I might not have Marvel’s Agent Carter Season 3 to watch, but I am sort of pumped about the CMT (Country Music Television) series special “Sun Records” premiering tonight. The actor Chad Michael Murray, better known as “Agent Jack Thompson” from Agent Carter, dons some spiffy vintage duds and snazzy ties again to be in the 1950s telling the story of Sam Phillips, founder of Sun Records…the iconic Memphis label that introduced Elvis, Johnny Cash, and those who began rock n’ roll. Some of the previews I have seen seem steamier than the other previews that focus on the music, and I have no idea how decent or authentic it might be. I have low expectations, if nothing else I am excited to see Chad Michael Murray again on the screen, especially in vintage. Will you watch this at all?
Some house coats are fancy, some are like wraps. Some have coat-like lapel flaps. Mine is of fleece and quite fine, perfect for lounging after I dine. With fabric on hand so counted as free, what better way to sew for me!
Ooops, didn’t mean to write poetry here – this just came to me and I didn’t have the heart to delete it. But anyway…yes, this post’s house coat is a true WWII time fashion, with outdoor coat-like features. To keep things simple to make, easy to care for, and quite warm, I used an embroidered fleece (bought about 10 years back) for the best of both modern and vintage in one quick and nicely practical project. This is perfect chill buster that’s almost as lofty and insulating as a real coat. That’s why I went for the short sleeves so as to not be too toasty!
I really needed a housecoat so this was one of the few actually necessary sewing projects. I use this so frequently it’s darn awesome. Practical sewing is so often neglected but the reward is the frequent consciousness and subsequent pride in having something you use on a daily basis be an item you made with your own hands. With many practical items which are used on a regular basis taking only a handful of hours to make (my underwear, my denim skirt, my 40s jeans, hubby’s pajamas, this housecoat), the only roadblock is just dedicating a tad more time to sew these in my queue of projects.
This is part two of my Simple Luxury posts of my sewn vintage nightwear. Part one was my year 1940 bias nightgown (post before) which you can see under my housecoat.
FABRIC: 2 and ¼ yards of 100% polyester, lofty and thick periwinkle fleece which has floral vine stitching across it
PATTERN: Simplicity #4759, year 1943
NOTIONS: All that I needed was on hand – the bias tape, the thread, the notions. The buttons are vintage (they have a very unique feel to them) from the stash of hubby’s Grandmother.
TIME TO COMPLETE: In all, from cutting to wearing, this took me about 3 hours in total. The housecoat was finished on February 27, 2015.
TOTAL COST: When something is in my stash for about 10 years, well, I’m counting it as free.
I went bare bones for the construction thanks to the fleece – no facings, no lining, no edge finishing needed. What helped is following the guide for how to make the night gown with quilting (which I definitely want to try). Most vintage original 1940’s nightgowns I see for sale are quilted, but a few yards of that kind of material can break a gal’s budget in one pop! So if I ever find some cheap enough I’ll make my own 40’s style quilted housecoat but ’til then, this fleece version is plenty good!
The size of the pattern was already big for me, but I didn’t grade down because I figured a roomy fit would be comfy. I was correct! I know patterns for jackets, coats, and such outerwear account for the finished garment being worn over other clothes, but I like the bigger fit. My fleece is lofty enough to fill in for some of the excess ease. Besides – the slight slop-room in the shoulders together with the trio of darts at the sleeve caps makes this housecoat have a very strong WWII look about it!
I find it interesting how the front is smooth and streamlined with darts while the back has the traditional 40’s bodice pouf at the waistline (courtesy of box pleats). I love the enormous pocket!
My housecoat’s length is in between the short and the long options – it was whatever I had room for with what fabric I had to work with (just over 2 yards). The bias tape around the outer edges of the collar, sleeve hems, and closing edges serves the dual purpose of slightly stiffening and supporting, besides being just for decoration and using up a remnant on hand! Perhaps the bias tape around the edges is a pitiful half-hearted attempt at a fully nice finish, but with the nightgown taking only 3 hours, the bias tape is my easy last step to adding something extra to a very easy project!
I adapted in many ways to “make-do” like a 40’s war-time seamstress. The tie closure inside is two of those free ribbons soaked in fragrance that employees of the perfume counters hand out to you as you walk through department stores. I’ll bet you they would never think that what (to them) is only an advertising attempt to sell expensive brand perfume would became a thrifty seamstress’s answer to a project need! The ribbon for the button loops is something that came off of a package, for even more “re-use and re-cycle”. I choose ribbon loops as I was loathe to attempt buttonholes in the fleece, not knowing how or if they would turn out. Using loops gave me an opportunity to use smaller buttons anyway so I could add on these amazing vintage ones in an odd-ball set of three.
