blush pink is pretty enough as a sweet flash of a contrast.

The second major change I made to the dress is how I redrafted the tie closures of the front to be just above my waistline.  The pattern design has the front ties end at an empire level, just below the bust.  I am not a big fan of the empire waist on myself unless I am wearing a historical Regency clothing, or a style with similar proportions.  So I lowered the arching of the front overwrap, which is on the back panel, by just over 2 inches and redrew the curve.  I am so glad I did this adjustment but – as I said above – I do think it changed how the overskirt lays.  Even if some small intricacies to finished dress’ features came out as a very good surprise to me, I did engineer the rest of the features to be just how I wanted them.  Those turned out just as nice as I expected.  Every little tweak you do to a pattern has an effect on other parts to the overall design you might not expect.  Sewing is so interesting, exciting, and complex, isn’t it?!

The appearance of the dress can be slightly changed up just depending on what you do with the long closure ties.  If I want more of a loose and straight A-lined dress I merely tie the front ends in a bow or leave them hang.  If I want more of a defined waistline I wrap the long ties around my waist twice and knot in back.  I did choose to make my ties half the width as the original pattern.  To be clear, one tie cut out according to the original pattern gave me two ties because I cut the width in half.  They are just as long still, but I personally like the delicateness of skinnier ties.  They are much easier to tie anyway than wide ones, even though skinny ties are miserable things to turn inside out when making them.

The back closures you don’t see and the dress length were the last things to mention that I also changed.  I added a whopping 8 inches to the hem.  Yes, it might have been overkill, but I am all about midi length dresses at the moment and I like the elegance of it on this dress compared to the very 60s style shorter length of the original.  After making this 40’s era wrap top, I knew I didn’t want a repeat of the fussy way it closed behind my back.  This 60s pattern called for the same deal – two sets of ties.  The ties on that 40’s top tend to come undone on me after some time of wearing and if I make a sloppy bow they are a tad bulky.

Thus, for this dress I made small loops across from oversized buttons for a secure and simplified closing that is super easy to execute blindly behind my back.  The top closure to my dress felt better on me with an extra extension so I added a second loop for more than one option of comfort.  I was also able to make useful two random, mismatching, oversized buttons, too!  I know I said this dress was wonderful because it needed no closures, but then I go and add some so I can sound like a hypocrite.  Ah, anyone who has sewn long enough can sympathize with how sometimes a project can take an unexpected turn.  However, I suspect I secretly love to overthink things sometimes.  That is life.  I forget I tend to be a perfectionist.

To talk about trying to think about everything, not only did I come up with a clip-on flower, but I even made a face mask to match my dress!  This mask and all the ones I make have several layers for protection (one is polyester, two are cotton, with one extra interfacing layer).  I only had enough of my dress’ floral print scraps to make a second copy of this exact mask for my husband’s mother.  The pattern I use for all my masks is a free download from here (youtube.com/anjurisa), and I highly recommend it.  I slightly altered the pattern to give more room in the nose (many members in my and my husband’s family have a more endowed schnozzle than I) and figured out how to save on elastic by having most of the strap be a fabric tube, except for a little 2 inch stretchy section in the side of the mask.  Yes, here I go overthinking again.  Yet, my efforts do yield a very good, full coverage, highly filtering mask I do believe!

They are a necessity of the times, and all the other colors besides pink in this particular floral print – the green and purple – help the mask co-ordinate with plenty more outfits besides this one.  I personally don’t completely mind matching my mask so exactly to my outfit of the day, yet it brings up my self-consciousness that I am making it way too obvious to viewers I am wearing a self-made outfit.  Not that this is a bad thing, because I am proud of what I sew and am personally confident in my creations, it’s just I have been careful not to be overwhelmed by mask making efforts.  If you highlight the fact you make masks, there is the chance you can get inundated by peoples’ orders.  My stress levels have been high over these last few months and that is causing all sorts of unpleasant side effects to show up on my body by now.  Mask making stresses me out further, but I do realize over the past months, it is one of the most important efforts one can perform using a sewing machine.  Self-care is also very important in our world today, too, so I limit my mask making and keep up my sewing projects in between everything.

This is so far off from where I started talking about how peony flowers are like avocados, isn’t it?!  I’ve covered everything between my inspiration leading up to this outfit, making a flower brooch and a mask, to Andrea Zittel and her ‘Smockshop’.  It just goes to show that things are not always what they seem, nor do my ‘simple’ projects always end up so straightforward.  It is often the more basic sewing which leaves room for extra creativity, anyway.  After all of this, I hope you pick up this 1969 dress pattern and find your own way to personalize it the way I did so you can enjoy this easy but cute wrap frock the way I am!

