My “John Hancock” Dress

It was the day after that terrible, unexplained explosion at the Isodyne Energy Facility.  She was fighting through so much internally and externally – confusion, loss, blame, and a gut suspicion of a truth that she cannot prove.  At least she was the only one who had the humanity to get to know the missing scientist, no matter what his skin color.  Although she did not have the time to establish the connection she was inherently hoping for, she did understand him enough to mourn that he was only another senseless innocent in the long list of persons she seems to be the cause of their destruction.  Rightly or wrongly, those are her feelings.  Yet, the rest of the world around her only wanted the ‘facts’ about last night tied up in a nice little package, so that the truth for them was what they expected to hear.  SHE was the one needed by those in power to sign off for their lies – willingly or not was the threat.  What might our heroine wear for such a scene?  How can her fashion translate her strength showing through her weakness, her conviction to stand for veracity as the sole woman among a sea of lying, well-connected men?

Luckily, Peggy did have some true friends to turn to in such an hour.  Fortunately, also, the wonderful costume designer Gigi Melton has already come up with the perfect, amazing, and striking answer to a scene such as this, as well as other incidents just as powerful.

The heroine, Peggy Carter of the “Strategic Scientific Reserve”, dons the signature color of her female adversary – purple.  As someone who perennially wears blues, reds, and browns, she combines it with a new-to-her tone from the other end of the spectrum…green.  A professional looking faux two-piece outfit becomes a convenient one-piece dress.  Bold but sensible courage is manifested in Peggy’s fashion as well as character. Now, with my sewing capabilities, some fabric remnants, and an old pattern, I have my very own copy of Marvel’s Agent Carter’s dress for the above described “John Hancock” scene from Episode 3 of Season Two, “Better Angels”.

I love how Peggy’s words perpetually cut through the crud around her and are searingly direct, like a hot knife in hard butter, especially for this scene.  Truthfulness with others is what she is best at, and those scenes in which this memorable dress is worn, she oozes an assertive yet feminine, complex yet simple, and full on 40’s look!   “Better Angels” episode helps demonstrate why I have such respect for her and why I admire her character – an everyday superhero capability is tinged with a very relatable humanity and touching empathy.

April 9 is the anniversary of Peggy’s birthday, and it’s annually a day to celebrate a character that has brought so much into our lives by taking part in the “International Agent Carter Day”.  This is one of my favorite days of the year!  For such a day this year, I will post one of my very favorite Agent Carter outfit “copies” I have done.  It also happens to get the most compliments everywhere I go wearing it!  All this was made in one yard of deep eggplant purple gabardine and a few scraps of bright China silk leftover from a past project.  I adapted a true vintage 1946 pattern to both keep to the era and find the real historical version – thus I’m not just copying a Hollywood garment.

Of course, anyone who knows me knows I love a great pair of shoes, especially one that perfectly matches a color in my outfit.  Thus, I set out to find some true vintage shoes which would parallel the olive green B.A.I.T brand heels in the show.  There are some more modern decades, such as the 60’s or 70’s, which mimic 1940’s shoe styles, with slightly different heel shapes.  They are frequently much more wearable because of their not-so-fragile-as true-40’s footwear, however.  So, after much searching, I found a pair of lovely suede and polished leather, woven front, peep-toe heels in my size, in the exact matching green as my center bodice!  These are so comfy and really complete the outfit, yet they sadly blend in too well with the grass to be seen when I’m in a yard!

THE FACTS:

FABRIC:  a rayon/cotton blend gabardine, combined with china silk (leftover from lining this 40’s jacket-style blouse) for the contrast, and full lining in the bodice with all cotton broadcloth.

PATTERN:  McCall #6377, year 1946

NOTIONS:  I had all the thread I needed, and I used interfacing scraps and a zipper from on hand

TIME TO COMPLETE:  This dress was finished on September 10, 2018, in about 10 hours.

THE INSIDES:  cleanly bias bound

TOTAL COST:  The one yard of purple gabardine was a remnant found for about $5 at Wal-Mart, the silk was scraps (I don’t count the cost of such small pieces), and the “American Classics” cotton was yet another remnant, this time found at JoAnn for a few dollars.  This dress cost under $10!!!