Please treat yourself and possibly make your own sleepwear. It is easier than you think, and though the general public might not see it (unless you blog about it like me), YOU are worth it! Now don’t get me wrong, others are worth it, too…speaking of, I did promise my 4 year old son a fleece house coat coming soon. So here’s to those easy but practical projects that might not be high on the “looking awesome” list but get the most love! Have you made yourself any night time clothes or lounge wear?
Next, will be part three for a full regimen of nighttime for a 40’s gal. I’m trying to decide how to do my hair tutorial. Do I attempt a video, or just present a series of pictures that we’ve already taken? I did spend some time as radio announcer, but that still means I’ve never really liked hearing my own voice. We’ll see. What is best for everyone to understand? What are your preferences?
The Marvel Comics heroine Peggy Carter deserved to have more luck in love than heartbreaks, but either way the people she cared for were a major driving force behind her life. Perhaps no other dress so blatantly shows Peggy’s ups and downs in love with such a fashionable, classy, yet visible way as Season Two’s “Better Angels” (episode 3) frock that I recreated for myself. I know this is sort of weird to feature such subjects of grief intertwined with affection now that the holiday of love and friendship is here. However, matters of the heart are powerful things and I can’t think of a stronger (if imaginary) woman than Peggy Carter. My dress does have a rich, bright red and is elegantly perfect for a night out. So, happy heart day to all of you and those who are part of your life!
A quite plain and slightly ill-fitting knit dress had been in my wardrobe hanging unworn for the last few years. Slackers gathering dust and taking up space are not to be tolerated – we do not have the room for useless items! It was high time for it to give me a reason for it to stay, and I figured it was basic enough for a re-fashion as it was still in good condition. I realized it was in a lovely rich navy, one of the colors Peggy wears the most frequently, especially paired with red for a patriotic nod to her dearest Captain America. The original dress also happened to remind me of a silhouette which would be something I could picture on Agent Carter – body hugging with a lovely bias flared skirt. Thus, it occurred to me to attempt to make one her bolder garments I’ve long admired, as I had a short cut to easily make something I wasn’t willing to take the time to make from scratch! Besides…I found a better fit and lovely re-use for something that I wasn’t wearing and enjoying otherwise! I feel like this one of my best, easiest, and most fun of all my re-fashions so far.
FABRIC: a 100% cotton knit “Land’s End” dress bought about 10 years back with the added bright end panels and contrast being a 100% polyester interlock bought at JoAnn’s Fabric Store
PATTERN: None! All personal drafting
NOTIONS: All I needed was thread, and I had that…
TIME TO COMPLETE: This was so quick to make it felt almost too good to believe! It was made in two evenings for a total time of 8 hours. I was finished on November 17, 2016.
TOTAL COST: maybe $10 at the most
On a night out together, a girl friend of mine helped me pick the contrast fabric for my re-fashion. She couldn’t have chosen better! My navy dress is a matte finish cotton, so together we figured I needed a knit (of course) which had a lovely satin shine for a smartly contrasting perk. Both of us decided the bright red (which I would never ever wear alone) was the right tone over the deeper shades. I bought way more than I ended up needing in the end, so I plan on convincing hubby he would wear a shirt I might make for him out of this interlock. We’ll see what I end up really doing with the leftover red knit.
First of all, the original dress’ fitting problems were the odd placements of both the waistline and the sleeve hems. The waist was too low to be an empire, yet too high for a natural middle placement, while the sleeves were like a slightly short bracelet length with a bulky, fake button placket keeping them unnaturally below my elbow. The sleeve fix was easy – I shortened them above the button placket to hem them so they fall above my elbow. My re-fashion plans also fixed the waistline problem perfectly and immediately by adding in the belt-like panel. It brought the skirt to fall at the natural waistline and connected perfectly with the weird empire seam of the bodice. The new red arched front belt-like panel is double fabric layered for stability and top-stitched onto the blue dress. There is one center back seam to the belt as I designed it.
