OO7 Halston-Style Maxi Dress

Allie J's Social Sew badgeWhen I saw Allie J.’s monthly “Social Sew” theme of August being “Hot, Hot Heat”, I picked up a project waiting in the works to sew up and finish.  I think my garment perfectly fulfills each word of her challenge theme – what else could be doubly ‘hot’ more than a 1970’s, Halston-style, “James Bond girl” movie dress, with the ‘heat’ being the weather outside that necessitates a maxi sundress.

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I have sewn plenty of garments from year 1971 patterns, but here’s another for this post that rather looks like a 1930’s does 1970’s.  My dress is directly inspired from a dress worn by the “Bond girl” Barbara Bach in the 1977 movie “The Spy Who Loved Me”.  Now that I’ve got this dress, all I need is some secret gadgets, a little intrigue, the classic theme music playing in the background, and a handsome chap in a suit.

Barbara Bach - close-up“Just call me Agent.”  Barbara Bach (“Agent Anya”) marked the beginning of a new type of “Bond girl”.  Post Barbara Bach, I love how Bond girls seem to share the same similarities of lovely garments, kick-butt moves, assertiveness, and thrilling action as my other favorite screen girl, Agent Peggy Carter.  Elegance doesn’t have to be prissy…it can be strong and self-empowering, especially when you have made your own outfit for the part!

Butterick 6671, August 1971, junior's-compTHE FACTS:

FABRIC:  Lightweight, 100% polyester interlock knit

PATTERN:  Butterick #6671, from August of 1971

NOTIONS:  Navy thread (which I had already) and 3 packs, same as 3 yards, of silver sparkle decorative elastic, bought from JoAnn’s Fabric store.

TIME TO COMPLETE:  My dress was finished on August 15, 2016, after a total time spent of maybe 10 hours (I’ll break down this time amount in an explanation down below).

TOTAL COST:  This interlock knit is cheap and cost even less with a coupon, but I did need a couple yards.  The three packs of elastic were a few dollars each – so I suppose my total is about $10.  Not bad at all!!!

I find it so curious how my dress is from a ’71 pattern and the only thing was the neckline which needed to be changed to make it up like a ’77 Bond movie gown.  Vogue even cameVogue 8449, early 70's dress out with similar jeweled neckline maxi sundress in 1972, too (#8449), more alike than my own pattern to the Bond movie costume.  I usually think of vintage movies as keeping pace with fashion or at least starting a trend, but here is a certain design out there offered 5 years before being made up for a noticeably major movie series.  Halston’s style of minimalist, elegant, body complimentary garments for women was already popular and available to the public by the date of this pattern, and well established by the release of the Bond movie “The Spy Who Loved Me”.  So, while I think the outfits of the movie are just awesome, I do not see them as cutting edge (what I would expect from a Bond movie) as much as my pattern is.  I also find it interesting that this pattern is in juniors’ sizing, appealing to teenagers.

The juniors’ sizing is something I had to adjust at the cutting/layout stage, but as many of my 70’s patterns seem to be in these shorter teen proportions, I knew what to do.  I add in 2 inches across at a line drawn horizontally across the chest somewhere between the end point of the bust line (or slightly above) and the bottom third of the armhole.  The chosen line to add in the two inches is then added in around the back to completely bring the bust, and all the subsequent proportions of the waist and hips, too, back down to normal misses’ adult size.  (See my first junior’s dress.) As this is a sleeveless dress, my add-in line was at the bust line point over to the point of the side seam.  Sure this makes the hem a bit longer, but a wide and thick hem helps to slightly weigh this dress down.

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As my dress is a knit, I eliminated the back center zipper.  However, I had problems fitting the back dipping arch of the dress and I can’t say if it’s because of the pattern, or the way I sized up, or from eliminating the zipper.  It was really baggy!  I added in three darts on each side of the back, which sort of mars the smooth simplicity I was hoping from this dress, but I would rather have a good fitting garment.  The high halter neckline of the original pattern was also cut down to just above the bust line and out over to the edge.

