Re-prints of vintage patterns are happily available everywhere nowadays. Vintage re-released offerings from Burda are fewer than other pattern companies, and they are frequently quite challenging but awesome styles!
My Easter dress this year was one of Burda Style’s re-prints that have been out for a while now. Ever since I dove into Burda patterns in 2013, this pattern has been one I’ve been wanting to sew – now I finally have made it, and I love it. It has Paris-influenced details and a style that is put together yet deceptively easy to wear. This is a year 1960 design of a suit jacket and pencil skirt in the form of a one piece dress…made boldly bright and cheery by using a fun bouclé that happens to remind me of confetti. Confetti for Easter? Why not celebrate!
This makes project number two for the Easter Spring Dress Sewalong 2017. However, for those of you that follow my blog, you might have seen I have a ‘tradition’ for the Easter outfit I sew for myself each year. I think it is an interesting challenge, but I know it probably just sounds weird and even quite quirky. Starting with my 1929 Vionnet-style dress in 2013, I have been going up in decades (closer to modern times) for each successive year’s Easter dress. For 2014, I made a silk 1935 dress with a matching slip, for 2015 I sewed a 1944 rayon dress, and then in 2016 I made a 1954 shantung dress and reversible jacket. Whew! This ‘tradition’ did make it a bit easier for me to choose what 2017’s outfit would be – a definite 60’s garment. I blew away a whole lot of things I’ve been waiting to ‘check off’ on my sewing ‘bucket list’ by making this particular Burda Style 1960 garment, though. It’s from a year which I have not yet sewn from, it is made of a pattern (and fabric) I have long been wanting to use, and it’s a one piece dress to make things relatively easy on myself this year. Our church’s 1960 era Mid-Century Modern architecture matched perfectly with my outfit anyways! Here’s to a doubtful but hopeful plan that I might actually find a dressy outfit from the 1970s which strikes my fancy so I can keep my Easter sewing ‘tradition’ going.
FABRIC: an acrylic, polyester, ribbon blend novelty boucle lined on a sheer, lime green chiffon with bright pink cotton broadcloth for the facings
NOTIONS: Thread, bias tape, interfacing, a zipper, a button, and shoulder pads was what I needed – all of this was on hand already. The single fake closure button on the dress front is from the stash I inherited from hubby’s Grandmother.
TIME TO COMPLETE: This was finished on April 12, 2017, after about 20 (maybe more) hours to complete.
THE INSIDES: This fabric shredded and un-raveled like a sewist’s nightmare! Thus, all the seams are bias bound.
TOTAL COST: Ah, here’s the sweet part! The bouclé was bought when a Hancock Fabrics store was closing in 2015, and so I bought several yards of this for just under $2 a yard. The lining was recently bought at my local Jo Ann’s Fabric Store on clearance for about $5 a yard. Put all of that together and this dress cost about $15. Awesome! I do have one yard of the confetti bouclé leftover, so unless I share it or ‘donate’ it towards one of the projects of others I know who sew, you’ll probably see this again.
So much about this outfit screams Coco Chanel to me. I mean, my ensemble is primarily pink (even my shoes), the fabric is a tweed-like bouclé, it’s a suit with fringed hems, and the Burda magazine summary says this dress has a French couture influence. How much more Chanel can one get! (If you’d like more Chanel pink inspiration through the decades, please visit my dedicated Pinterest page.) In my own country, the famous first lady Jackie Kennedy wore a Chanel pink suit for one of the most iconic moments in Presidential history, 1963. I did find that this particular waist tab styling isn’t really new, though, it can be seen in earlier decades looking at both the cover of Butterick #4022, year 1947, and a 1956 photo of Ghislaine Arsac.
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 off of 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 know.
I found this pattern’s sizing to run on the large size, but perhaps this is because of the weight of material I used. This confetti color bouclé does not hold its own shape or keep its own body. A fabric that does both of those things would be the best way to really achieve the right fit and fake bolero appearance. I know the pattern’s fabric recommendations say the same thing. I’ll admit I often disregard such guidelines only to end up with a great finished garment, but they are really is important here. Otherwise this dress is a more of a trick to make than it has to be. Perhaps a boiled wool (lined, of course) or a suiting blend, might be ideal…however, the fabric recommendations also ask for a fabric which can fray easily. As of yet, I don’t understand what would be a fabric that is the best of both worlds. As long as I made it work to sew this pattern out of my lovely novelty suiting, all is well. You see, I had been saving this up specifically to make a suit dress from the minute I laid eyes on this in the fabric store. Some pattern and fabric pairings are just meant to be, like a match made in heaven.
