Hubby’s Vintage “Non-Smoking” Jacket

With Fathers’ Day here today, let’s address something relevant which is in my craw.  Menswear seems so ‘bleh’ nowadays, in my opinion.  They do not get fantastic creations from off of the red carpet (when they do, it sure never makes headlines).  Their fashions relatively stay the same (most guys probably like it that way, though), which is not bad in itself, but the scales are disproportionately tipped between the sexes.  As style is so casual for pretty much all occasions (at least where we live) there is no real variety of clothing to give men an opportunity to express themselves…beyond printed tees.  Ah, men deserve better.  I believe it’s time to bring back a garment that always used to embody masculinity, giving men a sense of personal ownership of their own leisure time, and my hubby is happy with the creative result of my sentiment because he now has a wonderful, custom-made 1940s ‘Smoking Jacket’.

A smoking jacket doesn’t necessarily have to do with practicing the habit of smoking cigarettes or a pipe (it does as far as history is concerned, but more on that in a minute).  My husband doesn’t even smoke, hence my post’s title.  Neither does it imply a compliment to a man degree of hotness.  What we women know as a housecoat or lounging robe, men have had for the last several centuries termed as a loose informal jacket, donned after dinner to enjoy leisure activities, to cover up one’s nice clothes in between stages of undressing, or to receive guests in the privacy of one’s abode.  This type of garment is luxurious in materials and decoration, and is not as private as women’s lingerie, but have been immortalized by popular, public pictures of many famous men in history being seen wearing their smoking jackets.  The poet and playwright Oscar Wilde is THE man to have brought the smoking jacket to both popular and public consciousness, but even in our modern times, the great Martin Luther King wore a satin smoking jacket for press pictures during his recovery in the hospital in 1958, after being stabbed by a letter opener during a book signing in Harlem.  My hubby’s smoking jacket always comes with him on our travels, and the Art Deco halls of a 1920s hotel became the perfect setting for some blog photos.

Now, I’ll be the first to admit this smoking jacket is glaringly made from the wrong (traditionally speaking) materials.  Smoking jackets are supposed to be make of posh, deluxe fabrics like satin, velvet, and brocade for some examples.  However, as this was going to be all his own – and a very useful, around-the-house item at that – I let him pick out all the fabrics, materials, and color scheme himself to perfectly accommodate his taste.  He is quite good at the preliminary creative process to garment crafting, although he doesn’t want to admit it!  I believe presents should be personalized to the recipient’s wants, after all, and what better way to do that than having them involved.  Besides, I figure this very basic version of a smoking jacket can be my uber-useful test run for learning how I want to approach the next one…a truly proper and over-the-top fancy smoking jacket.  I have some quilted burgundy velvet, and some black satin cording, so his next smoking jacket will be more in the style of the Victorian times, the height of the garment’s popularity as a status symbol.

THE FACTS:

FABRIC:  a brushed all-cotton flannel lined in a crepe finish polyester lining with faux suede collar and pocket detail

PATTERN:  Simplicity #2172, year 1947

NOTIONS:  I needed lots and lots of thread, plenty of interfacing, one button, and lots of macramé cord (I’ll explain why below)

TIME TO COMPLETE:  This took me about 40 plus hours to make and was finished on September 6, 2017

THE INSIDES:  What insides?  This is fully lined

TOTAL COST:  Well, my Mr. Cheapskate picked out everything for his smoking jacket from the clearance section at our local JoAnn store, so the total must have been reasonable although neither of us was really counting too much as this was his present!

At-home Robe (Banyan) with Matching Waistcoat France, 1720s

It is very telling that this pattern is from 1947.  The Second World War was over and men could again reclaim their right to rest and relaxation, and take time to building up their household and adding to their bank account with a job less life-or-death related.  The post war period of the 40’s was reclaiming the feelings that created the smoking jacket in the first place.  Sure, the trend for the popularity of Turkish tobacco and the Egyptian cigarette, adopted by the British, French, and Russian soldiers of the Crimea War (1853 to 56), had to do with the creation of men’s lounging rooms for them to enjoy their new found habits in a social setting that celebrated leisure time and stereotypical masculine pastimes, such as newspaper reading.  By 1903, Turkish cigarettes accounted for 25% of the American market, and smoking was considered an expected masculine activity all the way into the mid-century.