Movie still - back viewMy chosen fabric of the lightweight interlock was a great choice, if I must say so myself, but a surprising one.  Until now, I’ve only used this kind of interlock as a lining to back other fabrics as I am making a garment, so this is a first time for the interlock to be worn on its own.  I am quite pleased with it.  Polyester is my least favorite fiber material, but it is most tolerable to me in this light interlock form.  It creates hardly any static, has a nice flowing ‘hand’, is breathable with its tiny waffle weave yet silky in finish, super sheer by itself but opaque once worn, and with a stable stretch.  I’m supposing the original movie dress is either a rayon or a silk jersey knit.  However, this interlock was on hand in the house in a perfect matching color (a very dark blueish navy) and has similar but slightly less body-clingy properties…so it was used, and I’m glad I did!  Yay for stash busting!DSC_0215a-compfull dress shot -

The thigh-high slit helps amp up the hottie factor.  It also makes the skirt portion of the dress just beautifully move and flow around me as I walk as if it has its own independent mind and its own places to go.  I see in the Bond movie that Barbara Bach’s dress is the same way.  Her dress however has two off-center front slits up to the thigh whereas mine only has one on the left side seam.  At first I had it as a knee-high slit, but that just seemed to reserved compared to the rest of the dress, so I made it higher (but still not as high as the pattern called for)!  I can’t help but think of the ZZ Top song, “She’s got legs…”

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The neckline is pretty much the highlight of the dress, so I took extra pains to get it right. Now, of course the movie dress has diamanté straps and neckline decorations of real crystals, probably.  Mine is more of an everyday girl’s version.  The metallic elastic would not be sewn on by my machine, and neither would my machine tolerate metallic thread no matter what I tried.  (It was getting stuck in the tension feed.)  Thus, although the dress itself only took me just a few hours to make, hand sewing on the metallic elastic took me many more hours than that.  Argh!  Hand sewing is something my hand, shoulders, and neck cannot take without making my body miserable, so I did the sewing in stages.  As I’ve said before, the promise of the end look always gets me through the hard parts of finishing a garment.

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So does anybody know of a metallic thread that is decently sturdy?  I used a Coats and Clark brand and even hand sewing was hell with it.  I had to sew with little short lengths because after a dozen stitches the thread would fray and separate.  Is Gutermann better?  Or is there some brand better yet?  Or do the modern offerings of metallic thread just…well…stink, and should I try vintage metallic thread?

Making this OO7 dress makes me ponder a few things.  Again, this dress is one of the many I’ve sewn which amazes me at how easy and inexpensive fancy gowns are when self-made.  In the stores, I’ll bet buying a gown remotely like this, which probably would not fit half as well, would cost a fistful of dough to buy.  Again, another vintage pattern shows me how patterns, designers, and movies all have been so interrelated.  Again, I see film fashion and iconic designs transmuted to the public is generally so lacking nowadays (with a few occasional exceptions).  Glamour is easier to wear and more available in the hands of those who create with fabric than the greater populace reliant on ready-to-wear realizes.

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For more movie images, see Barbara Bach’s fan website here or ‘Classiq.me’ for a review of the movie fashions

“Atomic Jacks” 1955 Set of Redingote Jacket and Dress

I’ve sewn it again…here is another look-alike to the fashion of the corrupt character of Whitney Frost on Marvel’s TV show “Agent Carter”, Season Two.  This time I have an outfit to show you of a dress and redingote jacket, inspired from episode 8 “The Edge of Mystery” to be precise.  I am so proud at how this outfit turned out better than I’d imagined it for myself, and it’s so wonderful to wear!  I even found an eerily similar silk scarf and leather-like driving gloves, all vintage, to properly complete my Whitney outfit.

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Both garments are absolutely great, however the dress was a bit overwhelming to make as it had a huge amount of ease on top of generously large fabric-hogging pieces.  The jacket is so amazing I want to convince everyone they need to brace themselves for the challenge of making this pattern – the most lovely design of outwear I could possibly want.

DSC_0860-p-compBe prepared for some dramatic poses, and a disturbing crack down my face opening up a force to be reckoned with…just like the villainess who wears my inspired outfit.  Yeah, it sounds weird to put myself in the shoes (through an outfit) of a megalomaniac with powers from another dimension, but Whitney Frost, like many women, was on a quest for purpose and respect…she just went down the worst path imaginable.

THE FACTS:

FABRICS:  The Dress: a Gertie brand 100% cotton sateen, The Jacket: a 100% Kona cotton for the exterior, a basic poly lining for the inside, a buff poly satin for the pocket flaps and belt, and a 100% cotton for the bias binding. 

PATTERNS:  The dress comes from an original 1955 Advance #7095 pattern and the jacket comes from a Vintage Vogue #8875, a re-print of a year 1955 and 1957 pattern (originally V#4771).  The pocket flaps were added on from an original year 1948 pattern, McCall #7354. McCall 7354, yr1948 & Advance 7095, yr 1955-comp

NOTIONS:  I had the interfacing that I needed, as well as the dress’ thread, zipper, and packaged bias tape, but the jacket needed thread to be bought and I made my own bias tape.  The buckle is from my stash and it is vintage carved shell.

