“Not My Own Crochet” Year 1936 Ensemble

I do not yet know how to crochet.  At some point in my life I fully intend to figure that amazing skill out.  Until then, I find sneaky yet creative ways to get around not knowing, which means that I wear crochet that is not really my own.  Saying this means I try to sew with tricky, delicate fabric that is the closest thing to crochet that can be found – like an open-work sweater knit.  To me, as someone who sews on an almost daily basis, this offers yet another “new and different” thing to try out.  Speaking of something unconventional, these aren’t just your normal open-seam sleeves…they are part of the entire bodice design in a way that blew my mind when I made it.

Of course, I go all out with my dress – a vintage sweater knit dress with awesomely elegant features deserves its own fancy, fashion colored under-slip (since it will be somewhat seen anyway) and a custom-made, Grecian-inspired rope-and-tassel belt to keep up the mid-1930s glamour!  Of course, as is our wont, we also found a historically appropriate and color matching Art Deco shop for the photo background so I could feel like I stepped back in time.

This outfit is rather a vintage way to interpret several modern (2018) trends – rope belts, sheer dresses, and statement sleeves.  For myself, I like to be informed as to the source of a modern trend and realize the when, why, and how of it from years back.  Nowadays, there is not a whole lot going on in fashion that is 100% “new”, it’s mostly just a re-inventions and all it takes is a peek into history to have a broader perspective of a fad.

Befitting my idealized mix of both old and new, this outfit is accessorized with modern 1930s D’Orsay style strap sandals by Aerosoles and true vintage pearl dress clips.

THE FACTS:

FABRIC:  The sweater dress is made from a poly blended, almost shell-like stitched open knit in a cranberry color.  The under slip is made from an all poly crepe in a royal blue color.

PATTERN:  Butterick #6706, year 1936, for the dress and the “Slinky Bias Slip” came from Sew Vera Venus blog, on her free pattern page (link here).  (I know the year for the dress pattern Butterick #6706 because it was featured in “Butterick’s Fashion News” magazine for April 1936)

NOTIONS:  To make the dress and slip, I only used what was on hand already – thread, a vintage metal zipper, scraps of bias tape, and two buttons.  The rope belt and its tassels required very specific supplies, so these bought to match after the dress outfit was finished.

TIME TO COMPLETE:  This set took me about 15 hours to make the dress and 3 hours to sew the slip.  Making the belt took me maybe 2 hours.  The entire outfit was finished and ready to be worn by October 7, 2016.

THE INSIDES:  The sweater knit doesn’t ravel (the wonders of a man-made poly), so the edges are left raw to let the dress be flowing.  The slip is bias bound inside.

TOTAL COST:  The sweater knit, slip material, and subsequent belting were bought at our local Jo Ann’s fabric store for a rough estimate total (it’s been awhile since the fabric was purchased) of about $30 to $40 dollars.

First off, I need to give full credit to my hubby for finding the sweater knit among all the bolts in the store and knowing my creative brain’s predictability enough to recommend something 1930’s to pair with it!  I guess I’m training him well without even knowing it.  Now, it wasn’t just about following his idea – the project plan rang true for me, too, and both him and old fashion images together helped me decide what contrast color for the underneath slip and what kind of belt would complement well.

The pattern I used to make my dress was also one of the very first 1930’s vintage patterns I bought back in 2011 (when they were so much more reasonably priced)!  It’s so good, I had been “sitting on it” all these years waiting for just the right project plan for it.  I felt like it was high time to take it up – hubby picked out a special fabric for me so I would go use my special pattern.  No really, I feel like the fabric is a solid enough color to show off the design lines well yet curious enough to add depth and interest to an already luxurious design.  The knit makes it practical while the sheerness of it makes it, well, oh-la-la!  Yes, not only do I love what the 1930s has to offer for fashion, I also love how hubby and I can work together on my sewing projects to make something so interesting and creative that I can wear.

It was amazing how a few, large pattern pieces – only 4 to be exact (together with two incredibly tiny pieces) – can come together to make a dress like this.  Vintage generally does smart designing impeccably, whether in fashion or architecture, and this is only another example to prove it to me.  The sleeves of my dress are part of the bodice and only joined together at the front seam that runs from the neckline detail down the length of my arm.  There is no shoulder seam whatsoever.  It’s like an adapted kimono sleeve on steroids.  There are two small darts at the shoulder tops, coming out from the neckline, but that’s it – I do believe the weight of the sleeve volume is enough to shape the fabric, pulling it down over the shoulders.  The bodice front piece includes the sleeve front-bottom and the neckline “flap” detail, as well. From behind, there is the center seam so that a placket can be made for a neck opening (otherwise this dress wouldn’t go over the head), but besides that, the back bodice wraps around to the front bodice at the chest and front of the arms.

This design is not only amazing, it is also crazy easy to whip together with minimal seams (a big yay because with a delicate knit like this, the less seams the better).  It also made for some overwhelmingly large pattern pieces that just barely fit onto my 60” width fabric.  How these bodice pieces fit onto the old side fabric widths is something I don’t really want to figure out.  As it was, with 60” wide fabric, I still used over 3 yards…in 35” width this dress would definitely take way over 4 yards.  There’s Depression-era luxury for you!  Even still, making a dress like this in the 1930s probably would have been much more monetarily affordable than buying something RTW which would be similar.

Now, the style of sleeve I chose to make on my dress is a combo of both views offered in the pattern.  I wanted the slashed open style of the ¾ sleeve option, but something long, wrist length at the same time, so mine are a mix of both.  Not that this is the first incarnation of such sleeves – this slashed open look that was popular in the 1930s is one of the many fashion details the era of 80 years back which were borrowed from Tudor styles of the 15 and 1600s.  (See the artist William Larkin’s famous 1614 painting of Diana Cecil next to another 1936 pattern for comparison, or see this “Fashion-era.com” post on coat sleeve styles of the time of Henry VII for just two examples.)  Such sleeves also made a comeback for a short stint in 2014/2015.  Today, the dramatic sleeves and balloon sleeves of all styles and volume are trending for this coming Spring 2018 season (see Carlos Vogue Patterns and Glamour.com to read more).  Some things never change…what is forgotten, is doomed to be repeated.

All of that sleeve volume on my dress is pleated into skinny wristbands.  The pattern directed for a dizzying amount of pleats that I wasn’t willing to chalk or thread mark because there was no way I was going to get them straight.  So I did my own mathematical, segmented method of pleats, and it worked out just as fine (so I think).  However, whether I did the wrists my way or the way of the instructions I do believe either end would be just as bulky as the other.  All the pleating made the little “cuffs” more like binding or bracelets, but I like it, however they turned out.