Of all the features, the front fake bolero ‘closure’ at the waist takes the cake to this design. It is neat, but was so tricky to figure out and actually get it to appear as a bolero. I whizzed through the rest of the dress, otherwise, but the front probably took up half or 1/3 of the total time spent. What was really hanging me up was where to snip and what to do with the ends of the pleats which come into the dress from the front waist tabs. As I figured out, they get tucked into the facings of the tabs, pulled down (more or less) on each side of the tabs. I would have taken a picture of what I was doing at this step, but unless you make this dress, it’d look like mumbo-jumbo to show you. Nevertheless, once I had the front mock closure reasonably correct, I further figured out that the real trick is to pull up the 2 inch wide seam allowance to the front waist and connect it to the top of the tab facings. This way the bodice sort of overhangs onto the skirt, creating the appearance that there is a jacket over a skirt. Only when I turn to the side or the back then someone might go, “…wait, what?” What a tricky deceiver!
The back part to this dress is very basic to vintage 50’s and 60’s patterns, and even modern ones for that matter, but I find it to be shaped very well. It is common for me to adjust the darts to these type of dress backs. I almost always need to fix the bootie and/or the shoulder points of the darts…but not this time. This was quite a relieving change. As I said above, the pattern runs a bit generous so perhaps this was the reason for my vacation from fitting adjustments.
There were a handful of relatively small changes I made to the design and/or layout. I straightened out the skirt side seams – originally they tapered into the knee for something like a wiggle silhouette. No, thanks! Rather than a slit in the back of the skirt I made the classic kick pleat vent. I raised the shoulder seam on the bodice (making room for shoulder pads) and added in 5/8 inch to the sleeve/dress armsyce at the armpit point so I would have “reach room”. I also cut the sleeves on the bias for more interest in the directional bouclé and for more “reach room”. The sleeve length turned out quite long (as in bracelet length) so I shortened them by one inch. Just to be on the safe side, I added in an extra inch to the length of the hem of the skirt bottom. I did not do a separate lining for the entire inside, but cut out full pieces (except for the skirt front, which is its own piece) to back the bouclé and be sewn into the dress as a whole. Finally, rather than cutting strips of fabric, shredding them, and finishing off the edges for the sleeve hem and neck, I merely used the fancy selvedge to the fabric. It worked perfectly to use to selvedge, and I think it looks better and is more stable than using frayed fabric strips. I only put the frilly edging on the sleeve and neck (not on the skirt) because (again) I was trying to keep up the whole mock jacket appearance.
Oddly, what most impresses me is something you’d never see unless you make this dress or wear it for yourself – the inner lining. The lining skirt has four darts and is significantly smaller than the fashion fabric skirt with its two box pleats. This design ingeniously keeps the box pleats loose enough to keep a lovely loose shape. It’s just like the 1950s and 60’s to have this ingenious fitting technique that’s so understated and disguised. There is so much more than meets the eye to vintage patterns, and as long as a re-issue is decently ‘true’ to its original design, then more amazing techniques can be done by others to sew one’s very own special design, too.
The difficult but successful process of making yet another Burda vintage re-print has given me a very comfy and cheery dress that I am just plain happy wearing. With my adjustments, I am not confined at all in this dress so I can walk and bend fully (to find those hidden Easter eggs). The design makes me put together with one pull of the back zip (so simple). Finally, the fabric is a lovely standout mix of colors (just like how spring is to the floral world). So many times, being in a suit dress doesn’t mean all of those things. Until I started sewing my own garments did I realize you can have the best of both worlds, if you plan a sewing project just right. In Vogue magazine for February 15, 1954, page 84, Chanel was quoted as saying, “A dress isn’t right if it is uncomfortable…A sleeve isn’t right unless the arm moves easily. Elegance in clothes means freedom to move freely.” I like that. Easter is a time to celebrate and appreciate family, nature, and blessings, among so many other things, and I didn’t want what I was wearing to get in way of doing all the ‘good stuff’ to do. Another Easter might have come and gone, but now I’ve got memories leftover as well as a great dress to wear again and again. I hope you, too, had a wonderful holiday!