Faux boleros on a one-piece garment or even just color-blocking – like this dress – seemed to have been a ‘thing’ starting in the late 1930s through 1940s, from what I have found so far through extant garments and similar sewing pattern designs.  This collage is only a small portion of what inspiration I have come across.  These are all a very smart – perfect for using small cuts of fabric, but nevertheless make the most fun out of fashion as well as the most streamlined outfit ever!  The bottom right extant late 1930s dress is the one that I specifically channeled here with my tweak to add a bit of Agent Carter my vintage pattern.  That inspiration garment had the arched, faux cummerbund mid-section as well as the shiny silk contrast bodice panels which worked perfectly with my need to fit every pattern piece on small remnants.  The more concise the pieces, the better to fit onto scraps!

Getting my bodice to look like a faux bolero required me to retrace it out onto paper, cut out that copy, and re-draft it into a few extra pieces.  Yet, to keep all of those pieces together nicely – besides validating the accuracy of my re-drafting and provide a clean interior – the bodice lining is the one-piece design of the original pattern.   I was so happy to be using my lovely leftover silk in a project which would highlight it.  As I had only used it for interior lining in the project before, this silk literally now has its opportunity to shine.  Yet, the silk is so much lighter compared to the substantial thickness of the gabardine, it sometimes appears quite wrinkled.  China silk is not the best at holding its own on a fashion design.  There’s exceptions to the rule as you can see here, but it really is best as a lining.  I wouldn’t trust the China silk to not rip or tear apart on its own if I hadn’t lined the bodice.

The best part of sewing a two-tone dress (total irony here) is having to switch between colors with the spools and bobbins of thread in my sewing machine.  It is a real pain!  This is why I did the side zipper and several other sections by hand.  Not to brag, but I can use whatever color of thread on whatever color of fabric and make the thread invisible!  Such a technique is a very useful skill, just sharing a heads up!  I kept the machine top-stitching to the purple portion of the bodice only because gabardine doesn’t look as terrible showing thread as silk would.  Silk is such a fine fabric, I feel like it deserves better (most of the time) than machine stitching!  I know, silly me!

There’s something to be said about dressing in character.  When you try to copy someone else’s wardrobe, no matter how much you like it on that other individual, you are not dressing for yourself until you own it and make it yours, whether through a tweak to the garment or a change of mental outlook for example.  I – and many other wonderful women who call Peggy Carter their heroine, like me – find that Captain America’s “Best Girl” only raises us up and makes us stronger and more confident in ourselves when taking on her persona through wearing her wardrobe.  Agent Carter is such a special character to emulate.  She is so relatable and inspiring in so many ways that to imitate her is like manifesting a braver and bolder version of yourself, which needed Peggy’s help to show itself.  Let’s all “know our value” today and every day!

Working in the Quad-angle

I recently realized a gap in my winter wardrobe.  Amongst all my warm self-made dresses and cozy skirts in lofty wool or tweed, none are from the 1930s decade.  My trip in February to Los Angeles (and Las Vegas) gave me the perfect excuse to amend this discrepancy!  We were to stay at a grand Art Deco era hotel “the Biltmore” – an early home to the Academy Awards ceremony, the Oscars.  You all can tell how much I love an appropriate background setting for my vintage adventures, so I came prepared with a wonderful mid-30’s boucle dress which now fills in the gap in wintertime gear!

This dress completely plays upon my combined love for Art Deco geometrics and the mathematics of sewing.  It is a dress chock full of right angles.  The boucle has darker brown threads in perfectly right angles, and the faux pockets continue the play.  There are gusset panels at the underarms.  My gloves have zig-zagged cuffs and my chest decoration is dashes.  Even the buttons I chose are squares.  This circa 1934 dress is on the very cusp of the shift in the decade’s dresses going from so very angular and Art Deco Influenced to soft, flowing, and feminine after 1935.   Even my hat refers back to the early 30’s with its close-to-the-head fit that pairs with a short hairstyle, much like the late 1920s, and it has very linear velvet trimming wrapping around the crown.

Granted, most of the pictures in this post were taken when back home in our town, because sometimes we’re too busy having fun on a trip to stop for photos.  However, it just goes to show that this dress is much more than just a splurge creation for a special trip.  It is a new favorite!  My accessories – all vintage except for my shoes – are also mostly acquisitions from the same trip, as well.  (Any color in gloves which are older than the 1950s is hard to find in town, but I prefer trying them on before buying, after all.)  It felt like this outfit was just meant to be, and although it has been hard to wait, apparently ‘now’ was finally the perfect time to pick up this project and make it wearable.