THE INSIDES:  All nicely finished.  The dress has all bias bound seams and the jacket is fully lined.

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TIME TO COMPLETE:  Both the dress and the jacket were a bit time intensive.  My dress was made in about 10 hours (not counting maybe three hours for cutting and laying out) and done on June 8, 2016.  The jacket was made in about 30 hours (with about 4 hours for cutting and laying out) and finished on July 1, 2016.

TOTAL COST:  The dress took so much fabric (5 something yards) I’m not sure of the total anymore, but I think it is about $25 to $30.  The jacket was less because half of my supplies (the lining, satin, organza, and some thread) were on hand so my total for 4 yards of Kona cotton on sale with one yard of a remnant for bias tape comes to a total of about $23.

Whitney at atomic siteFirst off, I need to vent…this is not a costume, in the particular definition of being something for cosplay, stage, theater, or an out-of-place garment.  It is clothing I want to wear in my modern living (the jacket is something I needed, actually) and was merely inspired by something on television to go the extra mile for a great outfit.  That’s good, right?!  I kept my outfit similar in shape, color tone, and style, but it is according to my own taste and personality because I intend to wear these pieces in my daily life, such as out to dinner, vintage shopping with friends, or to church.  However, I will admit this would be perfect for the next in town cosplay event and it is fun to understand a character by stepping in her shoes, besides feeling like I could be a part of my favorite television show (see the television still at left with Wynn Everett playing Whitney Frost).

To top off the irony of my rant, the Advance pattern envelope actually calls it a “costume dress”…don’t understand why.  This is an original pattern to make what looks like a very normal mid-50’s dress, albeit quite poufy.  I’m assuming the use of ‘costume’ here is meant in the term of “fashion of dress appropriate to a particular occasion or season or a set of garments to put together an outfit.” Honestly, this all confusing grammar particulars.

Of all the weird things I’ve found in pattern envelopes, the Advance pattern had double pieces, as if someone bought two.  Why just double of the bodice, the skirt side panels, and collar pieces?  To further complicate the mystery here, the skirt double pattern pieces were cut in half, like the previous maker intended on cutting those on the fold, and sliced accordingly.  All the pattern pieces are the same size as each other, so why buy another just to cut two pieces in half?!  After all the unnecessary pieces, the pocket top band is missing, and there is one of everything else.  Was somebody making a lining?  Oh the stories these patterns could tell…

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I expected the dress pattern’s fit to be normal or at least semi-generous, but this Advance dress had the most unexplained extra ease of any pattern I’ve made.  It was like a gi-normous fabric monster.  The skirt pattern pieces were so huge, I had to taper off several inches on each side of all of them and they are still incredibly full.  Several inches had been taken out at the bottom hem because it seemed evening length long, and also to help fit everything in.  I had bought 4 yards already and still realized I did not enough for all of the pattern pieces.  To top things off, I miss-cut on one piece and had to frantically search amid town to find the last remnant so I could finish my dress.  As it turned out, I hacked off 6 more inches from the hem to get my dress the length you see and even sewed up the duo of giant pockets (which I didn’t add), so I guess I sort of wasted a bit too much fabric here.  The pattern I had was technically in my size but I did add in 3/8 inch so I could have a little “just-in-case room”, but I ended up taking out a few inches all over any way, distributing it between the panels.  The empire waist down is still kind of generous on me but I can only take so much in before I give up on reaching that “perfect fit”.  What was the deal?! DSC_0857-comp

For all my saying how huge the skirt pieces were, this dress is such a feminine, swishy, perfect-for-twirling outfit made even better with my full ruffled petticoat underneath.  My petticoat does not remotely fill the skirt out though.  The wide, oval, shoulder-to-shoulder neckline does balance out the vertical seamed skirt, compliments the waist, and creates a lovely 50’s silhouette which I think works for me.