The skirt portion was the best part. Drawing the curve of the red swirl panels was so fun! I might have gotten just a bit carried away and added more of an arch to the panels than Peggy’s original dress. My dress panels go from the front right side’s off-center over to the left side seam, while Peggy’s dress has panels that go a straighter down with a slight curve to one side. I believe my dress panels’ sharp angles are the main reason for the slightly weird wrinkling going on with the red parts, combined with the fact I cut the insert sections on the bias and sewed them in as a double layers of fabric. However the “faults”, I so love the red swirls on the skirt portion! They make my dress have such movement when I walk I feel so elegant – static pictures do not do this dress justice. I have been able to find only a few extant original vintage garments which have a similar bias, color contrast, swirled panels. The ones I have found have been from the 1940’s but, to me (going with my gut), this dress appears to have a strong late 30’s influence, especially with my 30’s re-make Aerosoles strap heels. Needless to say I’m a big fan of this fashion detail.
The toughest parts to this re-fashion was adding on the red interest strips that give the continuous crossed-heart all the way around the bodice. The fabric is so silky it was hard to pin into a defined, consistent band. Bias strips of the interlock resisted being ironed into a single fold shape, and I couldn’t use a hot iron, either. I just had to pin like crazy and do a butt-load of eye-balling in between measuring to check the placement. The dress was hung up at this step and I would look and look at the bands ‘til I was cross-eyed and I knew I just had to stitch them down soon or I’d never wear it. I’m still not sure the bands are as precise as I’d like but – hey, if only I would notice any ‘imperfections’ that’s totally good enough!
The bodice bands are continuous around but pieced to apply. I started at the center back above the red waistband and went all the way to the opposite shoulder for each side. Then, the back neckline band is another continuous piece from shoulder to shoulder. I probably could have done better had I done hand stitching to the bands, but this re-fashion was not meant to take too long in time so I merely did machine stitching (which was another frustration in itself).
By time the bands were sewn on, the dress became a bit of a challenge to wiggle into for dressing. With all the top stitching visible and the looser cotton knit, my dress needed to look dressy as well as keep its shape so I used small straight stitching. The ease of dressing was something I was willing to give in on for the nice stitching and assurance of stability for many wearings (and washings) to come. Adding in a zipper was not an option here. After all, most vintage garments are a circus trick to get into anyway…I’m used to it by now, just so long as I don’t pop any seams.
I know my dress is not a carbon copy and I want it that way. The original dress as designed by Gigi Melton is (I believe) wool crepe, with petal sleeves, low V-neckline as well as a bottom hem red band to differentiate itself from my own version. I greatly respect the ingenuity of Gigi Melton to find so many lovely 30’s and 40’s inspired ways for Peggy to wear her classic colors of red and navy!
There are other bloggers who have done a symbolical low-down of my specific Agent Carter inspiration dress, so I’ll defer to “Hard Boiled Meggs” if you want more of that, and please do visit if you’ve seen Season Two. Here’s a link to Megg’s specific post about Episode 3 (the one in which my inspiration dress can be seen), but her post on Episode 2 and Episode 9 further explain the crossing over her heart. Here’s an official photo gallery to see more from the source of some of the screen shots I shared.
My photo backdrop is meant to mirror the sumptuous, curious, and spacious setting of the Stark mansion where Season Two saw much of Agent Carter’s time. We went on a visit to the Samuel Cupples Mansion on the grounds of Saint Louis University. This historic home is the epitome of luxuriousness which its remarkable amount of fireplaces – 22 spread out over a total of 42 rooms and three floors! This place now serves as a gallery for SLU’s collection of fine and decorative art dating from before 1919. The ample space inside made it challenging to have the right light so the colors look a bit different in each of our photos.
This dress reminds me of so much. Firstly, it reminds me of how one can be vintage without going hard-core by taking a mere feeling, an inspiration, or even a silhouette and blending it with what’s out there today for a mainstream form of the past that is beautifully unique. On a more personal level, by jogging to mind Peggy Carter, this dress further reminds me to enjoy and appreciate every minute of the time spent with the people in my life. Taking time for someone is a priceless gift that goes both ways, and Valentine’s Day isn’t the only day for doing sweet things. Cross my heart – take my word for it.
I’ve been wanting to post this for so long (two years), but it’s a nightgown so I don’t usually make sure to have make-up on and decently arranged hair in evening when I want to be cozy and relax! This is the first part of a small three part February series of easy ways to do vintage for nighttime. Emileigh of “Flashback Summer” blog beat me to the punch, and has a similar idea with her own “Lovely Lounging” series for February.