THE FACTS:

FABRIC:  an acrylic blend, fuzzy, chenille-like boucle; contrast pieces in a light polyester crepe; bodice and collar lined in crepe poly lining

PATTERN:  Excella pattern #5288, from circa 1934 (no later than 1935)

NOTIONS:  My buttons and my side zipper are true vintage from the 30s or 40’s.  Other than that, all other supplies are new and mostly from on hand – embroidery floss, thread, bias tape, and interfacing scraps.

TIME TO COMPLETE:  This dress was sewn in about 20 hours (yeah, it gave me a bit of trouble) and finished on February 12, 2020.

THE INSIDES:  The bodice is fully lined, but the skirt seams have clean bias bound edges.

TOTAL COST:  This dress cost me under $5!  The buttons, zipper, and floss were my few recent expenses and the only ones I’m counting.  Everything else (all the fabrics) was either scraps or came from on hand in my stash for what seems like forever…so there as good as free!

This dress has subtle (but fantastic and unusual) points to it that set it a bit apart from the run-of-the-mill 1930s design.  The skirt pleats are folded oppositely to the norm – the side panels are folded in knife pleat manner towards the center on top of the middle panel.  I have not yet found another 1930s design which has underarm gussets…combined with the wide, cut-on, kimono sleeves this style of bodice is what is considered traditional for the 1950s!  The collar does not extend all the way around the neck and ends in an angle on either side of the collarbone to leave the front button closure standing alone all the way down the center front bodice.  If I want a slightly different look than an all-buttoned-up neckline, I can open up the top button hole and give the appearance of a collar (thanks to the full lining).  The belt is an extension of the bodice in the way the belt carries on the descending buttons.  A back view is rather plain comparatively, with a basic two piece skirt and a bodice with waistline pleats for a slight pouf above the belt.  The era of the 1930s never ceases to amaze me with its curious variety of fashion, but even still, this is a rare bird of a style, I believe!

Finishing this dress was an old commitment finally fulfilled.  The project idea had been in my sewing queue for several years (and the fabric for at least a decade before that) but I knew my chosen design would require some real pattern work before being usable.  Firstly, I needed to trace it out so as the grade in wider (more modern) seam allowances.  Besides, I’d rather not take the chance of ruining the old original tissue pieces.  Secondly, it was incomplete.  Sometimes I can get a good deal on patterns which would otherwise be pricey by being open to ones which are missing pieces and in danger of being thrown away.  Pattern drafting feels so worthwhile when it can go towards bringing these old pattern gems back to being usable and complete again.  This way it’s also done not for money but driven only from dedication.  Granted, this dress did not have any major pieces gone – only the collar, facings, and decorative corner panels – but just drafting them successfully from scratch feels like a big deal to me now that the dress has come together!

Excella Pattern Company was a subsidiary of Pictorial Review Patterns, so if it is anything like its parent corporation, I’m assuming this dress is a higher-end style which is either from epicenters such as Paris and New York, or knocked-off of a designer’s creation.  Even though I see that the pattern number points to the probability that this is 1935, the design is so very 1934 (which I played upon with my hat which can be definitively dated to the same year).  This is weird because these patterns were usually ahead of the curve when it came to the newest styles.  Nevertheless, for as simple and “easy” as this might seem upon a general glance (especially when compared to other Excella & Pictorial Review patterns of the time) I could tell it was a high-end design by the way the small details that you don’t see demanded so much extra time.

I didn’t need the missing neckline facing pieces as I went ahead with my own plans and fully lined the bodice.  Yet the contrast collar, faux pockets, and belt were actually part of my never-ending scrap-busting attempts.  You see, I had bought some reproduction 1930s style, high-waisted, wide-legged trousers for my husband a few years back and they needed a very deep hemming job for them to be his length.  The fabric was a lovely, thick, crepe finish material and I had two big 6 by 24 inch-something rectangles leftover which happened to match so very well with this boucle.  I figured so very correctly that those pieces I wanted to be in contrast wouldn’t need much fabric anyway, and the dull crepe is a perfect non-flashy but pleasing material to do the job (a ‘pretty’ brown tone can be so hard to come by).   Yay for making the most of every little bit I bother to save!  My husband finds this use of those scraps amazing in the way I even so much as kept track of those remnant pieces, and then remembered my fabric stash (and planned projects) well enough to figure such a pairing.  As I said above, I feel this project was meant to be!