The ‘anchor’ of the dress is of course the dramatically subtle collar-like neckline.  It was quite fiddly, time-consuming, and difficult compared to the rest of the dress.  The combination of a curved, interfaced, skinny strap, faced with another piece and attaching to the full dress with four gathered sections, too, was stressful, requiring lots of pins and slow stitching.  The front tabs end at the same place at the neckline, which was also tricky, then flipped under one another

Whitney and Thompson making a deal-croppedWhitney’s dress had a remotely similar neckline collar, except hers was folded over (free hanging) and tied in the center front.  Her dress has quarter sleeves and center bust gathers while mine has is neither, but our dresses do share the same skirt shaping.  Also, her dress was a solid purple in some sort of jacquard (in maybe rayon or silk) while mine is not, but I prefer the printed cotton sateen to stay true to my taste.  Besides, the children’s’ toy jacks that are on my dress are a nod to the Agent that aims to get on Whitney’s “good” side to reach what he wants – Jack Thompson.  Furthermore, my outfit is titled atomic because a faulty A-bomb is the catalyst for the events in “The Edge of Mystery” episode and the reason both Whitney and myself are in an empty, forgotten dirt patch.  Hence, the “Atomic Jacks” title is now explained.

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Advance 8296, cleaned upThis style of dress seemed to be a common design around 1955 especially with the Advance line but also seen through other companies.  For some examples, see Advance 8296 (pic at right) or view Advance 6915, Advance 8047, Butterick 6988, McCall’s 9647, all 1953 to 1956.  I find it funny that so many dresses look alike in a handful of years almost to the point of being boring.  One could buy only one of this style dress and tweak it to copy all the other releases.

Compared to the neckline, the dress from the empire waist down was just single layer DSC_0933a-compfabric and incredibly lightweight, so I unhappily found out it liked to creep up on me and wrinkle in terrible horizontal folds around the natural waistline.  I had to get creative to combat this bad behavior of my dress.  What I ended up doing was sewing down about 8 inches of skinny ¼ inch ribbon to the dress starting at just below the waist to below the waistline, with a long tail of ribbon hanging down tied at the end to a weight of a ¾ inch washer.  I did this in three places down the two front skirt seams and down the center back skirt.  The weights don’t really get in the way of my legs because I keep them over my frilly ruffled petticoat and they are totally removable because they are tied to the ribbon ends.  The weighted ribbons help the waist stay smoother instead of wrinkling up and nicely keeps the dress in place on my shoulders.  This is probably the most unusual fashion fix I’ve come up with but it totally works.

Now, the jacket is an awesome pattern which makes for a silent showstopper.  A redingote jacket is guaranteed to be awesomely special.  The 50’s were the hurrah for the redingote, although you do still see a few in the 60s, too.  Wearing a redingote is the most fashionable way to have a coat on yet still show off your clothes underneath, besides being so complimentary to the waistline.  (More history on the redingote can be found on this ‘Witness 2 Fashion’ post.)

For this pattern, everything matched together beautifully, the fit is engineered brilliantly,DSC_0771a-comp the sizing seems right on, and it is nicely unique.  Yet, it is tiresome to make and quite challenging…there are eight tricky corners in total to make.  (See the pic at right which shows three views of the angled corners, inside and out)  Once I started on the lining I wanted to give up on the jacket and swear I couldn’t sew another one of those funny angle/tight point corners.  I’m not even talking about the wraparound collar, either.  Yet, as I was making this, I could tell I was going to love it, and the promise of a rocking outfit (as well as a very rainy coming weekend) gave me the guts to suck up my distaste and finish the jacket.  I’m so glad I did.

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There are just a few things I did to the pattern to make it slightly easier to sew.  I did not change any of the design (besides shortening the jacket hem by 4 inches).  My ‘tricks’ here merely have to do with construction changes to achieve the same result as compared to what the instructions show.  First of all, I disagree with the need to do so much cutting down of all the curved seam allowances.  I did not see any noticeable restriction to the sleeve curves as they were and I think paring them down might make a high tension spot a bit less stable.  A little snipping maybe but that’s all.  It is still very important, as boring and repetitive as it might be, to stitch and re-enforce all the points and corners you’re supposed to and, yes, you do stitch the stabilization squares over the corners on the right side.  I didn’t disregard these points but I did use sheer organza instead of self-fabric for the re-enforcement squares (much lighter but just as strong).

Furthermore, I did not use any interfacing anywhere, and also left out the extra add-on contrast collar.  The facing for the jacket’s front edge was sewn to the lining’s outer edge to make a one-piece inner coat.  This was then sewn, as one ‘inner’ jacket to the ‘good’ outer jacket, along the front edge, from one hemline, up and around the collar and back down to the hemline.  Now where the jacket facing joins the lining the meeting is much more stable, strong, and smooth…besides saving me a butt-load of hand stitching!  I know this is sort of ‘cheating’ (so I’ve heard), not very time-committed, nor couture, nor vintage correct.  Hey, when sewing is a chore it doesn’t give personal enjoyment, so anything that saves one’s creative sanity is good in my book.  Besides, ready-to-wear has got nothing on this coat!

