Totally Reversible 1967 Suit Dress Set

How does one maximize a garment’s wearing options with style?  By not deciding!  Before you tell me I’m crazy, listen.  You see, when I was planning to sew a 1967 suit set, and I had set my heart on two fabrics for it, I thought why not just go all out and make it reversible?  I had equal amounts of a lovely lavender linen and a fleur-dis-lis printed cotton, both of which I saw as meant for one another.  I wasn’t willing to hide one or the other to use as a lining, and using them separately just wouldn’t have the same effect.  Making a reversible suit set sure solved the problem of which fabric to choose, and it also gave me a darn good challenge, to boot…especially since my pattern was lacking instructions!  I had to count on my sewing smarts to get me through!

Yes, I know how to make things hard for myself, but it gives me a goal to accomplish which can make me feel proud to complete successfully.  There are so many ways of wearing a reversible suit dress set, so each picture practically has a different combination and different details to show.  I love how this set ‘suits’ my body, yet I mostly enjoy the ability to pop into a bathroom and come out looking different as if I’ve changed what I’m wearing when I really haven’t!  He, he.  It’s never dull around me apparently 😉THE FACTS:

FABRIC:  The one fabric is 100% linen, in an open woven blend of the lavender, lilac, grey, and purple.  The other fabric is a 100% cotton in lavender, with a purple geometric Fleur-dis-lis print which has a slight metallic silver sheen printed over it.

PATTERN:  Simplicity #6957, year 1967 junior’s pattern

NOTIONS:  Believe it or not, everything I needed for this project was already on hand  – thread, interfacing, a zipper, as well a vintage buttons from the stash of hubby’s Grandmother

TIME TO COMPLETE:  The set was finished on May 24, 2015, after maybe 25 to 30 hours spent.

TOTAL COST:  Everything for making this project was stuff languishing in my different stashes for many, many years, so I’m counting this project as free!

I will admit that I had ‘support’ for my idea from a major fashion figurehead – Chanel – and an outfit of hers with a dramatic story behind it.  I’m talking about a suit set that she designed for her Patrimoine collection which was showcased in Marie Claire magazine No. 181 in September 1967.  It looks like a dress in a violet tweed with a reversible, or at least contrast lined, jacket and hiding helmet-style hat.  This Marie Claire magazine article was part of a daring and little known contest they hosted between Andre Courrèges and Chanel.  Thus, the violet tweed outfit that was my ‘splashboard’ was the best of what made Chanel, well…Chanel, still presenting appealing yet classic designs in the crazy decade of the 60’s and setting her apart from her modern peer Courrèges.  A woman’s suit, traditionally a man’s garment decades back when she was beginning her career, is Chanel’s specialty, along with that elegant “distinction” which her designs have.  The youthful, bright designs of Courrèges (such as the go-go boot or mini skirt), by the very way they fit, are cut, and worn, bring the body close to one’s sensibilities and contrast in bold terms with Chanel.  (More info can be found in the book “The Language of Fashion” by Roland Barthes, Chapter 11, pages 99 to 103, you can read some of it here.)  More or less, Simplicity was offering a very high class design here.For some reason, I feel that my reversible suit dress set from 1967 is an unorthodox mix of both Chanel’s dignified tweed design (with her soft feminine colors to boot) and the youthful, arm baring, modern aura of a Courrèges creation (my cotton print does have shiny silver, his preferred color besides white, and it is a junior’s pattern).  We were at a contemporary art museum for these pictures after all, yet many of my poses are dignified for even more contrast.  Hopefully, in my 1967 set, the contest between Chanel and Courrèges from years back is now a tie.

To the actual sewing, I more or less made the entire dress and jacket in double, with all edges inside itself.  There was so much turning of edges, pinning, top-stitching involved!  I eliminated all facings (of course) and instead ironed on interfacing inside where facings would have been.  Luckily this dress did not need any adjusting to fit me other than the changes I made to the pattern already at the cutting out stage!