For sporting such statement sleeves, I realize the 2017 “Year of the Sleeve” is over with now, but as I don’t see impressive sleeves disappearing from modern fashion anytime soon either, I am hoping that we are now in the ‘era of the sleeve’ because this is the best excuse to bring out and highlight more 1930s designs!  Either way, fantastic sleeves should never be “out-of-style”…they need to be more appreciated and enjoyed because they sure are fabulous.

To balance out the fabric heavy and detail oriented top half, the waist and below is slim and basic.  The skirt is just a really simple, two-piece 30’s bias skirt, plain in front and two waist darts in back.  The waist of the bodice is ever so slightly pleated into the slim skirt.  It is only for the skinny skirt’s sake that there needs to be a closure in the side of this dress, otherwise I would have preferred it to be left out.  The delicate sweater knit wasn’t easily willing to be restrained into a zipper, but using a small 5 inch vintage metal one minimized the difficulty, and, at least when it’s seen, will hopefully make my dress seem like a real piece from the 30’s.

Sheer and see-through dresses are nothing new – they have been around in some form or fashion for about a century since the late Edwardian times had the lace bodices and the early teens came out with the “lingerie dresses” (so called, as they were lace and sheer linens or cottons).  The 20’s and 30’s began to be more experimental with what was used for sheer effect – crochet, netting, devoré (burnout velvet), chiffon, metallic mesh, and other open-work or tissue weight material for both blouses and dresses.  Don’t forget, however, past sheer fashions seem to have always understood that just because the garment is see-through doesn’t mean one should bare-all underneath nor use it as an opportunity to show off one’s lingerie.  Modern trends seem to be taking sheer garments a whole new “nothing there” kind of direction on the runways for all the designer’s collections.  Seeing legs, panties, or a ladies’ “headlights” is only distracting and does not do justice to an amazing, but sheer, dress as the garment is certainly not the first impression.  I’ve sewn a fair share of sheer dresses already from the 20’s (here and here) and the 30’s (here and here), and one from 1961 already so this will be my 6th now.

The slip underneath my 1936 dress needed to be simple yet elegant, slimming and interesting yet with coverage.  Who could ask for anything better than a free pattern?!  Besides the ‘free’ part, this really is a great pattern.  It was easy, came together beautifully, and fits well.  The pattern itself is assembled much like a downloaded Burda Style pattern, where you print out all the pages then tape them together like a fashion puzzle before you can have something to place on your fabric.  I do think the sizing runs a bit small, and although this slip fits, next time I will go up a size bigger.  For using a polyester crepe, my slip has decent drape and bias yet it’s still a bit stiff (as you can see), but with a true rayon or silk crepe this slip would have some drop-dead slinkiness that I need to try.  Other than these points, I couldn’t be happier.  There is plenty of room for adaptations and individuality with this pattern, but the only personal touches I added were two strips of leftover bias tape to decorate my lower décolleté.  My slip’s shoulder straps are stitched down to fit, but if they were made skinny, they could easily be made adjustable with a modern lingerie slide buckle.  The best part is that I was able to make this slip with only one yard of fabric!

With the garments done, I initially thought a normal belt would complete the outfit, but no – every one I tried on looked awful with the dress.  I knew what I saw in my inspiration pictures needed to be followed…go with the whole Grecian idealism of a rope belt.  My dress outfit needed a hanging belt to lengthen the silhouette, I felt, and a rope belt with tassels at the ends would not overwhelm like a traditional, buckle belt, only slightly define my middle yet draw interest away from the waist.  This is a much more feminine and delicate option to a boldly defining buckle belt.  Rope belts are the new ‘thing’ this year, anyway.  It’s listed as one of the top 5 trends of 2018’s Spring/Summer fashionBurda Style has also talked about it and provided a “how-to” make your own roped belt.  I might as well find a vintage way to love a current trend!

I took this as an opportunity to use my beginner’s knowledge of sailor’s knots to finish off the rope belt ends where the tassels are added.  I put the loop that’s atop the tassel through the end of the roping, then made my sailor’s knot, and ended it by stitching the raw end to the rope for a little over an inch’s worth.  Then, the end was finished by taking satin finish Mettler Metrosheen thread to wind tightly around and around until it’s nice and sturdy, and tie off the thread through the winding.  Suddenly, I have a very fancy rope belt end!

You know, I have experience with doing this already because of a church we used to attend.  Churches always have tassels on something, and for some reason all of theirs were coming off.  I have a suspicion that the cause was our deeply ingrained human instinct to pull at a tassel (really, you don’t have to think to do it).  Anyway, once I fixed only one for them, I ended up fixed them all.  Let me tell you, I made sure those tassels did not come apart at all the way I finished them…I also have method to it after fixing more than a dozen.  So, it was kind of nice to do tassel attaching again, sort of like bringing back something I know how to do like the back of my hand.  Yet this time it brought that up a notch because it was so much fancier this time and also for myself!  It was high time for some selfish tassel sewing.

It doesn’t really make sense to me – I can make and sew tassels, yet I do not crochet.  Oh well, I have finally tackled another challenging fabric and a perplexing pattern I’ve been holding out on.  I’m not out for the great instant “boom-and-pow” of doing everything big at once and burning out early.  I’m looking forward to many years ahead of enjoying all the differing ways to make something to wear.  Crochet is a whole new world yet to come for me and I really admire every and any one of you that I see who can do it.  Even my niece has started doing it!  I guess I’d better catch up, but until then I’m happy with this open work 1930’s dress set being in my closet as a substitute.

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“Retro Forward” Burda Style – “Hot Stuff” Cocoon Coat and Poster Dress

What you wear says something about you, whether or not you want that to be the case or whether you even want to get anything across.  How would an army-to-army battle be fought in the buff without clothes to identify sides of the combatants, after all?  How else did the upper classes of the past undemocratically distinguish themselves from their peers not so well off?  Well, since the last 50 years clothes evolved into something more…as an opportunity to purposely, inaudibly, make a message, declare a challenge, signal protest, or be the spark of a conversation using written expressions.  Today, more than ever, fashion is re-imagining the 1968 poster dress, slogan tee, and op art garment trends in its own way to truly make powerful statements with what is worn.  You can literally wear your heart, your convictions, or your idealism on your sleeve nowadays for all to see, and we don’t realize how lucky we are for this, something we take a bit for granted in an era where every tee or pants bottom has a slogan.  It’s the golden anniversary of this freedom, and I’m celebrating with a fun, mild little version of my own.

