The “80’s Secretary” Color Pop Dress

Usually when a modern pattern is made, one doesn’t sew it so it can look dated.  In this case, I think doing so does this pattern and my chosen fabric better justice.  Besides, it’s the perfect opportunity to make the most of a frizzy, uber-curly hair day for a total 80’s look!

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I used my shoes to help the highlight color in my fabric “pop” – is it coral, or is it an orange tone or just something in between?  Whatever it is, it’s fun!  This was a project that was such a totally good surprise, one I didn’t see coming until it was finished.  You see, I was on the fence about this fabric when I bought it, hubby was plain out negative, but the fiber content won me over to buying it because it’s my favorite blend.  The blend of pima and modal in a knit is so soft and luxurious.   I was doubtful about the pattern, too, but somehow the combo of the design and the fabric, or maybe just the way I laid it out, turned out a winning dress in the end.  This is my favorite go-to winter dress…not only do I feel awesome in this but it is also so cozy warm!

THE FACTS:                                                                                             

FABRIC:  A pima cotton and a rayon modal half and half percent knit.  The lining knit is a sheer lightweight polyester leftover from this 1940 suit set meant to add warmth and prevent the fashion fabric from clinging too much.Simplicity #1716, line drawing, year 2012,combo

NOTIONS:  I had everything I needed – thread, seam tape, and elastic

PATTERN:  Simplicity #1716, year 2012

TIME TO COMPLETE:  The dress was finished on February 15, 2016, after about 8 hours to make.

THE INSIDES:  Neither the cotton/rayon fashion knit nor the poly lining fray, so the raw edges are left basic and, well, raw.

TOTAL COST:  This cost just under $15

Ever since sewing my first knit top with a twisted neckline detail, my 1935 blouse, I’ve been on a quest to find the right design that I am perfectly pleased with.  Then, I tried Simplicity #1613, but that turned out o.k., not fabulous like I’d hoped.  Now, this Simplicity #1716 rocks my boat and is my perfect twisted neckline detail top, even if did go and turned it into a dress.  Third times a charm, I guess.

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I am very happy with the pattern.  The design is great and turned out exactly as shown.  The clear, concise instructions made a tricky and semi-complicated detail easy to accomplish.  The neckline was just enough of a challenge to be satisfying, too.  It is so very important to be precise here, I think, for this neckline to turn out well.  All those markings are important in the end, and even though it was hard to find and sew in certain spots, by exercising patience (with some venting of non-child appropriate words) I was able to somehow gather and stitch in certain seemingly non-stitchable spots.  My double layered fabric was the limit of what this neckline design can handle, and I think thinner, non-bulky fabrics are ideal to make this easiest to sew, I think.

For the rest of the dress, I went up a size.  I’m glad I did for I think this pattern runs small and I didn’t want a body suit sort of fit.  To turn a tunic into a dress, I added about 12 inches to the bottom.  I kept that extra foot of skirt rather straight and slim, just how I wanted it.

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The longest sleeves are a weird bracelet length – in between ¾ length and a full long sleeve.  I added on plenty of extra inches to end up with a long, long sleeve, much like the sleeves on this Burda dress.  My sleeves reach down to my knuckles.  This was on purpose because I like how the draping fabric bunches up around my wrist, but the sleeves are skinny so the extra fabric does look bulky.  The fabric is stretchy enough that I can still push them up to ¾ length easily.  My only complaint is that the shoulder seam is very short and doesn’t reach to where it should.  I didn’t think to check this ahead of time because the shoulder seam is a spot that I rarely have issues with for fit.  However, the generous upper sleeves and stretchy fabric makes the shoulder tops still fit and the busy print hides the ‘fault’.  Add on an extra inch or two to the length of the shoulder seam coming from the neck if you make this…just an f.y.i!

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The print, to me, is like a hybrid cross between a hounds tooth and a stripes.  It’s like somebody was either scatterbrained, or went psychedelic, or perhaps was just plain inspired when they designed the fabric print.  It changes design slightly every 12 inches or so in a rectangular block.  Something in the back of my head led me to line up those design changes in the print at the main body points – bust, hips, and knees.  I think this is what made this outfit work!  It was my way to make this tube-style dress body be even more complimentary!