At-home Robe (Banyan) England, circa 1880

However, beyond the tobacco portion of the smoking jacket’s history, the idea of a robe for personal leisure time began all the way back with (again) Turkish and also Oriental influence of international trade and political climates in Europe of the late 17th century.  Foreign textiles, and the fashions which inspired them, were being highly sought after as imports, and a form of the Japanese kimono called a “banyan” began being worn by men of the elite classes for informal home time, such as non-physical games, fireside discussions, or letter writing.  “Caftans” – a full length, long sleeved loose jacket-like garment traditional to parts of the Middle East, North Africa, and Eastern Europe – were also popular because of their textiles which were often used for the popular fancy, floral, frilly waistcoats which men, especially those deemed as “dandies”, were wearing, particularly in France, during the 18th century.

In the mid—19th century, the Industrial Revolution was adapting traditional Kashmiri shawls’ traditional motifs into a commercialized paisley print and this influenced a change in the ethnic influence of the smoking jackets.  They became more Turkish (again) and even India-inspired as the tobacco influence of the Crimean War settled into many various cultures as the soldiers settled into their respective homes.  Satin smoking jackets are a slight carry-over from the more Oriental influence, but after World War I, the smoking jacket of the 1920s and later seemed to lose any obvious cultural significance and become a sexy and intimate part of a man’s home life, if looking at advertisements and silver-screen movies is telling the truth of the times.  At least post-WWI eras equalized the smoking jacket for all men of all classes.  Only then in the 1970s, Yves Saint Laurent confused the traditions of the smoking jacket with the release of his tuxedo-inspired collection for women in 1966, calling it “Le Smoking”.

Whew!  As exhausting and complicated as the history of the smoking jacket is – and believe me when I say I just gave you a general overview here – making a proper one is equally arduous and time consuming!  Every detail counts on a smoking jacket.  This one has full body lining.  There are several belt carriers around the waist to hold the belt tie.  The sleeves are the two panel construction similar to a suit jacket.  The solo closing button is vintage and came from the notions stash of hubby’s grandmother, so it is very appropriately on something for him.  I wanted to add some fringe or a tassel to the ends of the ties, but he hasn’t been keen on the idea quite yet.

Whenever I let my man choose how he wants his garment to be made, he tends to choose materials which make construction a challenge.  Luckily, I convinced him that a shawl collar, and not pointed lapels, were the only, true smoking jacket version of the pattern to go with, or else my work would have been much more challenging than it already was.  At least he now has an item that he loves to wear the heck out of, something he never knew how he did without before.  Those kinds of makes are the best kind!

For this, he wanted piping to match the creamy tan lines in the printed flannel, and I agreed that doing so was necessary to ‘the look’.  It’s only that fact that the perfect pre-made piping was not to be found!  I had to make myself all the 5 yards which were necessary, using macramé cord and extra of the same material I used for the full body lining.  Granted, my custom made piping was so much better than the pre-made stuff, but it was an exhausting effort that ultimately paid off since I think makes the smoking jacket overall fantastic.  I personally think this has been my best installed piping to date (it was so hard to make a complete circle around the cuffs, finishing the ends smoothly) so of course I am biased.  It is always nice to see going the extra mile was worth it, though!

What really made me question my offer to make this for my hubby was ultimately working with the fake suede he chose.  It was more than a micro-suede, it was every bit as think and stiff as a real leather with all the problems of being a polyester…horrible stuff to work with that appears remarkably nice to touch and see.  Wherever the faux leather met up with the piping was hard on my machine, my hands, and my nerves but I eventually wrestled it into proper submission to be exactly what it was supposed to be.  The faux suede was not interfaced, it was troublesome enough, and it is on the contrast pocket top edge as well as the whole length of the collar-facing piece which goes from hem end to hem end wrapping around the back of the neck in the process.  Most of the corners were hand-stitched to give my machine a break, but even still, the darn faux suede was too thick for my regular leather thimble and poked my fingers too many times.  Not too many of my own projects do I bleed over just to make, so either my hubby is a lucky man or I was crazy to keep going!  I really don’t want an answer to that…

Just because you are comfortable doesn’t mean one has to quit being stylish, and oppositely, sophistication doesn’t mean an end to ease.  I like Oscar Wilde’s Aesthetic ideals behind adopting the smoking jacket as a visual and material manifestation to his creativity.  He wanted “to exist beautifully”.  There is something very uplifting about lounging around your own domicile in something nice, by which I mean something other than your lowest grade clothing.  I do believe that clothing for your relaxation should be something we look forward to putting on in a way that makes us appreciate the beauty of the little things around us.