Vintage fashion really knows how to make basic items so elegant and beautiful, and I think nightwear is one of the best examples of that, especially in the 1930s and 40’s. Not that new luxury nightgowns cannot be found nowadays as well, but they tend to cost a lot of dough and are generally in static-attracting, non-breathable polyesters. On the flip side, so many flannel nightgowns available (even today) are the “granny-style” Lanz of Salzburg type, completely vintage authentic, decent, quaint, and cozy. Yet, I’m too afraid that a vintage one will end up tearing irreparably, so although they are so beautiful and still rather easy-to find in our town, I only own one and don’t wear it to sleep in.
Now, the 1940 pattern I used for this nightgown’s post was so quick (a few hours), easy (only four pieces), required little fabric (just under 2 yards), and fits and feels wonderful to wear with the bias-cut skirt working in my favor. This has the best of both elegance and warm comfort, not to mention it’s new and hand-made vintage. I am totally hooked…I want one of these to wear every night!
Now you’ve also got a glimpse of our tiny 1930’s era bathroom, too. Lucky for me I like lavender so much, since I see it every day! We are proud to be one of the seemingly few homes in our primarily 1930’s/1940’s era neighborhood which still has many original features, especially in our bathroom. We have lavender swirled Vitrolite tiles, powder grey/blue painted walls, and black and white tiled floor. Odd combinations of colors were a popular craze starting in the late 1920’s…at least we don’t have colored fixtures, too! Anyway, this architectural chat should postponed to get to “The Facts”.
FABRIC: 100% cotton brushed flannel in two prints – just under two yards of a purple and green floral with an aqua background, with an extra ¼ yard of a swirled purple print.
PATTERN: Simplicity #3508, year 1940 (…this was such a lucky buy on Ebay, one of those where nobody bids and you get it for the dirt cheap starting price!) By the way, look at this year 1940 Hollywood #544. This Jane Wyman pattern is just about an exact copy of Simplicity #3508!
TIME TO COMPLETE: From cutting out to finish took me about 3 hours. It was finished on February 27, 2015.
THE INSIDES: raw but nicely stitched over
TOTAL COST: These fabrics were bought so very long ago (maybe 10 years back) from Hancock Fabrics, so I’m counting this as free.
This nightgown is a great example of a small niche in the decade of the 1940’s – pre-WWII times. The fashion from 1940 to 1941 (and maybe 1942, for a stretch) has a very unique style in my eyes. It shows strong influence of the styles from the decade before, the 1930’s, so much so that some early 40’s designs can be similar to as far back as about 1936. Yet it is still the 40’s, too, so that lends its own touch to the styles. The popular Tyrolean/Slavonic/Germanic designs of the late 30’s and the Latin American prints which spawned of the “Good Neighbor Policy” of 1933 was another way that influences carried over into the 40’s as well with such items as pinafores, peasant styles, dirndl-style embroidery, fun border printed skirts and dresses, Xavier Cugat music, novelty brooches, and unusual hats (like turbans, for one example)…this is just a short list. Besides, rationing wasn’t in effect as of yet in America and our country’s designers were just beginning to hold their own against the other leading fashion headquarters of the world. I see in the early 40’s a glimpse of something similar but yet apart from the rest of what 1940’s fashion became – it also gives me the sneaking haunch that had not WWII changed and influenced so much, the decade could have looked much differently than we know it.
My duo of matching/contrasting flannel fabric has been something I’ve been holding onto for about a decade because I liked it so much and also because I wasn’t up for sewing nightwear until just a few years ago. My original intent was pajama pants, but no – I have enough of them. One night when I was in the strong mood to wear a vintage nightgown, I had finally felt I was holding onto the flannel long enough and laid my pattern and fabric out in the early evening and started cutting. By late night (our bed-time) I had a new, glamorous nightgown. Oh, thank goodness for uncomplicated, easy satisfaction projects! I love it when you can start something and wear the results on the same day! So many early 40’s patterns were labeled as simple-to-sew, when really they are complicated by today’s standards. This nightwear pattern has no easy-to-make labeling, but it is truly a breeze.
Perhaps the other best part was the fact there is no need for any closures. No zipper, no snaps, no ties – the bias gives enough, and the pattern sizing is generous enough that this just slips on over my head. No facings, either – just bias tape finished edges all around. How easy can it get? The flannel body keeps me warm enough, the sleevelessness gives me just enough to air to keep myself from being too hot, and if I’m chilly I’ll just cover up with my housecoat…another tease of what’s in the next post, sorry!