Not too often do I go for shock value…with what I have said above, now I have a good reason!  Under my cool and classy ice blue coat is a silk dress printed with advertising labels containing four letter words (“Well I feel damn sexy today!), even though a bit subdued due to their small size.  This is the outfit of bold contrasts and complimentary contradictions.  My dress is light, airy, and flippantly playful in earth toned silk, leather, and an A-line silhouette.  My coat is lofty, warm, dressy, and feminine, as sharp as an ice crystal, yet made out of one of our modern era’s most crafty, over-commercialized material – fleece!  My coat is definitely not body conscious, with its voluminous shape silhouette concealing, while the dress is practically the opposite, with more leg and general skin baring than is my norm.

 As I said, I was inspired by some strong 60’s trends here – both the in-your-face poster dresses as well as the shape-disguising cocoon coats made popular by the likes of Balenciaga and Cardin, the Après ski culture, and popular movies.  Using two great Burda Style patterns, I have now come up with an outfit that is part 2018 and part retro flower child era, all the while designer inspired.  This post is part of my ongoing “Retro Forward with Burda Style” Blog series as this is a modern take on 60’s styles.

Our home town’s downtown was the appropriate backdrop for our photos.  As a river city town, we have a long levee wall to keep the water at bay.  Along that wall, there is a concrete ‘canvas’ (allowed by the city) open for graffiti and street artists.  It is a wonderful, organic, and ever changing platform for a very interesting, creative, and sometimes rebellious way for expression.  This medium doesn’t always have a mainstream outlet, so it attracts quite a number of visitors and quite a variety of talent, as you can see.  For an outfit centered on the 60’s idea of self-expression in a semi-shock value sort of way, I couldn’t think of a better equivalent in the built environment of the city than our river levee graffiti wall.

THE FACTS:

FABRIC:  The Coat – The outside is just your basic anti-pill fleece, and the inside is fully lined in flannel backed satin…yummy warm!  The Dress – a 60% silk, 40% cotton blend semi-sheer fabric, lined in a soft finish crepe poly.

PATTERNS:  Burda Style’s “Long Coat” #104B from December 2015, and their “Sixties Shift Dress” #106 from July 2016.

NOTIONS:  Amazingly, the only thing I specifically bought to finish this outfit was the plastic “crystal-look” buttons for the coat.  Everything else (notion-wise) was on hand – a 22” invisible zip, thread, snaps, interfacing, and bias tape

TIME TO COMPLETE:  The coat was finished on December 7, 2017 after maybe 20 to 30 hours.  The dress was made in about 10 hours and finished on January 20, 2018.

THE INSIDES:  Both the dress and the jacket are fully lined, so…what insides? I don’t see ‘em!

TOTAL COST:  The light blue fleece was bought probably 6 years back on deep discount for a few dollars a yard, so I went crazy and bought 6 yards of it and I only used 3 for the coat…so I have plenty leftover still.  The silk was bought online at an Etsy seller and the faux leather is leftover from this 40’s purse project.  Other than these fabrics, the linings were bought at Jo Ann’s fabrics specifically for my project.  I’m supposing my total is about $10 for the dress, and $20 for the coat…what a deal!!!

Both these pieces were time consuming and challenging, but they were so satisfying to make because I was making a creative idea from my head a reality.  Making a coat is necessarily labor intensive, but the dress and some of its detailing took more time than I expected.  However, I like a garment that I can be just a proud of inside as well as out, and I want my clothes to last, so I feel they deserve the extra time and I deserve finding a way to take my time to enjoy my sewing better!  Rome wasn’t built in a day and a good garment isn’t either without something being sacrificed, I would think.

Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My patterns were traced from the inserts in the magazine issue, but they are also available online as a downloaded PDF that needs to be printed out and assembled together.  What works best for me is to use a roll of thin, see-through medical paper to trace your pieces out.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t.

The sizing of both garments was pretty much spot on, without much extra fitting needed, yet I did  some departures from the original design lines.  I’ll start with discussing the coat, and firstly, the sleeves. They were so very, very long, just by leaving off the additional cuff piece they came to a good length on my arms.  The sleeves do have the most beautiful seaming, though, especially where they join the body of the coat.  At the top sleeve panel, they are “epaulet style”, continuing the sleeve to run right along the shoulder top into the neckline.  But then the bottom panels join in as a raglan style to make a sleeve that has first rate seaming and is gently set-in the main body.  What an unusual but amazing combo!  Many cocoon coats, especially the ones first created by Balenciaga in the late 40’s and early 50’s, and many of the others made by his fellow couturiers, all had deep cut kimono or dolman sleeve, or at least a sleeve that had a similar silhouette that tapered into the waist and offered generous ease of movement.  This was part of the reason they were so popular with the Après ski culture that exploded in the 60’s when people saw movies such as “Charade” with Audrey Hepburn, “Help” with the Beatles, or the James Bond escapade “On Her Majesty’s Secret Service”.  These coats are easy to move in yet look good on their own accord, and offer full movement.  The excess material around the body only keeps the wearer warm.

The back bottom hem panel to the coat was also very long in length, so I cut that down by half in order that my coat would end at my knees, what a proper longer length cocoon coat should do.  Thus, my coat ends up being a length which is in between the “A” short version and the “B” long coat of pattern #104.  The idea of the general shape of Balenciaga’s cocoon fashion was to liberate the waist with flowing lines that carry their own beauty in the tailoring and shaping of the garment itself.  The defining points to a cocoon coat, however, is the neck and the knees, the two ends where the coat tapers in to slenderize the legs and highlight the face.  This coat has great design lines that do just that with the front French bust darts, the horizontal back bottom panel, and the angled, sun-ray style darts which radiate up and out from that.  From what I have seen of cocoon coats, many have an open, basic neckline.  Nevertheless, I added a small self-drafted collar at the neck because there’s no use for a warm and cozy coat that lets my neck freeze!

The pattern called for giant patch pockets to be added on the front of the coat, but that would ruin the classy streamlined look I was going for with it.  So I added pockets that were set into the French darts!  I think this one touch was the best thing I could have done for this coat!  The pockets also end up filling out the coat right over the low hip area so that it has more of a cocoon shape – this was a bonus I did not see coming but I really like it!

This coat was a project on my backburner queue since the pattern came out in 2015.  However, it wasn’t until I saw light blue coats popping up everywhere this past Fall-Winter season, at different stores, from different designers, and even on the back of one of my favorite actresses, Hayley Atwell, that I realized now was the time to pick up that idea and make something of it!  This Versace set from their Spring 2018 Ready-to-Wear collection, with its ice blue coat and Vogue poster print dress, was the first real impetus that inspired me to pair two 1960’s trends together in a modern way.