Luckily there have been some luxury brands bringing back versions of a smoking jacket in the forms of velvet of brocade lounge suit – looking at you, Marc Jacobs for Louis Vuitton in 2005, in particular, but Tom Ford deserves some credit, too, as well as Alexander McQueen’s 2013 Fall collection…ah, the classiness of the old-style lounging man.  See this page for some serious eye candy.  The jackets all are something like a cross between a sumptuous robe and a casual tuxedo.  Let’s re-claim those personal hours (or minutes, if that’s all you have) of recharging and personal enjoyment as a continuation of our individual beauty.  No one needs help in this area more than men, since they rarely care for any extra fuss and nonsense on their own.

A picture from the exhibit “Reigning Men”, with (from left to right) a May’s Co. Dept. Store short jacket from 1948, a Victorian-era engraving, and a Smoking suit in satin from ca. 1880

Advertisements

Mystery Mail Order Split Skirt Jumpsuit

This is my attempt at a compromise between skirts and pants, technically ‘culottes’…with a vintage interpretation.  I’m not exactly sure if this is the best look on me, especially with the mid-length wide bottoms, but I love it despite such misgivings because it is so comfy, different, and a creative use of a border design (if I do say so myself).  This is by no means my first jumpsuit (see my others here and here), only my first faux-dress one!

My title alludes to the mystery vintage pattern I used to make my culottes jumpsuit.  It was one of those many mail order patterns of the modern mid-century, but what was particularly bothering me was I could not date the design.  I estimated that the design was early 60’s (or even late 50’s for a stretch) based on the hairstyle alone.  Then, I shared the pattern on Instagram, and someone apparently knew enough based on the pattern number to date this to circa 1962.  I still don’t know what company or newspaper this particular one came from, and if anyone can tip me off, please, do share!  For now, though at least I know what decade to understand this…but whatever past time it is from, I like my new and unusual jumpsuit!

This is my submission for the “Sew Together for Summer” challenge of 2019, co-hosted by the blogger at “Sew Sarah Smith” with the Instagrammers Suzy at “sewing_in_spain” and Monika at “rocco.sienna”.  This year’s theme is jumpsuits, dungarees, overalls, playsuits, and rompers…something one piece that has bifurcated bottoms.  This garment certainly falls in this category!  However, one is never enough of a good thing so this is just my first part for the challenge…part two will be a full 50’s playsuit, coming soon since the closing date is June 21!

THE FACTS:

FABRIC:  a lightweight chambray cotton denim with a border embroidery stitched along the selvedge; facing in a lightweight plain cotton

PATTERN:  a Mail Order pattern no.1495, ca. 1962

NOTIONS:  I needed lots of thread and bias tape to finish the edges (chambray frays like crazy otherwise), with some interfacing and four waistband style hook-n-eyes

TIME TO COMPLETE:  This took me about 10 to 12 hours to make and was finished on May 18, 2019.

TOTAL COST:  just under $30

Whatever company this pattern was from, I am impressed.  For such a simple, unassuming line drawing and such a basic looking pattern (unprinted tissue, simple instruction sheet) it was sneakily complex.  The entire neckline and shoulder strap was one large and unusual shaped continuous piece that took copious amounts of pins, patience, and expertise to make correctly.  The pleating needed precise marking at the cutting out stage and lots of ironing afterwards.  Happily, I didn’t have to deal with much fitting issues – according to my tissue fit and preliminary measurements, this mystery mail order pattern ran one size smaller than what was listed, and I was correct.  Other than having to adjust this jumpsuit’s slightly long torso, it turned out pretty much perfect for me as it was straight out of the envelope.

Split skirts have interesting construction, especially when they are pleated like this one.  They also make for very large pattern pieces!  The deep pleats that meet at both the center front and back hide the crotch seam and make it look like a skirt.  I figured correctly that it made a better box pleat to sew the center fold-line together from the inside rather than just top-stitching the creases down next to one another, as the pattern instructed.  Depending on how much wear this jumpsuit sees, I might come back later and embroider on some “arrow heads”, the proper (and beautiful) way to stabilize the ending point of a pleat to prevent or stop a hole from forming in the fabric.