Before I forget to add fitting facts – this nightgown did run large (like 2 sizes too large). Granted some extra room comes from the double facts that flannel gets larger as it is washed and worn besides extra ease needed to make this a slip-on gown (as I said above). However, I sewed a full front and a full back and then sewed the side seams as my last step so the fit is easily adjustable. The nightgown pattern also was originally oh-so-very long. I graded out about 10 inches from the length. I do not need to trip all over an evening gown length just feel elegant in my bed wear!
The bottom hem band of contrast was added not so much to extend length (although I didn’t mind) but just to provide a matching contrast which would pair well with the tie belt. I didn’t want just the aqua floral, not that it isn’t so pretty, but I had kept the purple swirl flannel paired with it for such a long time the two deserved to stay together.
As lovely and simple and quick as this nightgown was to make, this was (at the same time) another unprinted, hole-punched markings pattern where the pieces do not properly fit or match together. The bodice needed to be cut smaller to fit into the skirt and the gathers didn’t seem quite equal, and I think this is mostly due to the skirt portion. I have read before that unprinted patterns can be off-balance, because of the way they were made. Large stacks of many, many layers of sheet are die cut and if you get one towards the bottom, its markings can be off – and anyone who sews knows that every little variation counts towards a successful finished garment. Oh well, this is a simple enough design it was not hard to adjust, so I’m sorry if I seem like I’m complaining…just making an observation for you all just in case you happen to snag this pattern for yourself, too…and do buy it if you see it, and if it’s not too much for your wallet!
There are plans in the works to use this pattern again, believe me. Out of all the patterns in my collection, this one is a true asset in the way it is a good base, a tried-and-true starting point to tweak and draft off many other variations, especially some of the ever popular 1930’s era bias gowns. Just imagine how this design would hang and drape in a lightweight sweater knit or a silk charmeuse for a dress version! My immediate ideas for re-incarnations of my nightgown’s pattern are Simplicity #3835 (year 1941), one of these 1933 dresses or this 1935 evening dress (both from “Eva Dress”), and even this super elegant Butterick #5413 (year 1933).
For now, I just hope to make the bed jacket at some point to keep the chill off my arms when I don’t want the weight of a full housecoat. I did make a bed jacket from a different pattern, modelling it over this post’s nightgown (link to see it here), but this was actually a present for my mother.
Stay tuned for the next installments of my vintage nightwear reveal. Now, to decide which night wear project for myself to tackle next. I actually have three in the queue – will you help me pick the next one?
This is a complimentary layered outfit of three pieces, working together as an effortless way to stay warm in the cold a la early 70’s style. Three of the major pattern companies contributed towards my outfit – Simplicity, Burda Style, and Vogue – to spread out my contributing sources.
This is also one of those fun oxymoron outfits where I find alternative ways to wear garments taken for granted…my shirt dress is actually worn like it’s a coat. It is a heavy denim, flowered and all. It’s like I’m bringing the flowers from out of season to the sleeping winter landscape. My turtle neck top is not at all dated but actually quite enticingly fashionable, and it’s neither fit on its own for the very cold temps, mostly just a perfect layering piece, especially with its short sleeves. The jeans were made by me as well, from a pattern of a different era, to be blogged about in their own post in the future. I can even eliminate the extra layers underneath and wear the shirt dress with my vintage 70’s heels and a neutral belt for a dressy outfit at the other end of the spectrum (seen down later). Yeah, I love to mix things up and break boundaries – a least a bit when it comes to the clothes I make!
This outfit is made for Allie J’s “Social Sew” for the month of January 2017 “New Year, New Wardrobe”. There isn’t much I intend to change for this coming year’s sewing, besides filling in new dates of historical sewing (teens era, and early 20’s), and continuing to try new techniques and having fun doing unique and meaningful outfits (loose resolutions, I suppose). I feel that this outfit applies to the monthly theme because the dress was a U.F.O. (unfinished object) as of 2016 fall, and I was starting new tackling it and finishing it so as to be happy with it. This outfit further applies to the monthly challenge because I have been meaning to make these items for a while, like since 2014 for the dress and turtle. 70’s style is still “in” so I guess there’s no time like now to just get around to a long intended project.