Speaking on complimentary, I cut the semi-diagonal chest/neckline panels on the cross-grain direction to highlight this feature, otherwise it would have been lost in the print.  I think this touch makes it look like more of a wrap-and-pulled down sort of neckline.  You sort of make an open cowl neck turtle, and then the diagonal panels coming DSC_0013,p-comp,wout of the front armholes extend out and over the cowl neck, get tucked in, gathered and stitched down.  This neckline keeps my neck and chest warm without being completely covered up.

My post’s title comes from hubby’s summary of the overall “look” that strikes him with this dress.  He said it reminds him of 1980’s era business attire.  I took it to the next level and thought “secretary” in my mind.  There is the traditional winter’s black in the print after all, with enough ‘pop’ to break the ‘boring’ category and keep it on trend.  To match as our background, we chose a late Mid-Century Modern office building that is a landmark in our town (which unfortunately needs rescuing).

This dress is another one of those projects that reminds me why I sew.  I can make exactly what I want to wear as well as something that caters to my needs.  The ultimate perk is DSC_0030a-comp,wthat this dress, and most of what I make, makes me feel like the best kind of me when I wear it.  Not that I need this dress or any specific clothing to be myself, but many people who only have ready-to-wear hate the way the way they look and feel about themselves in what they have on.  It seems to affect how often they go out and what their persona is out in public.  This is why there are “makeover” programs like the newest one I’ve seen, “What Not to Wear”.  A half of an episode was all I could stand to watch…I was yelling at the television.  The people on the show just don’t get it.  There is nothing more empowering than being self-sufficient, capable, and creative enough to sew, choose, and make what you or others wear.  It’s like artwork you can put on, and have others see the real you!  Sewing rocks!

Shopping at the Old Arcade

Most people generally know twenties clothing as being tubular with drop waists.  Many also frequently think of the twenties as having beading, sheer fabrics, and fringe, but that was for evening and special occasion.  However, do you know what the turn of the decade, year 1920, actually looked like for everyday wear?  When I started doing research on this I was surprised.  Very high waists, overly exaggerated hips (many with ruffles and ridiculous pockets), slightly awkward long mid-calf length hems, and loose but lovely bust-less blouses.  Yes – this was the year 1920, when women were wearing fashion which was both a carry-over from 1918 – 1919 that was also finding its way for changing up styles in a new decade.  Here is my sewing creation interpreting the year 1920, as a woman in her nice, almost sporty, and nothing-too-fancy clothes to go do some window shopping.
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Actual teens era/1920s hand painted glass buttons (close-up picture here on my Instagram) were included on the blouse I made, as well as several hours of decorative hand stitching on both neck and sleeves.  My hat is a thrift store purchase, which already had straw flowers, but I piled on a wide lace band and silk flowers for an old fashioned style.   I also made the skirt and the purse, as well as some of the authentic lingerie I’m wearing underneath.  This ensemble did not look right (silhouette speaking) until I had the correct undergarments, so I will definitely show you what I wore (and made) in a future post.

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Period authentic doesn’t have to be old-fashioned or un-wearable today.  Because it is all cotton and not body figure conscious, this is really quite comfy to wear.  Sure, it’s different, but yet lovely and tasteful enough for me to only receive kindly smiles from strangers who saw me.  I love the subtle complexity, the understated richness, and the odd femininity to the style of my 1920 pieces.  The ideal of beauty and the popular silhouette for women has changed so much throughout history, and this is just another incarnation that I am glad to have learned to appreciate through sewing it for myself!

THE FACTS:McCall 9412 & Pict.Review Overblouse, both ca. 1920, fm Past Patterns

FABRIC:  100% cotton specialty twill for the skirt, 100% cotton for the blouse, and a tapestry remnant (mystery content) for the purse lined in a burgundy Kona cotton leftover from this project.