Perfecting the details took up more time than to bring the basic dress together, but I do believe such attention makes a world of difference from merely handmade to the Parisian chic Excella and Pictorial Review patterns were known for.  Perhaps the most obvious detail is the decorative stitching added onto the front chest faux pockets.  Rows of thread are shown on all the angular panel pieces on the pattern cover, and I was (still am) unsure how much I like the detail, so I kept it only to the chest panels.  No need to bring more attention to the hips, so I heard when I asked for advice.  I used embroidery floss for the job, and stitched it by hand during the car ride across the desert from Las Vegas to Los Angeles.  The instructions seem to indicate the rows of thread are to be tiny, close to one another, and stitched down by the machine, but I wanted something much more decorative than that…something that shows off my time and handiwork.

Additional embroidery floss went towards stitching on arrow points at the opening of the skirt pleats.  The boucle is very loose, and the skirt is unlined, and so the arrow points not only add a bit of couture finery but also make sure the fabric stays together at one of the most stressed seams to the dress.  There are hand stitched thread belt loops all around the waist to keep my self-fabric skinny belt in place over the bulky waist seam.   All hems and the neckline edges, as well as the zipper, were also hand stitched in place for a dress that has very little visible seaming thread showing.  The only semi-shortcuts I took is to make regular stitched buttonholes as well as making the belt front closure not a true workable button – there is a hidden double hook-n-eye.  These are not really shortcuts, I know, but I worked on such fine finishing everywhere else, so I had a silly sense of guilt.

Sometimes I wonder why I bother to go to such lengths.  Maybe it’s for the satisfaction of creating something beautiful to the best of my ability.  Perhaps it’s merely the perfectionist in me.  Maybe I’m trying to fill in for the lack in quality that RTW nowadays does not generally offer.  Deep down I want to make something that will last, something that will be treasured, something alike to what makes vintage garments so appealing and enduring even today.  Every time I doubt myself yet still take the time to construct something well, I see the finished look and love it – it makes it all worthwhile.

Anyway – back to the dress before I wrap up this post!  It might seem a bit out of the traditional season for rust toned ochre.  However, orange isn’t just for fall (I have a whole Pinterest page dedicated to this).  As much as this dress can come across as an autumn season frock, I see it more as an apricot color, or a warm, earth-toned beige.  It’s a lovely, cheerfully muted color for a very early springtime for some pleasant February days.  It’s also a color I most admire in the built environment of our home city, too.  I love decorative terra cotta elements, the fine crafted brick work that our town is known for, and the combination of a glorious sunset blending its colors with the rich architecture.  Now I have a dress that matches well with that!  Even though I probably will not be wearing this dress any more this year until autumn comes so many months away, I have this wonderful 30s dress waiting for those cold days ahead so I can rock the Deco Era no matter what the weather!

Long Dog Dreams

If you follow my blog, or know me even in passing, you soon realize my love for dachshund dogs.  Just like sewing and sunshine, they make me happy!  My own little long yet short fur baby is the sweetest companion I could ever find, but lately, younger versions of him have been also catching my eye.  This past year, my parents picked up a cute and rambunctious dappled dachshund puppy.  More recently, after watching LouLou the famous dachshund have her litter of puppies 10 weeks ago, I’ve actually had some happy dreams of half a dozen happy little wiener dogs all over me.  Now, I do have plenty of store bought pajamas and nightwear that are made of dachshund prints, but nothing hot dog related self-made to sleep in.  It was high time to correct that situation so I could have more ‘long dog dreams’.  I dare you to look at the picture and not yawn!

This project is a fun merging of modern-made-vintage which I rarely do to this degree.  Yes, I used a true vintage pattern to make something out of its contemporary antithesis – polyester fleece.  This combo sounds like ‘heresy’ deep down to my old school sewing heart, but the print had me at first sight.  Besides, I don’t mind redeeming fleece every so often (look how I further redeemed fleece as a fashionable coat here).  Fleece can be so much more than just no-sew blankets!  The 40’s style is something so pretty and feminine for nightwear, fleece or not, I figure I couldn’t go wrong adding a dachshund print to the mix!

THE FACTS:

FABRIC:  polyester fleece – a JoAnn store exclusive print – fully lined with contrast sleeves in a lightweight polyester interlock

PATTERN:  Simplicity #2269, year 1947

NOTIONS:  Thread and ¼ inch ribbon

TIME TO COMPLETE:  The nightgown was made in about 5 hours and finished on January 22, 2020.