The leather piping is the most obvious out-of-the-ordinary addition that I made to the dress, yet I think it also was the best touch.  It brings to attention the awesome geometric cut to this dress that wraps around my arms, over, and down the back of my body, as well as bringing out a whole different “feel” to the general color scheme and texture.  I did take out the horizontal waist seam all around the front and back, mostly because I did not have much fabric to work with (only one yard) but also because I did not want to mess up my silk’s print with extra seaming.  As my dress is fully lined, I did not have to bother with using any of the facing pieces the pattern provided.  The full lining not only made my dress opaque, and covered up my seams inside, but some leftover scraps of it were also used to add in some small side pockets.  My pockets are basic and in the side seams to (again) not cut into the print, since the instructions directed to add welt pockets into the front.  Welt pockets are not my favorite thing to do, anyway, but I did install an invisible zipper down the back!

The faux leather neckline detail has that hint of a plastron-armor type of feel to me, but it does make for a lovely neckline or at least a good place to highlight a statement necklace, as I have done.  Beginning circa 1967, fashion was all about experimenting with novelty materials, and mixing them with contrasting traditional fabrics.  They did have many plastron front designs (I’ve made one myself) and several armor-like dresses in the late 60’s – especially when it came to the metal and chainmail garments of designer Paco Rabanne  or the plastic armor in the film Barbarella.  For the neckline addition, I made it slightly different than the pattern.  Mine is wider and more geometrically simple to match with the dress, versus the curved, tiny design as what the pattern originally planned.

I have worked with many 60’s patterns and this Burda dress felt like a true 60’s pattern, I must say.  I’m impressed!  It has the angular corners that the late 60’s loved (thanks in part to Pierre Cardin), the traditional pair of small back neck darts, and the normal, lovely, A-line silhouette with ever so slight body shaping that I enjoy about fashion of the flower child era.  I know certain “dress doctors” mourn the 60’s loose and youthful styles as the end of tailoring and the introduction of sloppiness.  Often these kinds of fashions were part of a certain desire to stand out, be different, or perhaps a bit rebellious, and are certainly not for everyone.  They are nonetheless a significant part of history.  Text and wording on these fashions didn’t come until about 1968, but even before then they were a statement in themselves.

Now, I’m not saying that wording isn’t to be seen on what people wore before the 1960’s.  Yes, there were many novelty prints in the 1940’s and 50’s that discreetly hid small doses of words which were often song lyrics or famous persons’ names (see this vintage pj top or this Elvis skirt for only two examples).  There are cultural uses of text in traditional African khanga to list out proverbs or words of wisdom to suit special occasions.  Earlier in the past century, women who were protesting the First World War or standing for women’s’ rights had sashes, ribbons, and badges which sported the words of what they believed in.  However, the wording was never (to my knowledge), before circa 1968, directly on the fashion garments themselves, and it was never before advertising or a personal or highly political statement.  The paper poster dresses where the first wave of this methodology – with the Cambell’s soup dress, ‘Nixon for President’ dress, the Newsprint dress, and the op art dresses.  The trend has spread like wildfire since.  Beyond the paper poster dresses, about the same time Pierre Cardin borrowed from the Lacoste crocodile logo idea that started in 20’s, and began the now universal practice of visible designer logos announcing themselves on clothing so one can obviously brag who ‘made’ their clothes and how much they spent.  We now have words, messaging, and advertising overload everywhere.  What would 21st century life be without your basic favorite printed tee?!  As New York-based artist Susan Barnett has said in her interview with “The Guardian”, “slogan T-shirts…tell us about the wearer’s identity. ‘It’s about how people use their bodies to send a message about who they want us to think they are.’”  Thanks be what was going on in history and who was alive doing the moving and the shaking 50 years ago.

We should all be aware of the power that fashion has nowadays with the black dress code for the Golden Globes.  But it’s becoming more than that, in a way that reflects upon the wearer as well as our unconscious perception of the wearer, even if their clothes are not so subtle.  Just a year ago, Dior’s first female artistic director, Maria Grazia Chiuri, had her first collection begin with a basic white tee printed with the slogan “We should all be feminists”.  Now, there are even collections so overly cued into the political climate that the newspaper garment has official made a comeback!  See my picture of the newspaper Poster dress 1967 next to Alexander Wang’s “Page Six” collection for Spring/Summer 2018.  If this keeps up, I wonder when fashion will need to be protected by the laws of our First amendment right for freedom of speech.  Just like in the 1960’s, it seems as if these collections are catered to the younger crowd, our Millennial age group, the 18 to 35 year olds.

My own advertising dress is nothing so serious or political.  There isn’t any such a thing as “Bonobo Jeans and Underpants” that I can find before 2007, so this print is a spoof.  Making something of it is meant to merely push my boundaries so that I can understand history my making my own small part of it.  Besides, the print does make me laugh and blush at the same time in a way that I uniquely love.  “I can clean dishes and wear tight edgy underwear!’’, “Designed for fun!”, and “We shape nice butts” are all on there.  I love how I inadvertently had “Somewhere beneath” with the masculine eyes along the bottom hem – it’s too funny.

Finally, this brings me to explain my title.  One of the logos on the print is, “Hot stuff for all to see!”  Yes indeed, I do feel like the dress is pretty close to being hot, and it’s so thin and lightweight it’s definitely made for hot temperature days, anyway.  The coat is so warm and cozy, it is better than our best bed comforter at insulating.  I’m supposing it’s the flannel and the fleece together, with the satin to keep the heat in.  I suppose a man-made, non-breathable fabric is good for something after all!  I certainly do need to dress for summer underneath this coat, otherwise I’d burn up.  It’s unexpectedly the warmest coat I now have, so it deserves to called “hot stuff”!

“Retro Forward” Burda Style – a Vintage Inspired Novelty Knit Dress

Waffles aren’t just for breakfast anymore!  Silly me, you probably knew that.  However, I’ll bet you didn’t know there was such a thing as a waffle knit fabric.  Plain, flat surface knit isn’t the only option in my mind anymore, and this opens up a whole new world of fashion ideas to me.

This dress, made from a novelty, reversible (yes!) textured knit, is sewn using a modern Burda Style pattern with strong features of 1960s and 70’s fashion.  Thus it is part of my ongoing blog series, “Retro Forward with Burda Style”.