PATTERNS:  Past Pattern’s No. 8268, Ladies’ Overblouse, from Pictorial Review circa 1920; a Past Pattern’s No. 9412 “Ladies’ Skirt with Hip Pocket Effect” from McCall Company circa 1920 , and a Vogue 7252 year 2000 patternVogue #7252 from the year 2000 for the purse

NOTIONS:  The notions for this came from everywhere.  The detailed, Art Nouveau-style brass buttons were a Hancock Fabrics’ store brand item, bought when the company was closing, while the old vintage blouse buttons were from our favorite antique store.  Most everything else needed was on hand – I even had the tassel for the purse in my stash!  

TIME TO COMPLETE:  The skirt was made in about 6 hours and finished on October 21, 2016.  The blouse took 8 to 10 hours, with 4 more hours for the hand embroidery, and was finished on February 26, 2017.  The purse was made in about 2 hours on February 28, 2017.

TOTAL COST:  The skirt’s fabric was bought at the now defunct Hancock Fabrics for less than $2 a yard…and I only needed 2 yards here.  I have 2 something extra yards still left for another (upcoming) project.  The blouse’s cotton was bought at JoAnn’s fabric recently for maybe $10.  The brass buttons were expensive even with the Hancock Fabrics closing clearance – maybe $17 – while the old buttons on the blouse were only $5.  The tapestry brocade came from I don’t know where from I don’t know how long ago, thus I’m counting it as free, but the cord handle was bought at JoAnn’s for about $4.  So, my total is about $40 something.

DSC_0232,p,a-comp,wWorking with patterns this old presented plenty of unknowns, but the primary one was in regards to fit.  What kind of body, what kind of peculiarities, and what ease do these patterns account for?  It’s one thing to get something to fit, but historical garments need a particular fit (as well as the right underwear) to be authentically worn.  I did have the assurance that my pattern came from Past Patterns Company…every single garment I have made from what they offer is a wonderful success I am most happy with.  No wonder they’ve been in business almost 40 years!

Let me start by talking about the bodice.  After some figuring, my estimated bust measurement of the blouse pattern as-is (in the size 38 to 40 bust) is 45 inch around.  This led to my figuring the wearing ease to this blouse was about 5 inches over and above the bigger of the two sizes (bust 40).  I can see that the bust is supposed to be bloused and roomy (over a flat chest) so I went down to a generous measurement for myself and ended taking out a total of 4 inches around hoping to end up at what would be the next size smaller for this pattern.  The side seam allowance is 1 whole inch so I figured I had plenty of room to fix a wrong calculation is sizing, but still…it’s easier to  take out some extra than it is to be stuck with a garment which ends up too small.  I totally feel like I nailed the right fit!

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I realized that this is an overblouse that I am not wearing as an overblouse.  This is not the first time I have made an over blouse only to wear it tucked into a skirt – see this 1958 project.  When I received my pattern in the mail Saundra Altman kindly included a tutorial page on how to add in a stay-belt inside the blouse.  As I am just getting the feel for teens and early 20’s dressing, I kept the construction of my blouse simple from the waist downPerry, Dame & Co Catalog, New York styles, fall and winter 1919-1920 because for now I plan on only wearing it as you see it.  At some future point I hope to make a year 1920-style pleated skirt and wear this same top as a proper overblouse, and at that point I might come back and add the welt pockets and a stay-band to the waist.

I did use my oldest (1930’s) sewing machine to do all the button holes along the front opening, but I also splurged and used all cotton thread and self-fabric bias tape for the neckline.  After I had made the button holes I decided I really didn’t want to subject the buttons to the wear and tear of pushing them through every time.  So, I still sewed two at a time connected like link buttons but they’re on there permanently for now, and if I want them off I’ll just cut the linking threads.  I did try to make these buttons linked by a metal loop with a connecting chain but I had disaster strike doing that.  The back loop on one broke by cracking right off, but it is a molded part of the rest of the button so it cannot be fixed unless I glue some loop or such on it.  I never guessed these were as fragile as they seem to be.  Until I figure out how to add something to the back of this broken button, I will sadly made-do with one at the top closure.  This is the risk of working with, or even wearing, old original items from many decades back – they are unique and fragile, but deserve to be seen nonetheless, so using them is a risk that also could only garners appreciation.