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Perhaps the best part (besides the awesome pocket flaps) was taking the extra step for self-made bias tape.  I know, I might sound nuts, but making bias tape is incredibly fun – a total mood-lifter for me, especially with my Dritz tool won from my entry to the “Butterick to the Big Screen”.  Once you have made and used your own bias tape, it is quite hard to use bought pre-made bias tape…no kidding, you’re ruined, spoiled.  Self-made bias tape is 110% better especially when it is made to match out of fabric better than the stiff poly-blend available in the stores nowadays.

To make my jacket truly stand well in rainy weather, I sprayed it down with some “Protect-All” fabric and shoe coating.  This doesn’t stiffen the fabric at all, nor does it make the water bead or roll off, it only retards liquid from soaking into the fiber.  A whole can was used to spray my jacket with one generous coat of “Protect-All”.

Dr Wilkes flying into the rift, my look-alike combo

Did you ever have a film star for which you just had to have her wardrobe?  Well, I guess Whitney Frost is that person for me.  However, I believe I am not just making for myself her fashion.  I also try to put my own touch into it to make sure I feel like “me” in it.  Besides, since I do love purple in all its shades, and this is the color Whitney wears most often, I find it hard to resist.  No, but really – I do promise to make garments in other colors for your sake, and more Whitney Frost outfits for my sake!

If you’re interested in learning more about the vintage methods of make-up that were used to “make” Whitney Frost, see this article on ‘World News’ – and don’t forget to click on the full page option through the L.A. Times!  There is also a photo galley for this particular episode of “Agent Carter” (which you can find here) if you’d like to compare our outfits or just take a look!

 

“Saddle n’ Lace” Sleeveless Tunic Shirt

Howdy!  Here’s a loose and comfy western-themed modern shirt, made from a vintage novelty fabric with a little bit of lace, a little bit of denim, and a secretive bit of skin for the sun to shine on.  To go with the subtle motif of the shirt, we chose an equally understated western scenery of dry desert cacti and succulent plants.

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This is the garment of oxymorons – I’m wearing a shirt, just a really long one adapted to almost be a dress, and although it has a collar that comes up around my neck, I’m not all that covered up…my back and chest are showing.  The idea associated with a saddle and its gear, along with blue jean material, is one of general rugged toughness, yet there is a good amount of delicate sheer lace to add contrast femininity.  A front placket of brass buttons isn’t completely working, actually, and old fabric goes to make something modern.  I guess it’s merely a case of “opposites attract” or my enjoyment of making my own clothes…probably both!

THE FACTS:

FABRIC:  The printed fabric is a vintage cotton/poly blend gabardine, the lace is a poly polka-dot ivory, and the denim is a medium-wash cotton.  The denim leftover from my arch-waist 1940’s jeans, the lace came from my untouched stash of laces, and the printed gabardine was bought as a remnant at a vintage market booth.Simplicity 1422 cover pic

PATTERN:  Simplicity #1422, year 2014

NOTIONS:  I had all the interfacing and thread I needed, but after a last minute design idea I had to go out around town and hunt down some denim bias tape in a matching color.  The buttons are modern, bought a few years back, and were in my stash of notions.

TIME TO COMPLETE:  This took maybe 8 to 10 hours and was finished on September 9, 2015.

THE INSIDES:  All bias bound or self-fabric covered

TOTAL COST:  I’ m counting the lace and denim as free, so my only cost was the special denim bias tape and the vintage fabric – maybe $8 total.

I had as much fun making it as I do wearing it – very much!  Wearing a tunic is new to me (yes, believe it or not) so I did have some trouble figuring out how to make this and what to do with it, but now that I feel as if I understand how to make it work.

My husband’s workplace was hosting a family “picnic” get together at our town’s zoo, and this was in early fall when the weather here is generally warm, but the breeze and shady spots can become a bit chilly.  Thus, my ‘saddle and lace’ tunic was perfect for the day, besides giving me a reason to sew up a fun, new garment for the occasion.  Wearing leggings underneath as well as the denim collar around my neck kept me from getting too chilled but the open top half kept me cool enough in the warm sun.  It is modern, yet not too edgy nor boring at the same time.  Plus it has a level of nice casual wear that I really enjoy.  I really need more casual wear like this in my wardrobe.