“Milk and Sugar”

It was just Father’s Day weekend here in America…so it’s time for another one my infrequent but recurring posts on vintage menswear!  My husband’s birthday and Father’s Day are practically a month apart and so I annually take some time between the two dates to sew him a shirt.  This years’ gift was something completely new and different – both for me to work with and for him to wear.  It’s a 1960s era shirt made out of that easily recognizable, and cool-as-a-cucumber cotton we call seersucker.  I equate it to my giving him his own personal air-conditioning.

“Seersucker is the quintessential warm-weather fabric known for its crinkled texture and breezy quality. Seersucker’s texture creates a space between the skin and the fabric that helps improve heat dissipation and promotes air circulation” says Fabric.com.  Yet, “It is a low-profit, high-cost item because of its slow weaving speed” says Wikipedia, and so it is produced in much smaller quantities than other textiles.  Seersucker is woven in such a way that some threads bunch together – “slack-tension weave” – giving the fabric a wrinkled appearance in places…which also means ironing is not necessary (yay).  Many seersucker fabrics are striped (much like butchers’ or railroad workers’ “hickory stripes”), but I have had this shirt’s plaid seersucker in my fabric stash for well over a decade, so no wonder it is on the more unusual side!

Now to explain my post’s title.  “Milk and sugar” is the translation of “shīroshakar”, a combo of Persian and Sanskrit, and the derivative to the word seersucker, which came into English from Hindi.  It calls to mind the smooth rippling of milk poured around lumpy sugar.  I love the picturesque richness of some words such as this!  This reminds me of the beauty of baking and how the ingredients take such differing appearances at every step.

Our picture of a WAVES summer uniform, United States Naval Reserve, circa 1942, from the exhibit “Making Mainbocher” exhibit in Chicago back in 2017.

Unfortunately, both the 19th century old Southern America and the British colonial period of India popularized the wearing of seersucker as a means to stay tolerably cool in the hot, humid climate of those regions.  Yet, post Victorian times, seersucker’s use had expanded to become the preferred material for cooling bed linens or preppy student-inspired fashion.  Captain Anne A. Lentz, one of the first female officers selected to run the Marine Corps Women’s Reserve during the Second World War chose seersucker for the summer service uniforms of the first female United States Marines.  The designer Mainbocher produced the WAVES summer WWII uniform for the government using blue and white striped seersucker.  As currently as the 2016 Olympics hosted by Brazil, the Australian Olympic team received green and white seersucker blazers as their ‘dress’ outfit.  As currently as the 2016 Olympics hosted by Brazil, the Australian Olympic team received green and white seersucker blazers as their ‘dress’ uniform.  This unusual material seems to have a quiet staying power.  It can be a fabric you sleep upon, or one that a suit is made from, but either way it’s an easy-care, attractively distinctive material for warm weather comfort!

THE FACTS:

FABRIC:  pure cotton puckered plaid seersucker, with the inner shoulder panel lining being an all-cotton broadcloth remnant

PATTERN:  a vintage year 1964 original Butterick #2124 (in my personal pattern collection)

NOTIONS:  Lots of thread, a bit of interfacing, and a few buttons

TIME TO COMPLETE:  Sewing this shirt took me about 10 to 12 hours, and it was made this spring of 2020

THE INSIDES:  The armscyes are French seamed but all else is cleanly bias bound.

TOTAL COST:  As this shirt project makes use of a fabric cut which I have been holding onto for at least a decade, I’m counting this as a free and worthwhile stash-busting project! 

This shirt – as is often the case for the majority of vintage menswear from the 1950s and on – is not easily recognizable as originating from an older design.  Most of the time, I do believe that one would not guess the shirts I make and sew for him are vintage.  Mid-Century menswear often lacks standout features to date it to specific eras and generally stays pretty classic, so I feel it is the choice of fabric, the style of the pants to match, and the slight details which give such garments’ true age away.  This shirt (as is the case for many 50s and 60s men’s styles) has a boxy body and a very skinny shoulder panel which does not extend much into the main body.  I can tell this was a pattern meant to help make a dress shirt with the separate collar stand and separate button placket (which I did not include) but I rather brought it down to a fairly casual level by choosing seersucker.  At this point in my husband’s professional life, casual yet dressy shirts are what he will be the most likely to wear on a regular basis, and so I wanted him to get the most use out of what I had sewn for him with my special fabric!