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My decorative hand stitching is I know not the best compared to many others, but this is so much better than I used to be able to do.  Whatever my skill, the stitching does take my blouse to the next level, I think, besides show casing an old time-honored practice that modern garments are so far from.  Hand stitching was very much needed here because of the rather plain color of the blouse’s cotton.  I made my own design, and after several unsuccessful Art Deco drawings I settled on the softer more feminine floral on my blouse.  After all King Tut’s tomb would not yet be discovered for a few years from 1920!

The skirt probably would’ve fit me pretty much as-is, but I did add one extra inch to the waistband only to be on the safe side for fit.  I did not change the rest of the skirt because I wanted the gathers to be a bit looser.  Looking back I wish I had made no gathers across the center front of the skirt – the pockets and the hip panel would look better.  No matter, I like it just the same! DSC_0297a-comp,w

The skirt did not need any special closures for the left side opening – the placket kind of conceals itself because of the side seam pleat overlay.  Only hook-and-eyes keep it together at the waistline.  The waistband is quite neat.  It is a two inch band against my skin on the inside, with a 4 inch waistband gathered horizontally on the outside so it looks like a cummerbund belt.

DSC_0220a-comp,wTrue to the era, the back of the skirt is just a long rectangle for a small taste of the slim and skinny.  What a contrast for the front!  Along the front geometric pocket edge I made my own self-fabric “ribbon” to decorate, finish, and stabilize the edge.  At first I tried a brown velvet ribbon for the edge, but, no – I didn’t look good so I took it off and went with the matching fabric.  This pocket edge needs to be stiff enough to stick out on its own and define the hips so I was tempted to add interfacing.  My skirt’s twill fabric was thick enough that three layers along the edge (1 – the skirt, 2 – the ribbon edging seam allowance inside, 3 – outside of the ribbon edging) was plenty good.

Needless to say, as much as I love pockets, these take the cake! My skirt’s pockets are like mini suitcases.  I can keep everything in them and it doesn’t even make a difference the skirt is so roomy and meant to be billowy.  Yet, the only thing that mystifies me about my 1920 outfit is the pockets, mostly because the purses and hand bags were so tiny!  Pockets and purses were still relatively new items to 1920, and both signifying the independence and progression of women, but to go overboard with such a contrast between the two in interesting to me.  As you can see, I did take a slight shortcut and have the pocket opening close with a snap rather than a real working button and button hole.

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Patterns for both the skirt and the blouse both seemed to run very long.  I made the shorter length of the overblouse, which was just over 10 inches shorter than the full-length option, and it is still falls about mid-thigh on me.  For my skirt, I took out 4 whole inches from the length because as-is the pattern falls to floor length (I’m about 5’ 3” height).  Now, take into account the fact that these two garments are meant to have deep hems, especially the skirt.  My skirt does have a wide 3 inch hem to it which helps to weigh it down properly besides bringing it to the proper just-below-calf length for the year 1920.  Skirt and dress lengths of 1920 seem to be just enough to show the ankles, just enough to move freely in, and a tad shorter than just a year or two before (1919-ish).1916 purses

My purse is something so easy but I’m so tickled at how lovely and cute it turned out.  The pattern I used is a real unknown gem with lovely designs straight out of the teens and 20’s.  I remember my mom and I being so excited when this came out!  Look at this comparison between a 1916 handbag poster for comparison.  In a 1926 catalog, I’ve even seen a strikingly similar version to “View C”!  They are all really quite simple designs but I like the fact they give the tracing designs for all the beading and decoration.  My purse doesn’t hold much but came together so quickly.  Trimmings and de-luxe materials seems like the way to go with this pattern and a remnant was all I needed.  I will definitely be using this again!

In the 1920’s, handbags were often just enough room for a few small essentials (including lipstick and keys) and often geometric in shape, like my own vers ion.  Mine is probably way too stuffed than what a 1920 woman would have carried, yet as it was I didn’t have room for everything I needed!  Also in the 1920’s, handbags weren’t necessarily meant to match with an outfit but carry their own tasteful, individual, and often ostentatious flair…quite different from modern times!