I normally hate box pleats in skirt backs because they rarely stay looking nice between sitting and everything life calls for, but a good hot steam of the iron keeps them pretty good.  The box pleating in the back was a lot more challenging than the front, needing much hand stitching, because of the center zipper running through the middle.  You are basically trying to have a fold line end right where the edge of the zipper teeth are!  I made sure to have a bit extra ease in the fit because if something like this fit snugly the back pleats over the zipper would not come together at all and only pull apart.

A border running above a hemline is rather conventional, so my favorite part of this jumpsuit is the way I have the embroidery border wrap around the neckline, too.  It really balances out all the interest at the hemline, in my opinion, and brings just enough attention to what might be lost otherwise – the fabulous strap design which is the closing method.  This jumpsuit has wrap-over-from-the-back straps, pretty much like overalls, that end as wide, cornered tab closings on the front of the bodice.

The pattern called for buttons to close the shoulder tabs, but they are the only thing holding up the 2 something yards of fabric in the skirt.  Thus I opted for two strong sliding hook-and-eyes to close each strap…but with the back zipper I really could have just sewn the front tabs down permanently and not had them workable.  Oh well!  It’s always way cooler to have the tab closings actually work, and at least I know what garment to raid if I ever need some last minute notions for another project.

The open, eyelet-style embroidered border presented several creative challenges.   First off, the dress’ neckline and straps needed a facing to complete the eyelet without making it obvious the openings in the embroidery designs were being filled in.  The only answer to that was to make the facing a similar weight plain white cotton, and interface it in likewise cotton interfacing, as well.  Secondly, after completely hand stitching the entire neckline and shoulder straps and tab closings, I was bracing myself to do more of that to the hem.  However, the hemming was easy once I just figured on following along with what was already there.  Then I was able to use a close zig-zag stitch (much like a loose button hole stitch) on my sewing machine and just follow along with the scalloping of the bottom to the border.  I’m tricky like that!  Hubby shook his head at me like I was cheating out of doing the hem right – but hey…I’ll save myself both time and bodily misery where I legitimately can.

Speaking of misery, in order to give my culotte jumpsuit a ‘test run’, I wore them over to frolic and play in my parents’ backyard (the backdrop for our pictures).  Yup, my new jumpsuit is certainly great for jungle gym climbing, puppy dog chasing, and general child level play!  However, my ‘test run’ sure caused me so much achy arms and tired legs for the next several days afterwards!  I suppose I need more play clothes like this if only to have a reason to exercise while having fun like I did that day.

Modern Asymmetric Peplum Blouse

I told you a handful of posts ago, in the write-up on my second Easter outfit, that I have been weaning myself off of an obsession with peplums.  Of course, I am biased towards thinking that vintage fashion offers the best peplums, but I just couldn’t resist testing out a new Burda Style one that caught my eye.  Can never have enough of something good, I figured, but this peplum is not a fantastic as I had hoped yet it’s still an awesome casual me-made to reach for over the next several months.  Happily this multi-season (spring, summer, and fall) creation that is loose, comfy, and one of those wardrobe staples which is seeing more wear already than I’ve expected.

Burda really has been offering the best asymmetric patterns over the last several years, and I love such styles.  I enjoy the creativity of asymmetric styles, and generally find them complimentary, yet they are not a commonly seen ready-to-wear design.  Many sewists like me seem to muse that high production manufacturing and the cheap labor such companies employ (so, so sad) does not lend itself to asymmetric styles on account of the single cuts that are necessary and the extra thoughtfulness and care needed to make them.  This is where the benefits of personal sewing come in – you can make things you can’t buy (and make them better)!  Asymmetric styles still take more thought no matter where or how they are made but at least they can be made just the way you like them in your hands!

THE FACTS:

FABRIC:  a 100% rayon challis

PATTERNS:  This top’s design is divided out into two almost identical patterns from March 2019 – Burda Style “Flounce Sleeve Blouse” #111, which has shorter sleeves and a longer hem, while Burda Style “Gathered Paneled Blouse” #112, which has quarter length sleeves and a shorter hem.