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The fit of this pattern’s blouses is generous and but I tend to think the excess ease looks good here.  The pattern was easy, and everything fit together very well, but I especially love the all-in-one collar, where the neckline stand and the first button are part of the lapel.  I think this designing touch amps up the pattern from interesting and different to quite nice.  The overall lengths seem to run quite long in everything – the sleeves, the waistline, and the tunic hem.  Slouchy is the key here, anyway, so no problem, after all.

I must say my choice of using denim for the button placket was not the best decision, and neither was my choice in buttons, but I made it work.  The denim makes the front placket so thick and stiff, besides being quite a challenge to make button holes in and sew through to attach buttons.  The buttons are working but it is such an ordeal that wears out my fingers I never bother because the shirt is loose enough it slips on anyway.  The bottom band I added prevents my shirt from being fully un-buttoned anyway (the reason for adding the bottom piece along with the further contrast it gives), which is why I think of this as more of a tunic.  It was either add the contrast or make an arched-side shirt–tail hem, and you can see which of the two I chose.

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My unusual polka dot lace makes me happy.  With a solid or floral version of this shirt, I think a floral lace would work fine.  However, floral laces that I had just didn’t look good to me with the novelty print so I pulled out this dotted lace.  It’s been in my stash for over 10 years, and I didn’t have that much of it.  Working with this soft lace was worse than dealing with silk.  It was so slinky and shifty, as well as having crooked lines of polka dots.  The shiftiness of the lace was one of the main reasons I realized I needed a stable binding for the armhole edges – more denim.

100_6078-compThinking about it, I coined the print as western, but actually the detail of the print is a bit more about equestrianism, particularly English style.  The saddles are drawn quite nice, with a fancy riding whip cross-wise behind it, so it is more like a reference to classy sports riding for show.  Nevertheless, having saddles and their related gear pictured all over my shirt I couldn’t pass up a chance to ride a wild animal…on the carousel!  I chose a warthog and our son rode the giraffe.

There were so many ideas in my head of what I could make with the saddle printed fabric, yet what I did make was what really appealed to me.  Fancy western shirts, tailored with contrast details, or even a fun 50’s novelty-themed skirt were all on my list of possibilities here.  Then, as the indecision kicked in, I was tempted to save it, but it is too cute to hide in a fabric bin.  I suppose most of those who sew have one of these projects that somehow begs to be made up a certain way, no matter other ideas.  I’m glad I listened…

“Blank Canvas” – a 1939 Hollywood Dress and Re-Fashioned Hat

Allie J's Social Sew badgeEvery blank canvas is a starting point just waiting, pleading for personalization and a touch of color.  My creation happens to have soft, white linen as the canvas, and all the colors added (in controlled moderation) for a culturally-influenced dress and hat.  I even made my own earrings from buttons to match!  This is part of Allie J.’s Social Sew #4, theme “Vintage”.

Mock embroidery, courtesy of some appliques, a wildly striped scarf belt, and my bright coral “Chelsea Crew” T-strap shoes liven up a white dress.  Subtle features and lots of bias cuts take the backstage to complete the dress.  My Tyrolean-style, dome-crowned straw hat was another successful experiment in more modern hat re-fashioning.  Together, I am again finding myself loving the year 1939 fashion – part 30’s and part 40’s combined into one lovely and comfy outfit.

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My dress and hat happen to have a wide variety of Hollywood personas related to its making – the famous Lucille Ball is the “star” of the dress pattern I used, an “Agent Carter” character Ana Jarvis was another inspiration, as well as actress Joan Blondell’s fashion, especially as worn in the 1939 movie “Good Girls Go to Paris”.  My more basic sources were 40’s and late 30’s pattern covers plus an extant 1939 garment from Jonathan Walford’s “Forties Fashion” book.  My first 1939 dress (blogged here) was also directly patterned after a dress from his book.

Simplicity #4203 & #2070, Walford book's 1939 Mexicali dressThe “Forties Fashion” book chapter which shows my inspiration dress (Chapter 1) addresses the subject of culturally inspired fashions of the early 40’s/late 30’s.  Much of the Mexican, South and Central American themed clothes, aprons and embroidery from those times stemmed from President Roosevelt’s ‘Good Neighbor’ policy from the early 1930’s, but as the decade went on, Bavarian and Alpine themed fashion and headwear grew popular universally.  I would also like to think of this dress as further inspired by both the classic ‘Guayaberas’ or Havana shirts and the Phillippines’ version (called ‘Barong Tagalog’) that I’ve seen on the men (and some women) in old movies such as “The Lone Wolf” series.  These shirts are made for warm weather and are often of a type of linen, have lovely details, and have frequent floral embroidery.  Havana and Panama were of course known for their straw hats, too.   Thus, my outfit combined several cultural influences for ‘39.