I know I tend to say this every time I post a shirt I’ve made for him, but it is the literal truth – I was so short on needed material for this project.  I had to cut some small ‘corners’ to make this work out successfully.  Yet, I was still somehow able to match the plaid…luckily so, because the analytical and perfectionist side of me would never tolerate anything else, otherwise!  I did not have any extra room for a separate button placket and the layout of the pattern pieces on my under 2 yard cut of fabric was conducive to only the shirt’s bare bones – slightly adapted – and one chest pocket (a must-have because we all love pockets, right?!).  The pattern design already had small turn-under edge down the front closure edges, so I doubled that to be a cut-on, self-fabric facing.  The separate button placket was an extra piece which was easy to sacrifice.  Granted, I did fully interface the newly drafted facing in lieu of stabilizing the add-on button placket, which I was not using.  The switch I made actually avoids breaking up the plaid and gives me less to stress over and match up.  He can’t miss what he should have had on his shirt when it is just as good without it!  Besides, a happy sewing wife is a happy life – don’t I have the phrase correct?

Making this shirt was a nice change of pace in my sewing and totally unique gift, besides.  I just don’t find seersucker in person anywhere anymore – RTW shopping or fabric stores – and I say it should be brought back.  I remember, as a young teen, my mom had bought me a plaid seersucker skirt I liked out of a catalog.  It was in a straight A-line shape, in a middy length, and printed with a plaid which had more blue and brown tones in place of the green and yellow as seen in his shirt (but otherwise a similar sized plaid).  I enjoyed how that skirt always looked good no matter what.  The print and the rough, puffy texture hides stains, and I could stuff it in a backpack to bring it with me as a change of clothes but still not look I was impromptu.  It was so lightweight to wear, it was almost imperceptible to feel it was on (weird to explain, but kind of like the weightlessness of bias cut silk without the cling).  If I did get sweaty, the cotton wicked it away without itself becoming damp.  If I could find that skirt again (I think it might be packed away somewhere downstairs) I would totally wear it or at least re-fashion it so I could!  So I can totally understand why this 60’s shirt is his newest favorite.

I still have not even posted the vintage shirt I made for his birthday-Father’s Day gift from last year!  My blogging proficiency doesn’t always keep up with the speed with which I crank out my sewing projects.  However, I can assure you, it’s another really good shirt which is yet another different and unique make.  So far, though, this post’s shirt is a definite high contender to the previous popularity of that one!  In a world when menswear is generally so very blah, I enjoy seeing him happy and bold enough to wear the singular things I make.  Sewing gifts for others is so amazing – to see someone else get to enjoy my handmade clothes just the same as I makes my gift not just about sharing a present.  It shares a special feeling.

Ready for Another Adventure?

Ah, I can’t help but interrupt my previously planned post for one that highlights Agent Carter…because she’s back!  Well, sort of.  Sadly, it has been confirmed Peggy will be back only in name only for the newest (and last) Season 7 of “Agents of Shield”, despite her romantic interest Agent Sousa being front and center in the most recent episodes.  I’ll admit that I have not been following “Agents of Shield” until now and I do despise the last ditch ideas of time travel which shows too often fall back on at the end of their run.  But if Agent Carter is back for some sort of relevant story continuation (which was cut short by the lack of an expected Season Three of her TV show), I’m here for it by adding more outfits from seasons one and two to my wardrobe and perhaps watching the new show.  I’ll pick up on sewin’ and postin’ more Peggy fashions, starting with recreating the first thing we see her in upon embarking on her new California adventure at the beginning of Season Two, “The Lady in the Lake” episode.  “Are you ready for another adventure, Miss Carter?” said Mr. Jarvis.  Oh how I do love having my own exciting escapades when in Peggy’s shoes!

THE FACTS:

FABRIC:  a Matte Blue 100% Silk Batiste (sorry, but it’s sold out now!) accented my handmade bias tape of Dove White Cotton Sateen, both from Fashion Fabrics Club

PATTERN:  an adapted version of Butterick #6374, originally a year 1944 design, reprinted in 2016

NOTIONS:  I needed nothing extraordinary – just thread, a bit of interfacing, and 3 vintage buttons out of the stash of hubby’s grandmother.

TIME TO COMPLETE:  Not counting the hour or two spent to re-draft the pattern, sewing the blouse took me about 6 hours.  It was finished on June 11, 2020.

THE INSIDES:  French seamed with a bias covered hem

TOTAL COST:  1 ½ yards of the silk and a ½ yard remnant of the sateen cost me a total of just over $30.

