Rebellion and resistance seems to extremely popular – with movies, with culture, with the arts, and as a word or idea. From the Rockabilly crowd to Punk fashion, from “Star Wars” to “Mutiny on the Bounty”, and “One Flew Over the Cuckoo’s Nest”, rising up against the norm never seems to be any less retold and repeated today. The mid-century of the 1900s seemed to be ripe with unrest, but I’d like to focus on the free-spirited and artistic Beatnik culture with my newest make dated to 1963. After all, we do have Beatnik to thank for reviving the popularity of wearing vintage styles! More on that later…
This is my November make for my monthly pledge for the “Burda Challenge 2018”. Next up to match this blouse and give me a full vintage-style Burda outfit is the “Waistcoat Bodice Dress“ for my December project! The model picture does show the two worn together.
The pants you see with my pictures are my 1974 knit jeans (post here) to amp up the casual and alternative style, but really this blouse goes with so much – jeans, skirts, and especially my purple 40s pants! A beret hat is essential to the Beatnik style, and mine is me-made from a vintage 1934 pattern (post here). My shoes are true 1960s vintage beauties as well as my earrings.
FABRIC: a 100% cotton paisley print lined at the cuffs and collar with burgundy satin
NOTIONS: I only needed plenty of thread and 10 vintage buttons
TIME TO COMPLETE: This took a lot of hand-stitching and detailed work, so I lost count of time but I’m guessing I spent about 30 plus hours to make this over the course of a week. The blouse was finished on November 21, 2018.
THE INSIDES: All French seamed except for the grey bias tape over the bottom hem
TOTAL COST: I’m counting this project as free since it’ fabric has been in my stash for a good number of years and everything else was on hand!
Beatnik subculture is loosely defined as both a media stereotype and a generational literary movement between the mid-1950s to mid-1960s. The term “Beatnik” is said to have been coined by Herb Caen of the San Francisco Chronicle on April 2, 1958 and its expansion paved to way for the hippie culture of the later 60s.
What I find the most curious about beatnik is the influence it had on fashion through music. One of the leading figures of the Beat Generation, Allen Ginsberg, an American poet/writer, was a close friend of Bob Dylan and the Beatles, two of popular Beatnik musical performers. The Beatles supposedly even put the “E” in their name because of Beatnik and Beat writer William S. Burroughs was on the cover of their album Sgt. Pepper’s Lonely Hearts Club Band. Their iconic, gaudy vintage-style military uniforms for that album were only a small part of the new awakening to reaching for past styles to standout, be unique, and express oneself that we have today.
Beatnik wanted nothing to do with anything that had to do with the eras of their parents, the 40s, and 50s and had no taste for designer trends. The styles of the 1860s to 1890s, only 70 to 100 years old back then, were coming back with the ruffled neck shirts (of Edwardian times for women, early 1800s for men) being one major beatnik movement interpreted with my Burda Style make. When you turn the perspective, this isn’t too different from what the vintage community of today does – garments from the 1910s, 1920s, up to the 60’s are still extant, and bought and sold to both wear and appreciate but the 70’s, 80s, and 90’s are still mostly only being appreciated by those too young to remember them. When the London “Granny Takes a Trip” store opened in the mid-60s and stocked it with second-hand, outdated clothes, the Beatniks welcomed it and a whole new “thing” had begun.
The late Beatnik trend of the ruffle blouse was not just popular because of the big names that were wearing them, but also because they were seen as a unisex item, pretty much the first of its kind. It was part of “Granny Takes a Trip” and the artists and writers of the Beatnik trend to focus on inclusiveness and loose sexuality. However, the limelight did help the ruffled blouse popularity. For the Rolling Stone’s concert in Hamburg 1965, much of the crowd was said to have been wearing ruffled neck tops, and for their “No Filter” tour just last year (2017), what do you know…Jagger is wearing ruffled neck shirts for a few of the performances. Jimi Hendrix’s famous scene when he set his guitar on fire at the 1967 Monterey International Pop Music Festival made history in a ruffled neck shirt. More inspiration can be seen in Burda’s collage photo. A recent Royal Mail stamp from 2012, commemorating contribution to British fashion by designers, even features a ruffled neck blouse for the 60’s!