THE FACTS:

FABRIC:  a polyester blend knit bought from my local JoAnn’s Fabric store

PATTERN:  Burda Style #116, from February 2014, “Dress with Buttoned Back” view B, or “Jackie Dress” view A.  (Both views look the same to me, by the way!)

NOTIONS:  Nothing but thread, some cotton scraps, and some buttons and snaps were needed and I had all of that on hand already.  Yay!

TIME TO COMPLETE:  This was made in about 8 hours and finished on October 15, 2015.

THE INSIDES:  As this knit is a polyester and it is a dense weave, it does not fray so the innards are left raw.  Hey – even the dress hem is left raw and unfinished!

TOTAL COST:  I don’t clearly remember, but I believe it was between $15 to $20.

When you look around at it, novelty knit fabric is ah-mazing, especially this waffle version, which is totally reversible, too (in a “photo film negative” sort of way), making it all the more open to crazy fun possibilities.  Novelty knits hold a certain balance that amazes me about modern fabrics – they keep their surface quality while still having a forgiving stretch which still acts like a normal knit, with a “memory” to go back to its original texture.  From what I have seen in my research, I have realized modern knitwear has been around since the 1920’s, but it seems as if novelty manufactured knits exploded into the designer fashion scene beginning with the end of rationing after WWII (in the 1950s), and have been out there ever since.  Look at this 1950 “blistered” textured knit dress from the great Claire McCardell, or this 50’s puckered knit wiggle dress for two examples of how a solid color becomes so interesting with this kind of fabric.  Then, after the 50’s, avant-garde fabrics (made of plastics, paper, and metal, to name just a few) were popular in the late 60’s and in the 70’s, so I feel this unusual fabric especially suits a design of that era.  After all, the pattern is called a “Jackie” dress, and as Burda calls it a “classic” design (which I really don’t agree with), I would like to think they are referring to the Presidential fashion inspiration for the 1960’s, Jackie Kennedy-Onassis.

This was really an easy-to-make dress that is so versatile and comfortable.  I found the sizing right on, and the instructions very good. Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced from the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t.

I did not make any changes to the design, but I did take advantage of it by using both sides of the reversible fabric.  The main body of the dress is in the side that has more grey than white undertones, while the belt which is sew-in to the front shaping tucks was made from the side which is mostly white.  I love how using the other side of the fabric for the belt helps it blend into the dress without getting lost over it at the same time.  I kept the dress a little on the shorter side, and I think it looks better that way…it also gives me a reason to wear fun colored tights in the winter!  Looking back on it, however, I now wish I would have left out the center back, between-the-shoulders, vertical closing because when this dress is sewn out of a knit it is not necessary.  I could have sewn a basic center back seam rather than making a proper placket with fake, sewn on, non-working buttons as I have.  It looks good in the end, so I shouldn’t complain.

I am proud and happy with the way I figured out how to interface the back placket and back belt after all.  I have seen but never tried the interfacing fabric stores sell that is labeled for knits – it is a lightweight tricot mesh with an iron on adhesive back.  I do not see how this would help much or even really work well.  A good knit dress needs certain areas to be non-stretchy, and this is what true interfacing should do.  However, anything iron-on can rip off a knit if stretched too much, and a thick facing would not look good.  Thus, I used a basic 100% cotton broadcloth and basted it in place of the interfacing with some stitching, and have it inside the waist belt straps.  This works wonders to let the back facing and belt be pliable without stretching and be stabilized without undue bulky thickness, besides being an easy, on-hand solution to something that could have been more complicated.  Basic cotton bias tape was used to finish off the neckline edge, as well.  The cotton tape, though on the bias, is not all that forgiving – it is primarily stable in character – which is what I needed to keep the wide V-neckline from losing its shape.  Cotton woven fabric used as interfacing or a stabilizer for stretchy knit fabrics is a match made in heaven and one of the best tips I have discovered!

I’d say the trickiest part to the whole dress was the back belting.  Now, it wasn’t hard to do.  It was just fiddly and required my being precise with matching up the alignment of where the belt straps came into the bodice tucks.  I did lower the belt pieces slightly by about 5/8 inch so they would land just above my natural high waist rather than be at a true empire waistline.  Even still, I was and sort of still am self-conscious about the style and how it compliments (or doesn’t compliment) the tummy and hips.  I do receive tons of compliments by people when I wear this, so it must look alright.  I fudged with the closures of the back straps and sewed on fake buttons to hide the oversized snaps underneath…so much easier to do on myself blindly reaching behind.  Thread loops at the sides and center back keep the belt in place.

This “almost-mini-dress with a back waist band that comes from the side front seaming” is something I see a plethora of when it comes to sewing patterns in the late 1960s and early 1970s.  I see variations of it in patterns from every single year from 1967 to circa 1972, even with many designer names attached, so this must be good style for it to persist for at least 5 years straight in the Disco era!

Simple, straightforward and uncomplicated fashion is needed and has its place.  Solid colors and basic fabrics are staples that many times become a most-reached-for item to wear.  However, stretching the limits of what is conventionally available (the boon of sewing) can be such a likeable refreshing change for both yourself and others to see.  Doing so also stretches one’s habits of dressing and provides fun to an everyday need and unique personal expressiveness.  Novelty fabrics and creative uses for patterns can do all this!  Don’t be afraid to go find that odd fabric that speaks to your wild side and whip something up with it!  I have thoroughly enjoyed my trial with a newly discovered fabric, and a newly found vintage-does-modern fashion style only helped me like it all the more.

A Tribute to Bernard the Flamingo – The “Devil in Pink”

When there are frigid temperatures, and forecasts of ice, snow, and dreary skies, part of me cannot help but mentally travel to the opposite clime…somewhere warm and sunny, where living is relaxed and duties are a thing forgotten (for the time being at least)!  Flamingos can be found at such tropical getaways, and imagery of their one-legged standing silhouette is often associated with resort lounging anyways.

This year, rather than just imagining, hubby and I are actually off at a sunny Florida beach for the moment.  Thus, now is the perfect time for me to share my 1940s outfit I made inspired by the “devil in pink” himself, Bernard, pet of the master of carefree lounging himself, Marvel’s inventor extraordinaire Howard Stark.  (Watch this clip for a small minute of understanding!)  Bernard the flamingo was the loud and hard-to-handle bane of Howard’s butler, Mr. Jarvis, to the humorous amazement to the two ladies Agent Peggy Carter and Mrs. Ana Jarvis in Season Two of the Marvel TV series.  This inspiration was the perfect opportunity to channel my love of vintage, Agent Carter, and casual yet nice separates all into one handmade outfit.