The two biggest challenges to making this suit set reversible was the shoulder pleats to the dress and the button closing to the jacket.  The dress’ shoulder pleats are more akin to an overlapping fold, or technically a knife pleat, which runs right along the outer sleeve edge.  To make this work on a reversible dress, I did these folds last, and stitched them down individually.  There are four in total – one on each shoulder and one on each fabric side – and make things only slightly bulky (nothing a good ironing can’t fix), but at least the original design lines are kept intact.For the jacket buttoning, I went with a method which was popular in the 1930’s when delicate closures could be smashed through rough treatment from roller style wash machines – removable buttons!  Both sides of the jacket opening edge have button holes.  This way my buttons can be placed in the correct side, whichever that may be, for the right and the left change up when my jacket is reversed!  Vintage 1930’s buttons had a metal look which used a ring or a pin to keep them in place in the buttonhole openings (see pics of that in detail on the “Vintage Gal” blog), but I didn’t have that advantage here.

Again, my indecision saved the day for my outfit!  As I couldn’t choose between some large satin finish pale pink buttons or fancy deep purple shell ones, I used them both, connecting them underneath with a ribbon tie.  Making the buttons reversible actually worked out very well, because the second button behind whichever side I use acts like a backing to keep them in place in the button hole opening.  Next time you make something and want to use some precious or fragile buttons, or even if you want something reversible, remember to make both closing sides with button holes and make your buttons removable in one way or another!  A little ingenuity can go a long way to solving problems.

Even though my fabrics are not busy, I’m disappointed at how they hide the graceful style lines to this set.  You can’t really see, but the dress has these shaping side bust panels that arch down from the back neckline darts, swoop under the bust to head into and around the back just above the waistline.  So lovely!  This way there are no darts or other means of shaping besides a well-tailored panel which brings in a curve over the chest and high waist, unlike many other fashions for juniors from the same time (mostly non-body conscious A-line dresses and loose “baby doll” styles).  With such a shaped dress, a short and boxy jacket (which has French darts and an arched side seam hem) actually works much better than I’ve ever come across before.  I’ve always tended to dislike boxy jackets – I find them hard to pair with most of what I wear or have in closet, and never before found a way to like one so much on my body.  I love it when utilizing both my sewing and vintage styles opens up a way for me to like something on myself I’ve always avoided before.  It is hard for me not to like anything in any shade of purple, anyway!Oh yes, I can’t forget to talk about the back zipper!  I’ll confess I made things hard on myself here by using a “normal” modern zipper.  I know they make reversible zippers, but buying one 22 inch length would get pricey and finding one that match would be more challenging, so I merely used one that was on hand.  For the first time I switched to the lavender Fleur-dis-lis printed side out, it originally was quite tricky to zip closed the dress on myself grabbing the pull from the inside…a bit stressful, to tell the truth.  To make things easier, I later used my jewelry making skills to attach a double jump ring to the small zipper pull so I could add a decorative metal Fleur-dis-lis charm.  This charm makes the zipper pull easier to find and grab so I can close my dress no matter which side I wear without freaking out, stuck in a bathroom changing, with the back of my dress open (it has happened, can’t you tell).  Besides, the charm hanging at the back of my neck is quite, fun, and quirky.  Also, in my opinion, and there is no such a thing as Fleur-dis-lis overload.

There was a storm blowing in when we took these pictures, and as my hairstyle did not hold against the humidity, I resorted to using a vintage scarf which actually worked out quite well.  I think it conveys modernity, youth, and movement (Courrèges influence), as well as keeping my outfit from being too stiffly dressy, although I am wearing pearls…so very classic Chanel!  My shoes and gloves are vintage pieces, too.  The gloves have a scalloped edge, much like my suit jacket, and I think my shoes are very similar to the ones drawn on the middle model of my dress’ pattern cover!

I really enjoy reversible garments – I love how they offer optimal wearing options, and prompt me to nicely cover up all edges for a nice finish!  Not too often do I come across a garment with more than one wearing option – changing up one’s look with a single garment isn’t an option that I see in ready-to-wear, unless it’s travel-themed clothes.  I now have many pairing options for the effort of sewing one relatively simple suit set.  I feel like I’ve maximized some of my time and the space in my closet without compromising style.  Yet, reversible clothes doesn’t have to mean simple design…I’ve just proved that with my crazy sewing experiment.What do you think of reversible clothes?  Have you worn anything reversible, or made anything reversible?  Do you prefer the style of Chanel or of Courrèges for the 60’s?

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