As far as Hollywood influence, 1939 was the year that Lucille Ball stepped out as something 1939 Hollywood inspiration collageother than a mere radio voice and a B movie actress when she starred in the film “Five Came Back”.  One of the main ladies in that film actually wears an identical hat to the one I made!  I’ve also seen similarities to my dress in the other ’39 movies like “Star Reporter” (same bodice) and “Good Girls Go to Paris” where Joan Blondell has similar puffed arched sleeves, Tyrolean hats, and cropped boleros.  Currently, though, Ana Jarvis from the Marvel television series “Agent Carter” Season Two wears many ethnic inspired fashions, and in “A View in the Dark” (Episode 2) she wears a cream colored blouse with floral vine embroidery.  I know Hollywood is not a good example of what the everyday woman might have worn, but it sure is awesome to bring into one’s wardrobe!

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I have yet to decide on what bolero to sew up to match – one with the large collar in this Hollywood pattern for my dress, but I’m tempted to go with Vintage Vogue #8812 for a simpler look that would go with my later 40’s fashions.  Something else for my already long bucket list of future projects!

THE FACTS:Hollywood 1773, year 1939, front cover-comp

FABRIC:  Thick pure white 100% linen for the dress, polyester chiffon for the scarf belt, and a basic modern hat made out of straw for my re-fashion

PATTERN:  Hollywood #1773, year 1939

NOTIONS:  Floral appliques, thread, bias tapes, and two different zippers – all bought last year when I originally planned on making this dress

THE INSIDES:  All bias bound

TIME TO COMPLETE:  maybe 10 to 15 hours to make – it was finished on July 14, 2016

TOTAL COST:  Everything was bought when a Hancock Fabrics store was closing a year ago, so everything needed was bought on deep discount and amazingly just what I needed for a perfect match.  For several yards of fabric and all my notions I think I spent maybe $20.

DSC_0973a-compHollywood pattern #1773 was an amazing find at an amazing deal which was obviously too good to be true.  It was almost like hell in paper just attempting to sew it into a dress like the one on the cover.  First of all, it was in a very large size for which I had to grade out 4 inches besides taking out 4 inches from the length of the skirt hem.  However, the real problem was the fact the pattern was cut into and changed dramatically.  I really don’t know what someone was trying to do but after studying the line drawing and doing much detailed mathematics,DSC_0972a-comp I had to re-draw in about 3 to four inches added for the center front where someone cut out scalloping.  After all this, the instructions were disintegrated to the point they were in about 5 crumbly, delicate pieces.  All the instructions have now been scanned in and saved as files on my computer for a permanently safe copy.  Still, the instructions added to the multiples of problems, although I am glad that at least the tissue pattern pieces were in good shape.  Gotta be positive especially after a (finally) successful result!

Luckily, after all the trouble leading up to making this dress, sewing it was a breeze.  There are no darts in the skirt portion, as both the front and the back are cut on the bias.  The back bodice has no waist tucks and there are only two small ¼ darts at the neckline.  The front bodice has all the details, with its ten 3/8 inch tucks (five on each side) on the shoulders and two simple waist pleats (one on each side).  The sleeves are also cut on the bias and are tightly gathered at the cap tops.  This dress does have double zippers – a decorative metal one down the front neckline and one on the side at the waist.  For some reason the pattern had the front waistline dipping down low.  I sewed it like that at first, but did not like it and unpicked to level out the waist, instead.  The seam allowance gets cut off along the neck and the sleeve raw edges so as to cover with bias taping.  My prized vintage all-cotton ¼ inch bias tape from my Grandmother was used for the sleeve and neckline edges while modern store bought (yucky) poly cotton blend was used for finishing the insides.

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The appliques are my cheat-shortcut to all the hand sewing necessary to do real embroidery.  Anything more than a little hand stitching bring out my carpel tunnel issues.  The appliques I had are actually meant to be iron-on, but I merely stitched it down by hand.  I don’t want to ruin the fabric nor make it that permanent by ironing it down.  The flowers on the design remind me of Mexican Bird of Paradise (yellow), moss rose (pink), and milkweed (orange/yellow).  The two appliques which are on either side of the neckline are the largest and longest of the set – I have four other smaller half size ones that I am tempted to add on the rest of the dress.  I sort of like the simplicity of the appliques just at the neck.  I’m afraid that with the bright scarf belt, more appliques might make the whole dress look overly busy and tacky.  For now, I’ll leave it as-is.