THE INSIDES:  left raw…as one does with knits

TOTAL COST:  about $30

The fleece I used is not what you would normally expect or find.  It is thin and a different kind of plushness, closer to a velvet than anything else – quite dreamy!  However, I do believe in the possibility of too much of a good thing.  So, I chose a contrast for the sleeves and waist ties.  This contrast fabric is also the same I used to fully line the inside body (which you can see here), because no fleece is immune to the bane of static electricity.  The light interlock does not really add weight, but keeps the fleece from sticking to me as I wear it.  When you make it yourself, you can cater to your every idea for a glorious creation that is something you will enjoy so much more than RTW.

There are no closures and relative simplicity of lines – this is a popover and tie nightgown.  This helped make it a quick and easy creation.  The size was technically too big for me, but I made it as-is (I didn’t want to bother with grading) and simply sewed in wider seam allowances.  Doing so had me worried at first because it looked so oversized!  However, the ties – sewn into the side seams – cinch in in just fine.   It is okay to be a bit lazy when sewing nightwear?  I mean why wait until it’s done to be chilling out?! Perhaps the overall relaxation of it all was wearing off on my sewing practices this time around.  If you want a slightly easier-to-find and more modern version of the pattern I used for my nightgown (thus more reasonably priced, too), search for Butterick #5688 from 2011.

For as simple as it was, my nightgown is not lacking in the conventional 40’s details such as shirred shoulders and puff sleeve caps.  These details were slightly more difficult in double layered knit.  I added a bit of extra detail myself – a thin, pink ribbon top-stitched 5/8 inch away from the neckline edge.  There’s two reasons behind my bonus trimming.  Firstly, it’s pretty (and I had a whole roll to use on hand)!  Secondly, it keeps the neckline stable, preventing it from stretching.  Something which is useful yet decorative is a great all-around win!

There was a happy surprise when I opened the envelope for the nightgown pattern.  This bonus to the pattern has kept me further occupied than sewing this simple nightgown.  There were four pages torn out of a 1940s Wards catalog, along with newspaper clippings, showing slips and more nighttime wearing options.  I love happy finds like this!  Anyone ever heard of “Madeline Patterns” from Kansas City, as seen on the two clippings?  These ephemeral scraps have become quite acidic and brittle over the years and although I scanned them in, they are still a bit hard to see but still so fun to look at, so here’s a little preview.  My favorite is the little, ruffled, one-piece, shorts playset….or maybe my favorite is the wrapped crop top and trousers, I can’t decide!

Luxurious nightwear seems to be taking the spotlight nowadays with people staying at home more than ever nowadays.  On Instagram, people seem to be calling it many things, but my favorite is the “Hibernation Libation” hashtag.  Luxurious nightwear and elegant loungewear does make for the perfect indulgence – much lower in calories than ice cream.  Speaking of a treat, just look at all the dachshunds around me when I wear this nightgown…and in my favorite colors of pink and turquoise!  You know, I even wore my treasured dachshund house slippers, too, that were a very good gift from my mom!

Now is a great time to remember you are beautiful, worthwhile, and loved…and dressing up for your own well-being is very important now more than ever when we are stuck at home in droves.  Take care of yourself, however that means.  For me, that includes continuing making and wearing fabulous, useful clothes which both make me happy – like this nightgown – and help me feel like my normal, non-quarantined self!

Roughing It!

I am the latest and greatest fan of the American west.  My recent trip last month to Nevada, then the drive to and from Los Angeles, has opened my eyes to a whole new environment I’ve never experienced before.  I – of course – have watched the “Wild West” in classic films and such, yet the great expanses out there are best appreciated in person, I can attest.  My casual and active wear wardrobe is always lacking and so I whipped up a cozy pullover sweater in preparation for the day I planned on going hiking. It was perfect to wear for the occasion… it adds to my experiences to have a memorable handmade item for wearing when I do equally memorable events!  Most importantly, though, was the lovely time in the sunshine, the beautiful atmosphere, and the company I had visiting with my friend!

For most of my pictures, my top will be partially covered by my overalls.  Hiking through the breathtaking Red Rock Canyon – where everything is prickly, rocky, rough and dusty – required something sturdy, sensible, and secure.  Heck with fashion photography this time, here is what I sew, being seen exactly how I enjoy it.  Thus I paired my self-made creation with Hell Bunny brand heavy cotton denim, vintage-inspired overalls (“Elly May Denim Dungaree”) for a sort of ‘Rosie the riveter’ flair with a modern, utilitarian aesthetic.  I guess vintage fashion is so ingrained in my life that I cannot help but take a pattern from today and merge it into my lifestyle’s flair for the styles of the past.