Thinking of a warmer climate basked in sunshine, my post WWII blouse has brass sun buttons and golden flamingos printed on a rich pink rayon.  My trousers are a multi-climate wool blend twill in practical khaki tan with post-war style hem cuffs for a masculine touch.  My accessories are a classic straw fedora (just like what Agent Carter had), pink patent oxford-style shoes, vintage pink pearl earrings, and an old 40’s original tooled leather box purse, the kind that were popular tourist souvenirs brought back to the states for sweethearts.  I couldn’t be happier with the comfort, chic, and practical usefulness of this set!  It’s a girly pink overload (with the shoes, too) in a restrained and professional way coming straight from the past.

THE FACTS:

FABRIC:  Blouse – a 100% rayon challis; Pants – a wool blend twill in a medium weight thickness

PATTERN:  Simplicity #8243, a reprint of an original year 1948 pattern #2337, for the blouse and a vintage original Simplicity #4528, year 1943, for the trousers (used before to make these denim pants)

NOTIONS:  I used everything from on hand – bias tapes, cotton scraps, thread, and vintage notions.  My pants have an old vintage metal zipper in the side, and my blouse’s amazing sun-image buttons come from hubby’s Grandma’s stash.

TIME TO COMPLETE:  The blouse and the pants came together quickly – about 5 to 7 hours to make each.  The blouse and the pants were finished in June of 2017.

THE INSIDES:  all cleanly bias bound

TOTAL COST:  The flamingo rayon was bought in early spring 2017 at JoAnn’s fabric store, while the fabric for the pants was bought at a rummage/resale store for only $2 for 2 yards. I don’t clearly remember the total but I think the blouse and pants together might have been about $10…pretty good, right?!

I had been saving the khaki fabric to make something that would be a staple piece which would see much wearing – weather that would be a 1940s Eisenhower jacket, vintage trousers, or a 1930s skirt, I wasn’t sure.  The flamingo fabric was a sudden, spur-of-the-moment purchase – one of those things that when you first lay eyes on it, it screams to you “you need this”, and then mentally you know exactly what to do with it.  The sudden purchase helped me narrow down what to do with the fabric purchase I had been hoarding.  Together, these pieces are awesome, but I really do immensely appreciate how each goes with so much else in my wardrobe.

Many times, spur-of-the-moment projects can satisfy one’s creative need but not really fit into one’s existing separates.  Not so with this blouse!  It actually looks good with khaki skirts, denim bottoms, and even some rust red and dark brown or white colored bottoms too.  As for the pants… they are something I really don’t know how I lived without until now.  I like them so much better than my basic black knit pants.  The material is nicely substantial and wrinkle free, and doesn’t show fuzz the same as a dark color would.  When my pants are worn with a basic blue oxford shirt and some suspenders, I feel like vintage menswear for women wipes out modern business attire.  Not even close to equal in awesomeness!

Rayon challis feels remarkably soft and silky on the skin, but as this was a blouse, it needed some stability in the neckline.  I didn’t want the collar and button front to be overly stiff from interfacing so I opted to use plain 100% cotton instead.  This gave it a bit extra body, and kept the fabric from losing its shape, without the stiffness.  As I used khaki colored cotton for the interfacing substitute, it also helped make the facing become invisible (more or less).  The pink rayon is slightly sheer, but a slip or anything skin toned becomes invisible under it.  I was afraid the double layer of fabric, where the collar and button placket are faced with on big fabric piece, would be glaringly obvious, making the pink a different color there.  However the flesh toned cotton interfacing happily disguised that.  I do like my sewing to be well engineered, keeping up the art of beautiful insides with tricky facings as subtle as if they are not even there!  Keep this in mind if you try this blouse in a light color, too!

The shoulders of this blouse pattern seem to run slightly small.  I have generous upper arms so I commonly have problems fitting in modern sleeves and some vintage sleeves, anyway.  This pattern is definitely not the tightest in its armscye, but it could benefit from a 5/8 inch longer shoulder seam in the bodice to make it extend out to the end of my actual shoulder blade as well as a wider back for more reach room.  The trio of darts at the sleeve caps are such a lovely detail, and make the actual sleeve itself generous in room, so any tightness in the bodice’s armscye is easily forgivable.

Besides the sleeve armscye, I did not find any major regrets to change for next time.  I did however, look ahead and make a bunch of slight tweaks.  The hem length ran a bit short for a blouse to stay tucked in on its own so I lengthened the blouse the fall under my hipline.  The collar was a steep curve to turn right sides out and so I snipped the seam allowances throughout down to about 1/8 inch.  The facings did not lie down as nicely as they could so I made the outer hem wider for a thinner facing that meets the back neck collar seam rather than hanging over it.  The recommended button placement was weird – the top button makes for a very chokingly high necked blouse while the bottom button ends right at the waistline making it hard to tuck in without looking like you have a majorly protruding belly button.  I lowered the top button by over an inch and raised the bottom one by ½ inch (could have brought it up even more) with the middle one coming in between the two.  Finally, I added a snap closure to close the blouse between the last third button and the hem.  This below the waist snap is something I always see in vintage patterns, and it helps keep my blouses closed nicely so I added it here even though it wasn’t in the instructions I saw.  Most of these recommendations I also made to my second, sequel version of this pattern – my silk orange Agent Carter blouse, posted here.

The length of the sleeve hems is something I see frequently “misunderstood” when I see versions of this pattern sewn up.  Looking at the original pattern piece, the extra length to the sleeves might appear as a ¾ length sleeve.  I installed my sleeve unhemmed to see for myself, and yes, it turns out as long as a ¾ sleeve.  I did not like this look in the least on my blouse, nor did the sleeves strike me as having the right shaping to give elbow room to be a ¾ sleeve.  Even if you do the instructed 5 something inch hem this makes the sleeve above elbow length, just like what you see on the silky red version on the model images on Simplicity’s site.  If you look at the original old pattern’s cover, the sleeves are meant to be cuffed, and honestly I think a shorter, mid-bicep sleeve looks better with this blouse, anyway.  It takes a lot of extra fabric to give room for cuffs, and I find it so weird, confusing and misleading that the line drawings and made-up versions to this pattern seems to inexplicably “forget” to show sleeve cuffs, throwing many sewers off with this pattern.

If the versions of this blouse that I am seeing are longer sleeved because they are intended to be so, because they like them that way, then that is another story and all fine and good.  But it sure seems the sleeves are this way because of a glitch on Simplicity’s part, since the pattern works out just fine being cuffed without making any changes.  I am wondering how many don’t see the sleeves were originally meant to be cuffed, and they don’t realize that in the extra hem length as the pattern intends all because Simplicity “forgot” about it in their modern make-up.  Every little detail matters when it comes to vintage – that is what makes it so loved, so likable, so unique, and so timelessly wearable.