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It was really the scarf belt that started this whole outfit.  I was so happy and surprised when I happened to find this chiffon in the same color tone and striped pattern as the on inspiration dress in the “Forties Fashion” book!  It was one of those great “Eureka!” moments that told me I needed to make this dress.  The belt is one long bias scarf cut from two opposite corners of 1 ½ yards with the raw ends finished off with a touch of fray check liquid.1936  Purple felt hat, FIT museum

My hat started out as another one of those basic one dollar non-descript pieces that I’ve re-fashioned before (here and here).  I started out by making two tapered darts about two inches apart up the crown where I chose the back to be.  Then I brought those two darts together in a tuck that extended into the brim and topstitched the excess down.  A light steaming from and iron as helped further shaped the hat.  The darts shaped the crown while the tuck brought the size smaller so it would sit higher up on my head and have that cup-like center top to the traditional ‘cone crown’ of a Tyrolean Hat (like the purple one at right from FIT museum).  To keep my hat on my head, I took a ribbon and knotted it together at the sides and used an upholstery needle to wind it down and through the straw so I can tie the hat around my hairstyle.

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This outfit so completely reminds me of some sort of summer resort wear, something meant to keep one looking great and moving comfortably in searing temperatures, and…yes, this dress does fit that bill!    I tested this out, as the day on which I wore it for these pictures was extremely, oppressively hot.  Linen is a super sweat wicking fabric, yet it kept me cool.  The linen kept absorbing the sweat off me, yet it did not feel soaked and it was a cooler temperature than I was when it was wet.  This particular linen has zero scratchiness and is lacking that “hemp-like”, raw feel which I find in many other linens…only softness so there is another high comfort here!  However, my favorite benefits are the no-see-through thickness of this linen as well as the way it does not change color or show however much I might be sweating to death, like many dark fabrics.  This linen dress definitely does not just give the impression of being cool but also helps that along.  To top things off, my hat ‘perches’ lightly on my head, keeping my hairstyle underneath pristine and cool, yet the brim is enough to keep the sun off my eyes.  I was doubtful that this outfit would be that great in steamy weather, but I am a converted believer in effortless summer fashion a la vintage with linen and straw!

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It’s funny, in the fabric stores I go to the bolts are always full and untouched when I buy linen.  The employees that cut my fabric often seem mystified that I want linen and tell me that hardly anyone buys it.  Do you wear linen?  If so, have you found it to be as lovely of a trooper for wearing as I have?  If not, what are your reservations to this natural fiber?  Why is linen overlooked as a fashion fabric?

Netted Satin Tilt Hat

Thank you everyone for the wonderful comments recently!

Ah yes, I did not forget – I had promised in the previous post to go on about more than just my 1943 dress!Burda Style sept 2011 DIY hat ideas

My hat was a ridiculously easy project, coming from a page of Burda Style’s September 2011 magazine.  They issued an article on “do-it-yourself” hats like from the royal wedding earlier that year, and I used the basic idea given there and ran with it.  After tiring myself out looking at so many inspiration pictures of original extant small tilt hats (see this page for one of my sources), I decided they all pretty much had a few things in common – small enough to show off a hairstyle, a little bit of quirkiness, and lots of over the top decoration, whether it be birds or flowers and especially netting.

100_6270-compBurda’s page recommended starting with an almond shape, oval and pointy, with several possible styling options shown.  So, I drafted my own from an 8 ½ by 11 inch piece of paper, with the oblong going cross-ways from one top corner to the opposite bottom corner.  Next, I cut out two “almonds” (adding in seam allowances) from the same contrast satin used for the dress.  I also cut out one of the same shape from some tarlatan on hand.  Tarlatan adds the perfect stiff-but-pliable feel to hats and is also very vintage in its usage.  Next, I sewed the two layers to ‘face’ one another, with the tarlatan sandwiched inside, and everything was top-stitched down.  100_6265-comp

I needed something to keep this little satin thing on my head to see what shape I wanted, so sewed in a small hair comb and a black elastic tie, much like a headband.  The front half of the tilt hat received a dart along the center, to add drama and bring the front down over one eye while the back half was curled over to be tacked down to the center top.  Some lovely fine and soft black netting was cut into a giant square and draped over the front to be tucked in under the back curl of the hat.  Ta da!  This was so simple and fun, I literally need to make more…only I also need a reason and place to wear them.  Humm…

I might come back to this hat in the future and add on something quirky like a giant flower or oversized brooch.  What do you think?  Should I leave it as it is?  Is it just me or does it seem weird and take a bit getting used to having netting over you face?