NOTIONS:  I used everything I had on hand – black thread, some interfacing scraps, elastic, a hook-n-eye, and one vintage button from hubby’s Grandma’s stash of notions

TIME TO COMPLETE:  This took me only 6 hours to make and was finished on May 9, 2019

TOTAL COST:  As this was half of the fabric ($30 in total cut), my top was only $15

Even though you’d never guess upon appearances, this is really a happy scrap busting project because it is also part two of a really fancy Burda dress I made last year – the Andrew Gn mermaid gown.  Half of the width was the butterfly print I used on the back of that dress…the other half of the width is this blouse now!  It was weird to have fabric leftover in this 29 inch width, and have 3 yards long of it, and the cute and predictable floral print was something rather “meh” for me, so I was excited to use it up on something interesting and experimental sooner than later.  I rather wanted to try a border print for this design like they show on #111, but my border fabrics are too precious to me for trying on something (like this post’s blouse) which I’m not positive from the outset that I’ll like.  There was a slight “border” to the fabric I used, after all – a bright green stripe was the printed division line where the butterfly print and the floral were separated.  I used that stripe as some sort of waist definition.

Ever since the Schiaparelli inspired summer set I made back in 2017, butterfly prints keep catching my eye and popping up in my sewing projects, but the previously posted Burda outfit was made back in 2015 so maybe my fascination with the delicate creature began earlier than I have been thinking.  Anyway, as one small segment of the other half to the fabric was still around, I couldn’t help but incorporate it in some small way!  The right side back that is all one piece (no separate waist seam) has a large butterfly over my booty.  Luckily the waistline was marked on the pattern, otherwise I would not have been able to line up the green stripe in the fabric to make such placement work!

More or less, if I had made this blouse exactly as the pattern directs, it would have been an overwhelming, uncontrolled tent of a top.  I’m not against loose and flowing styles, but I like some distinction to such a top with a whole lotta fabric and the busy floral hid the design lines all too well.  At least I had that green stripe where the peplum meets the waist.  The stripe ends where the peplum panel extends all the way up to the shoulder and gathers asymmetrically into the bodice.  The blouse’s print, as it turns out, goes with my pastel skinny jeans and a few pencil skirts so it’s a win, after all, especially as it pairs perfectly with my grandma’s necklace and earrings, too!

I couldn’t stand just leaving the top as it was, but I didn’t want a permanent solution.  So I had an elastic ‘string’ loop come out from being threaded through the right side seam.  It can bring the asymmetric peplum panel in to a controlled but stretchable and optional fitted look when I take the end of the elastic loop to close it on the matching, indistinguishable button at the end of the front stripe.  Poof!  One little add-on and suddenly I am so much happier with the top, its styling, and fit.  Yet, I can still wear it as it was intended.  No commitment tweaks to fix a ‘problem’ are awesome.  Hubby liked the top as it was, I wanted to change it – so I found a compromise and a great use for a random spare button!  It’s so nice to have to not install a zipper every now and then.

Otherwise than the tweaking the overwhelming peplum, the rest of the top had some slight fitting problems.  The sleeves, that I made basic short style, are slightly restrictive with reach room.  Even the shoulder line is a tad further in than it should be.  The neckline was chokingly close so I opened up by about an inch.  As I said, this was a quick, experimental make that is like a wearable muslin so I’m fine with such little deficiencies that I would never deal with in my regular sewing projects.  Just be warned if you want to try this for yourself to check it out on yourself carefully before cutting.

I did expose the back neckline opening more than directed to counteract the high, fully covered bodice.  The slit opening goes down about 8 ½ inches on my tops back, with a simple hook-n-eye to close the top edge.  I like a little oh-la-la view from the back, even if it’s just a little peek!

This might not be the best peplum I have made but I’m glad to have tried it.  Just when I think my peplum craze is satisfied…nope, something else catches my eye.  It will have to be a really good design to tempt me next…but my defenses for a peplum are still weak apparently, as well as for any asymmetric style.  At least I will have the best peplum collection ever if I keep this up!  I will be posting more of my peplums both here and on Instagram over the next few months.

“Minted Lime” Midi Flapper Dress

A modern Burda Style pattern has come through again to give me a great 1920’s style for everyday summer fun in the sun!  For some reason, this pattern company seems to have the best modern recreations of the flapper era (this bias cut beauty and this mock wrap dress are just two examples).  They are interesting designs that are practical and modern yet still so very similar to true vintage 1920s style.  I have not seen them popping up as much lately, but there are plenty yet to hit up over the years since I started sewing from Burda back in 2012.  So – let’s dive into a post about this oldie-but-goodie midi dress that I had made several years back but never remembered to post.