Speaking of the sleeve cuffs, since I had made these pants before, and they fit me out of the envelope with no changes needed, I was comfy with the assurance of a good finished pair of pants and therefore played around with the long hem to add cuffs at the hem.  Each is cuff is tacked down in four places – one at each side seam, and one at the center fronts and backs.  This is what I did for the cuffs of my blouse sleeves, as well.  Cuffs are somewhat confusing because you have to over account for the extra fabric, but as I had my previous pair of pants to measure from and I had just done the cuffs on my blouse, I felt more to grips with making cuffs on my pants.  I think I would have preferred the cuffs to be a bit wider, now that I look at them, but I feel like they match the blouse this way, add a touch of masculinity, and bring my WWII era pattern up to date with the freedom from rationing that would have been the case with a 1948 outfit.

For these pictures, I had a good taste of how Bernard could easily have been a bothersome handful which was his reputation when we visited the flamingo pond in our town’s zoo.  I was a yard or so away from a flamingo fight and they were totally unafraid of people.  For all their socialness in the pond, they can really get into things with each other!  Their noise quickly turned into a harsh and grating ruckus, and the two fighters walked away with a pride that was really laughable for their movements.  Bernard the pet had no intentions of acting like a pet in the least if he was anything like the flamingos I saw!

In ancient culture, flamingos represent a calming confidence.  It can also stand for femininity and a firm outspoken attitude.  Combine all of these together and there is one awesome combo to stand for an interesting creature.  The wild, unpredictable brashness of the flamingo was sort of a running joke and source of humor to the creators of Marvel’s Agent Carter, some of whom I hear were pecked at and chased down by Bernard off set.  A trio of Agent Carter ladies had show-girl style flamingo inspired outfits for the song and dance sequence in the beginning of the 9th episode, and from what I have seen on the social media sites of some of the actors/actresses, but especially the costume designer Gigi Melton, anything flamingo related (brooches, novelty fabric, fan art) is appreciated.  So – this outfit is to all of that quality entertainment, killer vintage style, and much-needed inspiring characters which is Agent Carter.

You will be seeing my pants making recurring comebacks to match with some of my future to-be-posted blouses.  Other than that, don’t fall over when you try to stand like a flamingo, and I will be back at home to share something closer to my winter clime when I give you my next post.  Here’s to happy sewing everyone!

Fuchsia Pleats to Brighten Up the Greys

Winter skies here can be so blasé and I am not at all afraid to use bold color in my choice of sewing plans to counter attack that!  This post will try to be short and sweet about a not so simple 1940s blouse I made to complete a recently acquired vintage suit set of the same era.  This blouse proves that mantra, “If at first you don’t succeed, try, try again!” to be very true and not just words.  I indeed had to struggle to have this blouse turn out successfully and am so glad I persevered for this gem of a garment!

I will confess that I now have a hopeless taste for silk and silk blends recently.  A fine silk cotton is my especial combination of fascination – it can come in so many finishes, levels of opacity and crispness, besides the myriad of colors available.  Add that to its relative affordability, it is a no-brainer to choose for blouses.  Find some for yourself and you’ll thank me later.  Just don’t go and buy it all, now!

If I let myself get technical, I would guiltily admit that I am mislabeling this blouse because if you go by the book “a tuck is stitched down, a pleat is not”.  So this is a tucked front blouse whose detailing is made to look like what we conventionally think of as pleats.  There I said it – I’m admittedly wrong.  Nevertheless, tucks and pleats are frequent and lovely details on vintage blouse designs, and are a fun and relatively easy way to have a blouse that’s a complex, standout piece.  Tucks and pleats are just about cleverly manipulating folds of fabric after all.

THE FACTS:

FABRIC:  a 58% silk, 42% cotton blend fabric, opaque and rich in color with a sheen like a satin and a crispness like a shantung

PATTERN:  Hollywood #1165, year 1943, a “Ruth Warrick of RKO-Radio” design

NOTIONS:  All I needed was thread at first, which I happened to have, but then I ran out of thread and I needed a zipper so I had to buy (at the last minute) some of my notions needed for this project.  Otherwise I used up some interfacing scraps for the cuffs, and I used vintage buttons from the stash of hubby’s Grandmother.  The buttons might look like cut glass, but I believe they are Lucite

TIME TO COMPLETE:  This blouse was finished on November 20, 2017 after maybe 20 plus hours invested in it.

THE INSIDES:  So nice I’m tempted to wear the blouse inside out…well, almost!  100% French seams.

TOTAL COST:  I ordered this from a seller on Etsy than imports in from Hong Kong so it’s at a discount.  Two yards cost me only $14 including shipping.

Now, before I get into the details of the blouse, let me gush over the suit details.  From what I have seen in my research, I can date this suit with relative certainty to circa year 1946.  It could be as early as year 1944, but not much later than 1947.  They just do not make suits remotely close to the level of quality and beauty as they did in the past.  This wool, though it is plain grey, has a satin sheen in varying colors that is simply breathtaking.  Pictures just cannot capture that shine, neither can they convey the substantial thickness of the wool and the crepe lining inside.  These kinds of fabrics sadly are not to be found anymore.  This wool is almost like a felt in plushness, and with the lining and complicated, impeccable structuring I can feel is going on inside, this is more like a jacket than just a suit jacket.  If you haven’t ever felt what a 1940’s quality suit is like, you need to experience it.  Put it on your bucket list!  These garments are truly transforming when you put them on.  They make you feel like the best darn good version of yourself you never knew existed.  I feel like I can tackle anything in a killer vintage suit – they’re empowering.  The trick is to take your measurements, know what garment measurements would work well for you, and then wait and check around to find the one that “suits” you!

More often than not, unless you are willing to make a larger monetary investment, a vintage suit will need some upkeep and TLC, with many even missing their matching skirt.  This jacket needed its buttons tacked on and some popped seams closed up, but these are the most common repairs with vintage pieces as cotton thread was frequently used back then and is to the point of disintegrating by now.  Luckily, I had a matching skirt, only it didn’t fit me very well, not like the suit jacket did.  Since someone had obviously tinkered with the skirt before I received it, adding modern-style repairs I wasn’t happy with, I didn’t feel too bad when I refashioned it so I could wear it.  The waistband was unpicked and removed to make a center back panel that gave me about 3 inches more of booty room and better, curved shaping around the waistline.  To finish the waist, I turned under the edge in simple bias tape.  Without the waistband, the skirt does have the tendency to droop now, but at least it is more wearable for me and I was able to fix it using all of the same original material!