FABRIC: The Dress: a cotton floral denim which may have a hint of spandex; The Turtleneck: a lightweight polyester jersey in a blue navy, leftover from my 1971 “Bond girl” dress; The Belt: a thin jersey backed vinyl, grooved and a bit weathered like a skin, in a cherry red cranberry color
PATTERNS: The Dress: Simplicity #5909, year 1973; The Turtleneck: Burda Style #114 A, from December 2014, online or in their monthly magazine; The belt: Vogue #9222, from 2016, View E
NOTIONS: I had (believe it or not) everything I needed to finish all this on hand already without needing to buy more than an extra spool of tan thread. I used three different colors of bias tape (whatever was on hand), used a vintage metal zipper for the back of the turtleneck, and used vintage buttons and the belt buckle from hubby’s Grandmother’s stash.
TIME TO COMPLETE: The dress was halfway made in October and November of 2016, and completed this year, finished on January 20, 2017. I’m guess-timating a total time of about 25 hours spend on the dress. The belt was made on October 21, 2016 in only 3 hours, and the turtle top was made one night the week after that in about 3 hours, as well.
THE INSIDES: The dress is nice inside with bias binding, the top is left raw for the inside edges, while the belt has cut raw edges, too, finished off in my own special way (addressed down below)
TOTAL COST: The vinyl was a remnant bought on double discount at Jo Ann’s Fabric store – a total of about $4 for one yard, so there’s plenty left over for a purse, yay! The other fabrics were something on hand for so long I’m counting them as free. Thus, between the vinyl and the thread, this outfit cost me about $6. Sorry, allow me to pat myself on the back for this one.
I am so, so happy to have finally found a use for this floral denim. It had been in my mom’s fabric stash since I can remember, then she gave it to me for my stash and I had no intention or even remote idea of what to do with it for so many years. There were 4 freaking yards of this dated-looking flowered denim that could be from the 80’s for all I know. So when I happened to notice my Simplicity #5909 1973 pattern having a similar looking fabric, I was sold. Choosing the ankle-length, long-sleeve option was a give-in to use up all of the bolt, as well. I might have been taking an easy road to follow an existing drawing, but – hey, at least I found a use for what seemed doomed to be an ugly duckling in my fabric stash!
Making the shirt dress was technically not hard – it fits me great out of the envelope with no real fitting. What was difficult about it was dealing with the large amount of such a heavy fabric. Marking all those pleats and buttons all the way down was exhausting. Besides, the stitching required to sew this fabric hog together was boring, straight, and monotonous, especially when it came to the long side seams. Just trying to stitch on it was its own problem. Half of the time it took me to stitch was I think spent throwing and pushing around fabric so as to even get it laid out right just to sew on it. I’m not meaning to complain, just wanting to throw this fact out to anyone who is thinking of making a 4 yard denim shirt dress, too – you’ve been warned what you’re in for. Like I say, though, it’s worth it in the end.
I’m loving the features of the shirt dress. Of course it has the large collar lapels that are so traditional on 70’s clothes, but this collar also has an all-in-one collar stand. There are separate chest front and back shoulder panels which keep the upper bodice flat, without the pleats of the bottom 2/3 of the dress. There are long horizontal knife pleats in pairs all the way down the hem, four in both front and in back. The extra wide cuffs have a lovely double button closure, with a continuous lap opening (for which I merely used pre-made bias tape rather than self-fabric). A baker’s dozen of camel-colored vintage buttons complete it.
This dress pattern’s long version was definitely designed for a woman with weird proportions – tall women with petite length arms. I am about 5’3” and I had to do a 4 ½ inch hem to have it fall at my ankles. However, the sleeves were so short, and I had to add one extra inch in length to make them appropriate for my arms (and my arms are a ‘normal’ length, not petite).
The denim is soft with the little bit of stretch, but still heavy, so in lieu of interfacing I chose only to use a medium weight, non-stretch 100% cotton. It stabilizes the cuffs, collar, and upper back and front bodice panels with making them stiff. I do have to laugh at how much of a rustle my dress makes when I move. The fabric is not a heavy of a denim as my husband’s Levi jeans, but it sure does make a heavy, sort of muffled static “white noise”. Definitely not the best dress for sneaky espionage work…no possibilities of quiet stealthiness in my denim coat-dress. I’m just doing some silly reflection. It is a great winter dress! Someone that recently gave me a compliment on my outfit commented that you just can’t find anything like this to buy – yes, that’s why I sew!