This is wonderful modern sundress has such a sneaky vintage twist.  An untrained eye could miss it.  The swirl-appropriate full gores on the side of the skirt makes this fun and easy to move in, contrasting to the straight overall lines which visually deceive the eye into hiding my hourglass figure.  Together with the longer length, here is a strong reference to late 20’s or early 30’s style that makes me feel so much taller and slimmer.  I can sense the carefree freedom and reckless spirit of the pre-Depression era wearing this!  However, better than a true vintage design, this one has pockets!!!

THE FACTS:

FABRIC:  a cotton and rayon blend knit with a gold foil butterfly print

PATTERN:  Burda Style Burda Style “Midi Flapper Dress” #105A, from April 2015 (my ultimate favorite monthly pattern magazine issue ever!)

NOTIONS:  Nothing but thread and a bit of bias tape was needed – so simple!

TIME TO COMPLETE:  This came together pretty quickly – about 3 hours.  It was finished on May 19, 2015.

THE INSIDES:  cleanly bias bound

TOTAL COST:  This did cost a bit because it calls for several yards, but I bought this on a good discount when the now defunct Hancock Fabrics, so I’m guessing $25 or under.

This dress was an interesting mix of opposites.  It seems so simple looking at the design lines yet was still tricky to make.  It was also an unexpected fabric hog for just a few odd shaped pattern pieces, and with most of all the over 3 yards disproportionately below the hips.  As I was using a knit fabric there was no need for closures and using bias tape instead of any facings made this much simpler than it could have been.  I did not have any problems with the construction or instructions, though, and it finished just as pictured, so I am quite pleased.  There is just one caveat to my being fully happy with how this turned out.

According to the Burda size chart, it was not a tall size but it sure seemed to be proportioned for someone with a longer torso.  I noticed the low waistline (compared to my body) and didn’t really think too much of it because of the 1920s influence to the style.  I mean, ‘waistlines’ at hip length were the trend back then.  Only by the time it was sewn up, the hips were not as loose as I expected, and even though I still love to wear my dress no less, I wish I would’ve raised the waistline now.  The front pockets do seem to be at a very handy height, so I don’t know…maybe everything is where it’s supposed to be.  I didn’t bother to let out the side seams to give myself more room because I liked the perfect points I achieved where the gores come in at the sides, and the straight seams in the body of the dress have more points (and pockets) so get this dress right the first time.

I love a good challenge and all the points were enjoyable details for me, yet I could see these being a pain for other people.  Just remember, every point needs good stabilizing before sewing, especially in a knit.  The squared off corners at the bottom of the sleeveless armholes are my favorite.  My runner up is the tricky corner at the bottom of the front pockets where the godets come into the front panel with a pleat.  1920s fashion was all about expert and creative mathematics in design lines, and this modern Burda dress stays true to the Art Deco era.

This dress post continues the series I began 9 months ago in our early fall season, the “Indian Summer of the Sundress”.  In 2018, we had a warm summer that extended longer than normal so took it as a reason to binge on sundress sewing.  Since that first post in the series I have begun showing a sundress from almost every decade of the 20th century (30’s here, 50’s here, and 60’s inspired here).  This modern Burda dress fills in for the 1920s decade plenty well enough.  The 40’s and 70’s are yet to come!

Celebrating Memorial Day with a 1940s Recipe

Time for something a little different to remember and honor those who have given the ultimate sacrifice in the service of their country on this Memorial Day!  I will share yet another recipe from the “Modern Family Cookbook”, by Meta Given, that it had belonged to hubby’s Grandmother.  (More recipes at this post here, and also here.)  This book is from 1942, and seems from wear on the book, to have been quite useful to his Grandmother, whose husband was away in the Army during WWII. She no doubt found a simple but tasty treat like the recipe included for this post great for herself during those times!

I’ve made this recipe as a light lunch or a snack, and it was great – easy, interesting, and a great base for further fancy experimental flavors (but great as-is, too).  I want to try these cheese puff toasts as a sandwich, with tomatoes and pesto in between, for one example.  If you try this, I hope you enjoy it as I have!

Even though this holiday is about thoughtful respect for the fallen, let’s honor those who have fought and survived as well.  Please remember to thank a veteran today (or any day, really!) and never forget the freedoms of today are built from the courage and bravery of others.