On my way down to Las Vegas, I paired my pullover with my Burda Style 1930s style Marlene trousers (posted here) for yet other variant of the whole vintage-made-modern thing I like to do, consciously or not. At the airport, my son did not want to see me leave him behind with daddy!  He’s mommy’s boy…at least for now!

THE FACTS:

FABRIC:  a one yard polyester knit remnant – it has a wonderful brushed outside which makes it appear like a sweater, yet there is a smooth knit, plain white inside

PATTERN:  Seamwork’s “Astoria” pullover

NOTIONS:  Nothing but thread!

TIME TO COMPLETE:  This pullover was made in one evening as a last minute project before leaving – in under 2 hours I had this top done on February 2, 2020.

THE INSIDES:  as this knit does not ravel and needs room to stretch, the inside edges are left raw.

TOTAL COST:  As the fabric was picked up at a rummage sale where all the sewing supplies are $1 a pound – and this lofty knit weighs practically nothing – this can be counted as good as free!

I am such a fan of the Astoria pattern on many accounts.  I love the shaping of the design, it has a figure-complimenting, high-waisted seaming, it only needs one yard, is super quick to make, and easy to sew together.  Except for the bother of printing out and taping together the PDF pattern, I truly felt like I blinked and it was done.  Isn’t there more that needs to be done, I kept asking?  Apparently, I am not used to such successful 3 hours or less sewing projects.  I figured it had to be a winner purely on account of the over 1,000 cute versions of it shared on Instagram alone!

Luckily, I read through many of the shared posts about others Astoria sweaters, and noticed the frequent mention that the sizing ran small, especially when it came to the sleeves.  My chosen knit barely had the recommended minimum of 25% stretch for I figured that fitting trend could cause an issue.  This was my true first Seamwork pattern (not exactly counting this sundress because, although it came from Seamwork, it is a Colette brand pattern) and so I had no idea what sizing to go by besides their chart.  Just to be safe, I went up a whole size than what their chart showed I should be making.  Now – even though my Astoria pullover does fit me, only in a snug fashion – I wish I had went up yet another whole size still.  I don’t know if this fit applies to all Seamwork patterns or just this Astoria, but it is easier to err on the side of caution for next time I try their designs and cut a generous size.

Please look closely and take a moment to appreciate the plaid matching I was able to achieve on an only one yard limitation!  This was not an easy to match, repeating print, either.  No matter how simple or quick and easy of a project I may be working on, I always make sure to do a really good job.  Among other reasons like personal satisfaction, a job well done gives me a reason to feel that my time is worthwhile enough to spend sewing versus buying something ready-to-wear.  (Most of the time RTW doesn’t offer anything close to what I have in mind to wear, so never mind!)  The wide, hem panel matches as well as the entire side seams into the sleeves.  Every little sewing victory deserves to be celebrated!

I realize it may seem frivolous to many to be focused on fashion and not dire events at hand happening in our world today, especially when it comes to travel.  However, in order to get through tough times, we need to find whatever helps us stay whole.  I am not the best version of myself being cooped up.  The memories of just last month – when I was free to travel out in the sun, fresh air, and open land, seeing new sights and going out of my comfort zone to visit someone I care about – needs to be refreshed for me.  Hopefully this post and its pictures provide a moment of respite for you, too, especially if you find yourself living vicariously through social media and telephone calls these days!  Oh, the great wide world out there might feel scary right now, but it is beautiful and it is calling for you to enjoy it!  Maybe don’t explore too ambitiously right this moment or in the next several weeks, but make sure to not grow content with the grind or stop seeing with your own eyes the real world outside of a digital screen.

I recently came across a quote from Travis Rice, as shared by the “Kind Humans Movement”, which strikes me as very relatable to both my post as well as today.  “Our lives have become digital.  Our friends, now virtual.  And, anything you could ever wanna know is just a click away.  Experiencing the world through second-hand information is not enough.  If we want authenticity we have to initiate it.  We will never now our full potential until we push ourselves to find it. It’s this self-discovery that inevitably takes us to the wildest places on earth.”  My thoughts exactly.