The other great chill buster that keeps me cozy is my lightweight turtleneck top. I figured the turtle pattern would work well with my 70’s dress because the Burda model picture looks very late 60’s with the equestrian-style helmet/hat, her long hair, and A-line pleated skirt.
This was so ridiculously easy to make I couldn’t stop voicing my amazement for a while after I finished – just a few hours and voila! Of course, my top was made up more quickly without having the full long sleeves, but even still this is a great pattern. I barely had a yard of the interlock knit leftover and I was able to make this!? I’m so tempted to whip up a dozen of these turtles in every variety – quilted knit, sweater fabric, sheer fancy stuff, and more especially I’m hoping to find a funky printed knit for a true Space Age look to go with my ’67 jumper.
The long sleeves are something I do love, but they have more of a 1930’s look so I might end up using them as a replacement on an old-style elegant Art Deco dress in the future. I will say the body runs small – I almost wish I had went up a size…but hubby’s happiness with how it looks on me makes me say, “Nah, I picked the right fit…”
The back neck exposed zipper is sort of mixed feelings sort of thing for me. I love the modern way it looks even though it is a vintage 50’s or 40’s era notion. I do not enjoy how it almost always gets caught up with my hair even though I close the zip with my head upside down so my hair isn’t in the way. Oh well, win some, loose some – I cannot think of a better solution so I’ll shut up about it. Hint, hint – when in an adventurous mood, you can even wear the back neck unzipped and the stand-up collar lays flat on the chest for a completely different appearance to the top! O.K., now I’ll move on.
Another amazing thing to this outfit is the belt. Look at that asymmetric loveliness! It’s freaking awesome. I look at it and can’t believe I made it, it seems so professional. This is a really great design and it has wonderful shaping for around the waist – this is not a straight rectangle sort of pattern. Belts might seem hard to make or even mysteriously different and even intimidating (working with vinyl or leather), but all of that is blown away by using Vogue #9222. The instructions are clear and all the designs are so neat I intend to make all of the views available. In your face ready-to-wear, store bought belts…I can make something better than you, you are often only half belts, with elastic across the back. My belt is all belt, 100% my style and my make!
My only caveat is that I wish I had extended the length of the belt to go up to the next size. Cutting out a paper pattern on a slick vinyl leaves room for shifting and a small margin of error. In order to get the two belt pieces matching together, I had to trim them down slightly, and thus I ended up with a belt that was a little smaller than the pattern intended. This is why I recommend adding an extra 4 or so inches to the belt length going around the waist. You can always cut some off, but you can’t add it on, especially when it comes to vinyl.
I was able to machine stitch most all of the belt, but I used a tiny ‘sharps’ sewing needle to hand sew on the buckle and the belt loop. I did not want to test four layers of vinyl on my machine so I did not fold in the edges of the seam allowance. I left the edges raw and tried something experimental. Taking a hint from store bought belts, which have some sort of seal along the raw edges, I used a matching colored nail polish (yes, fingernail lacquer) to paint over the edges of my belt, both coloring and sealing them at the same time. It’s a rather permanent option, nevertheless I did see some faint rubbing off of the nail polish onto my dress after one wearing. So – it’s not perfect, but an easily available solution that I am happy to see worked out so well.
This was the first time making grommet eyelets and I think they are a success. I have tried before again and again to get metal grommets to turn out right, but that was experimenting on fabric (for a corset) and this time they came out much better in the vinyl. It was like a boost of confidence I needed, feeling that ‘o.k. I can do grommets, I understand how they work now’ so maybe, eventually I can have them turn out well for my future corset. Does anyone have any tips to share about the keys to successful metal grommets or even what to avoid? Should I add some glue to the back (to keep them in place) and can you replace one if it gets wonky (or does that not work)? Just wondering.
I hope this post has inspired you to see outside of the traditional box for sewing and making every day-type of clothing items. There is so much room for inventiveness when you make things yourself, the sky’s the limit! A dress that is a shirt-dress worn like a coat, a belt finished-off with nail polish…a girl’s gotta do what she has to do when she gets an idea with a sewing machine, some material, and extra time on her hands! Yup, I live on creativity and can’t stop.
Do you, too, have any big hopes for making some neat things this year, something which gets you all amped up just to think about it? Do you too have some ‘ugly duckling’ fabric around just waiting for the ‘right partner’ in the form of a pattern to complete it (or did you ditch it)? What is your favorite way to put yourself together to combat the cold weather?