The paisley print in my blouse is a trippy sort of psychedelic prefiguring the later 60s, yet it is in the rich, darker, subdued colors that the Beatnik trend preferred. The busy print calls to mind old textiles and the Kashmiri “cashew print” seen through the later 1800s. “Granny Takes a Trip” did re-fashion Industrial Era clothes and tailor garments from precious antique items (such as a William Morris tapestry)! Many times blouses like these are loosely referred to as “Artist” blouse, “Pirate” shirt, or even “Romantic” because of the tendency to think of the covers of a cheesy paperback romance novel or of Jane Austen gentleman. It sure does have an idealistic, bold, flair with its excess of details, in my experience with wearing one now! The deep burgundy satin I chose for the underside of the collar and the cuffs adds of luxurious flair that reminds me of the jewel toned velvet suits of the era, or some sort of masculine loungewear of Victorian times.
This pattern was quite exhaustive in complexity, and you certainly can’t rush making this design, but I revel in succeeding with the fine points of sewing. I took time to make sure the chest ruffles laid flat and stayed in place otherwise I knew this blouse would end up feeling like it had a fussy, built-in bib! Each ruffle had its own draft, cut on the bias and folded in half with its own length in different measurements from the others, so everything had to stay clearly labelled until being stitched down…which happened to be the very first step. I serged (overlocked) the raw edges of each of the neck ruffles to keep things clean and simple, with as little extra bulk as possible. Then, I stitched down each ruffle edge in three rows ¼ inch apart, and lightly steamed the gathers down.
As if that is not time consuming enough, the invisible button placket also has to be finished before the real body of the blouse is assembled. These are tricky, fiddly, things but this is the third one I’ve done through Burda (first here and second here) so there it was much less of a guessing game this time. More or less the left side is a very basic shirt placket while the other (right side) gets accordion pleated four ways. The right placket is two individual plackets cut as one. The middle line is folded in on itself to cover the seam allowance and be stitched down “in the (seam) ditch” before you fold the inner (second) placket half (which gets the buttonholes) and also stitch that down through all layers. As the final touch, whether it’s mentioned or not in the instructions, I find the two placket layers become one to sight if you tack (by hand) the two together along the edges for only one inch between each of the buttonholes.
Besides the preliminary machine stitching to attach the plackets to both shirt fronts, everything else where the shirt closes I did by hand. This way I can be more precise with catching all the different seams and layers, in addition to making the thread invisible. Finally, only then were the darts made and shoulder seams brought together so that the collar and sleeves can be put on. I figured if I’m putting this much effort into this blouse, it deserves the extra effort to be done very well. This is why I also top-stitched the collar and cuff edges by hand, too. The finished look is so professional!
These sleeve cuffs are so over the top…and I thought the 30’s and 40’s had dramatic arm features! Including the ruffles, the cuffs are 1/3 of the length shoulder to wrist. Keep this into account when you’re making it or if you need more length, because I was thrown off before the cuff was added. I thought I cut too short! The most challenging part of the cuffs was to make sure the ruffles stay out of the way of the seams when you are stitching down the underside (before you turn it inside out).
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 inserts in the magazine issue, and this set of 60s patterns is a special edition publication not available through the monthly subscription, but most other patterns are 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 my pieces out. It’s at this preliminary step that you pick out your proper size. Some people add in your choice of seam allowance width directly to the pattern while some as they are cutting out the fabric pieces. 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.
Overall, I am so impressed with the quality of this pattern. This is probably the best Burda Style pattern I have used yet. Some Burda patterns are quirky in fit and the instructions can frequently be either lacking or confusing. Not here! The sizing was right on too, and it comfy to wear. The body shape for this blouse is very straight, and the darts are only ½ inch (or less). I did grade up a size (as I normally do) for my hips and it looks great tucked in or left out. I kept exactly to the pattern for everything except the button placement. The cuffs are so wide and frilly only one button is not enough to close the sleeve ends – I have two per cuff. I also added one extra button at the very bottom of the blouse front just above the hem. It makes the blouse look more put together when it’s untucked. I have a whole jar of the vintage grey buttons I used so I was favoring excess, but more buttons do help this design – a small complaint!
It’s not that I’ve made this blouse because I really love the music of Beatnik or the culture…I don’t really. However, I do love to explore different styles, and I love a sewing challenge, especially one that gives me an in-person reason to wrap my head around a curious aspect of history. This is an era that my and my husband’s parents lived through as late teens/early 20 somethings after all! My mom has even said she had a ruffle blouse very similar to mine when she was growing up…I believe she said it was something she bought at Macy’s in New York City on a high school class trip. So – maybe I’m just a fashion rebel at heart to go for what tickles my fancy and create this unusual blouse which relives my parents’ times, but maybe that’s just why I like it. Sewing does convey a certain independence, a personal freedom, and an appreciation of details that is in the face of the powerful, overwhelming, ‘buy it on a whim to immediately toss it’ ready-to-wear culture of today. This is my favorite kind of rebellion, one that we need to encourage and nurture today between each other and in the upcoming generation.