With all the effort I put into bringing this vintage suit set up to snuff, I felt that a more detailed and complex blouse was especially worth it here.  Don’t get me wrong – anything anyone makes for oneself is ‘worth it’.  I just mean that a rich looking, detailed blouse that might take more time than my normal project would justly give my suit set the finishing touch I was seeking to have a full outfit that has a bang!  Of course, the right accessories help that, too. My gloves, handbag, and hat are all true vintage, as well as my Grandmother’s jeweled turtle brooch and earrings set.  My two-tone spectator pumps are new reproductions from my favorite vintage-style brand, Chelsea Crew.

Finally, to the blouse!  Not that I don’t have blouses already that work with this suit – of course, white and black tops match here, primarily because of the buttons.  But that is so boring and predictable.  Blouses with collars distracted away from the lovey curved collar (and matching pocket flaps!) on the suit.  My oldie-but-goodie 40’s basic round neck satin blouse works nicely under the suit, so for my new shirt I reached for a rounded neck blouse with interest down the front that would peek out.

I have been wanting to use this Hollywood blouse pattern that I have had for years!  Ever since I saw Emileigh of “Flashback Summer” blog make a Maasai-inspired version for herself using this pattern it has been higher in my sewing project queue.  I had a feeling that a solid color would be the best way to show off the detailing, and I think I was right.  Only, I was wrong when it came to estimating the sizing.  This pattern ran really small!  It was weird.  Emileigh had said that she felt her pattern ran large, and I have made another Hollywood pattern from 1943, the same year, that ran true to size, as well as one which ran very large from the next year.  It’s not that this pleated blouse pattern had weird proportions, for all the pieces were nicely marked and fit together well.  It was just all over small.  Luckily, when I graded the pattern up to my size, I gave myself and extra ½ inch or so just to be on the safe side so I had just enough bonus so that that a small change could fix things.  More on that change in a minute!  The only thing I can think is that this was an anomaly rising from the combo of an unprinted pattern and an off-brand company (meaning something other than the “Big Four”, Simplicity, McCall, Butterick, Vogue).  Many times unprinted patterns are less reliable in accuracy than printed ones due to how they were made in stacks of hundreds of sheets at a time, die-cast stamped with their balance marks and darts.  Also, out of all the vintage patterns I’ve worked with, I do find unpredictable sizing almost always in brand patterns like Du Barry, Hollywood, mail order, and even Advance.

You start with the front, which is in three panels – one side front on the left and right of the center panel that gets pleated.  Except for the center where they spread out towards the shoulders, the pleats are in “blind tuck” style, which has folds that meet each other so no stitching shows.  Then I made all bodice darts, sewed the back panels on, and inserted the sleeves.  Sounds easy, right?  Well, I adapted the sleeve fullness to be pleats rather than gathers as the pattern intended.  It was tricky to get the sleeves looking even and exact together when I was free handing the detailing.  I wanted the pleats on the sleeves to match the trim darts on the sleeve caps and the pleats on the body of the blouse.

That done, then I realized that the neckline add-on piece would make the blouse so high necked I might as well choke myself with it.  No, I was leaving the round neck panel off. So I took what little material I had left and made bias tape facing to cleanly finish off the neckline at the level it was at.  While I was at it, I then also made a bit more bias tape to cleanly hem the bottom of the blouse, too.  I tried it on without the back closing, and realized the bust darts needed to be re-stitched about one inch lower.  With that fixed, the blouse seemed to fit great, so I finished it by stitching in all the buttonholes and buttons in the sleeves and bodice back.  Here came the problem.

The blouse was not all that small of a fit in itself if I just stood with my arms to the side, but add in the back buttons and that was a difficulty.  I found it almost impossible to button the blouse closed on myself, with not enough extra ease room.  Once I did finally do that feat, I saw that when I reached out, the stress on the buttons was making me scared the delicate fabric might possibly rip.  Stitched on and already cut through buttonholes are non-reversible, so I thought, “Why not cover up the buttonholes (my only real option anyway) and add a pleated panel down the back to also cover up a zippered closure?”  This way the back of the blouse compliments the front and now has equally lovely interest, besides that fact that a separating zipper is so much easier to do blind reaching from behind and much stronger than four buttons could be.  Adding the panel with the zipper technically gave me one whole extra inch of space across the back, making my blouse fit me so much better overall.  A crisis was averted that night, and I actually like my method of covering up a sewing “failure” much better than if everything had gone according to plan.  Mistakes are often blessings in disguise, I suppose.

The Hollywood star associated with my blouse’s design, Ruth Warrick, is herself an interesting woman that is not heard about as much as she could, for being in the limelight in as many ways as she was.  First of all, she played the character of the actor Orson Welles’ first wife in the famous 1941 movie “Citizen Kane”.  She worked with Orson Welles on both the screen and the radio on several occasions because he said he was looking for a woman who “was a lady”, not just someone who could “play a lady”.  Mostly she is known for the later career in the television soap dramas.  She was in “As the World Turns” for a number of years after the show debuted in 1956, then she moved to “All My Children”, which she was part of from 1970 to 2005.  She has bonus points in my book for being a gal from my own state of Missouri!  It’s amazing how adding the association of a famous screen star can really add to a pattern’s appeal.  Pattern companies should bring back Hollywood patterns, and I’m not talking about cosplay either.

Speaking of Hollywood, this reminds me of a quote of some fashion advice by Joan Crawford, “Find your happiest colors – the ones that make you feel good.  Care for your clothes, like the good friends they are!”  (Full quote here.)  This is good advice for store bought clothes, even more so for things that you have sewn.  If you have taken the time to think of it, buy the fabric and work with the pattern, you are worth seeing what you have made be a success and not an unwanted failure.  However, Joan Crawford’s quote is especially the case for vintage items.  It would be sad if the general interest in fashion from the past also becomes the cause for it to be more scarce and therefore less attainable.  I don’t mean to get on a soapbox, but really – it’s kind of like what is said about our environment, we should leave vintage the same or better than how we found it, but never worse off.  Those who own a garment piece from the past should make sure to wear it only if it fits (as there will be less chance of it tearing irreparably and more chance they will like wearing it), take care of it, and examine, appreciate, and learn from it.  Without clothes from the past how will we learn and understand our present and future fashion styles?  Anyone who has or does sew vintage and even those who do not should appreciate the value of true authentic pieces in the hands of everyday people.  I hope you agree and enjoy what I have done to add value to this 1940’s suit set.