First off, yes, I am wearing separates – a blouse and trousers (which are the Marlene pants from Burda Style, posted here) – and yes, my pattern for the top half of my outfit was highly redrafted from a dress pattern.  You did not read the facts above wrongly.  I wanted to start with a vintage pattern, of course, and all the blouse patterns I had on hand were not remotely close to what I wanted.  Yet I did have the 1944 dress pattern which had a similar shawl collar and strong, slightly full, shoulders.  After all, Peggy Carter was known for wearing mid-40s fashions prior to her time out in California in the second season, so the dating would be perfect, too.  I was never a big fan of the original dress, although I might eventually try it in the future, but I bought it anyway a few years back on one of those $1-something sales.  This way I feel like it is not just taking up useless space in my pattern drawers.  It has now actually come in handy, just not in the way initially intended.  I might have a large stash of patterns, but I do not hoard…the patterns I have are cared for gently and often preserved and copied, but they do ‘work’ for their keep here and they are much more than a pretty inspiration!

I first had to trace out the pattern as it was, from hip length up, and then tweak it.  Next, I extended the collar to be wider, especially in the front over the chest, as well as making it roll over itself better.  The back collar was drafted by me to be just wide enough for the edging.  I am so happy to have ended up with a collar which was just what I wanted!  The shoulders and main body are pretty much the same as the original dress, but I added greater wearing ease all over so it would be blousier than the original slim fitting dress.  The back bodice had a dramatic re-drafting because the original dress had princess seams.  I combined the pattern pieces to become one piece, cut on the fold, with two vertical fish-eye darts.  Remember, it really doesn’t take much to change things up dramatically on paper for a sewing pattern…an extra ¼ inch may go a long way.

The semi-sheer batiste needed to be double layered to be an opaque blouse, which was rather hard to pull off on only 1 ½ yards.  This silk is so lightweight and breathable two layers is no big deal, though, once I was able to fit the pattern pieces in.  Silk is the world’s most all-season, easy to wear, and overall beautiful fabric in my opinion.  The listing for this fabric said it was matte finish, but there is still the loveliest shine along every soft fold.  Even a matte silk blend has the same lovely sheen.  Every time I create with silk, I find it is more imperative than other fabrics to use a new needle in my machine, otherwise it create pulls in the fabric as I sew.

Now both the silk and the sateen listings say to dry clean them…bah!  Only in a few exceptions – and vintage acetate is one of them – have I come across a fabric that is not washable.  I wash woolens, silks, rayon, cottons, linens, and of course any man-made (i.e. polyester), as well as any combo of those, and have never come across any unpleasant effects of doing so besides a few wrinkles, which a good ironing can easily remedy.  Even many decorator fabrics can totally be washed, although their first dip in water does shrink them like crazy.  Washing all of these fabrics must be better for them anyway over harsh, unpleasant chemicals of conventional dry cleaning!  When in doubt, I do try and wash a small, snipped off test corner first.  So, don’t be afraid to get your fabrics clean, just do so in the gentlest way possible.  For me, this means either hand-washing, or placing them in a zip-closed laundry bag before machine washing on the delicate cycle.  A cleaner garment means less attraction for hungry bugs that might like to eat them, remember!

I am still thrilled over the lovely novelty of self-made bias tape, as seen in my making of my last project, this multi-use apron/sundress/ jumper thing (posted here).  Especially when your bias tape will take a front and center stage, it is important to have a quality notion.  So I started with a quality fabric to edge this blouse the way I figured it, and I’m so glad I did.  The slightly heavier weight of the decorator’s sateen is perfect for keeping the collar in place and stabilizing the soft silk.  The slight shine on the sateen matches the finish on the silk, too.  The very slight off-white color is a gentler contrast than a pure white.  I just love it when an idea for a garment comes together as good as or even better than I expected!  It’s the best surprise.

This ‘blouse-from-a-dress’ experiment opens up all new doors for my pattern stash, now.  A dress can be tweaked to become a jacket, a vest can have sleeves added to develop a blouse, or a skirt can be reformed into pants when you approach patterns as a fluid tool with great potential to aid in creating anything with your hands.  This is the beauty of sewing.  It is all up to you – the skies the limit!  Anything can be sewn up anyway you like it.

With that said, I want an entire wardrobe of everything Agent Carter has worn in her TV series, and so my sewing creativity in this sphere goes towards personalizing and doing some historical basing of my ‘copies’ of Peggy’s outfits.  “Copying” an existing garment you admire can be every bit as challenging, if not more so, as trying to match your own individual idea.  Sewing is an exciting undertaking in its own way, and even small adventures are important in our times when there is so much wrong about the world today and a pandemic has forced too many of us into an unwelcome isolation.  Stepping into Peggy Carter’s shoes and clothes is my ongoing quest that suits me up with her spirit of independence, personal confidence, sense of equity, and – of course – great fashion taste.  How is sewing your special adventure?