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By making my purse (a ‘reticule’ style) from tapestry I am harkening back to a popular type of “daytime” purses of the 1920s – ones made of richly complex fabric carpet bags and delicately flourished needlepoint.  Handbags from these materials seem to either be meant to show the wealth of the one possessing it or the talent of the maker, as many of these types of purses were often handmade by either the woman herself or someone for the company that sold it and some were quite expensive.  By having a decorative tassel at the center bottom point I’m aiming to narrow this to a primarily early 20’s piece.  To read and see more, this “Vintage Dancer” page has a wonderful overview of all the ways 1920’s women carried what they needed.  There is so much history to this littlest part of my ensemble!

All the materials I used for this outfit are just a dream to wear and were wonderful to sew.  The twill for the skirt is a lovely weight and hand – almost as heavy as a denim, slight body, but drapey and soft enough to hang nicely.  The low-key design of the fabric adds interest and keeps the olive and brown tones to it from being too drab.  The cotton of the blouse is so soft it doesn’t really wrinkle all that much and it’s just sheer enough to be pretty.  The tapestry of the purse is so rough, textured, and stiff it provides a nice contrast to the blouse and skirt.

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The place of our photo shoot is something quite special.  Not only is it a city landmark and the town’s best example of Gothic Revival architecture, but it is a National Historic Landmark.  I’m talking about the St. Louis Arcade/Wright Building, opened in year 1919 as one of the very first indoor shopping areas of its kind in the country, a very early, but much more elegant version of the modern American suburban, indoor, covered “Mall”.  Just think how extraordinary this is from a historical standpoint – plans for this steel and stone skyscraper was begun in 1913 before World War I and many of the materials needed for this building were rationed.  Federal officials closed and postponed many construction operations during WWI.  It is rumored that the principle contractor apparently had a simultaneous deal with the government at the time, so I suppose he was able to pull a few strings.  The Arcade was the tallest building in the world for a number of years.  Besides, the architect, Tom Barnett, was something quite important nationally.  This multi-story hall was recently renovated (after being vacant for several decades), preserving much original pieces so that the Arcade can still give visitors a taste of what it might have been in its heyday when people came here for high-end purchases such as jewelry and fine china.  Being able to walk through and visit places like this in period authentic clothes makes sewing this outfit a very worthwhile experience.

DSC_0295aa-comp,wP.S. Good news…you don’t necessarily have to sew if you want this ‘look’!  ReVamp vintage has re-made an amazing year 1921 oversized pocket skirt very similar to my own, the “Prudence” with brownish olive twill and lovely details!  Although, there are a few ways to wear a modern take on such a style – “Dress Romantic” on Etsy marketplace has a neat version that’s my favorite!  As for ready-to-wear 1920 style blouses, ReVamp has lovely options but any loose modern blouse with lace and/or feminine details would work – my favorites are this Anthropologie yellow blouse, this J.Crew cream colored pleated neckline blouse, or this sheer smocked neckline top.  There’s always old originals out there, too, (like this one) for a taste of the real thing!  Will you be channeling the early 1920’s for yourself, or have you already?

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Going Rockabilly in a Pair of Simple Denim Cut-Offs

After last week’s first episode of the television series “Sun Records”, I’m totally in the mood for the 50’s, especially the rockabilly style (what I see as combination of both early rock and roll crowd and the spirit of a rebellious but fun loving teenager).  Enjoy this while it’s here because you won’t see much rockabilly here on my blog.  Thus, here’s a quick post on some easy denim pants sewed using a popular Butterick ‘Gertie’ pattern.  This post of these jeans is my monthly submission to the March 2017 “Wardrobe Builder Project” at “Petite Passions”.

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Kind of like flappers and fringe of the 20’s, I personally don’t regard the Rockabilly branch of the 50’s as a mainstream part of the decade’s fashion although it has taken over much of modern “vintage” culture.  From what I have read, the rebels, pin-ups and the tough crew have had far more attention due to Hollywood, the ‘shocking’ factor of what they were showing off, and modern perceptions than the position they really held in everyday dressing of the 1950s.  However, it is an important, if small, niche in fashion that boldly shows how culture, music, and clothing styles go hand in hand throughout history.  To read more, visit this page at The Vintage Fashion Guild.

My pants are worn with a store bought tank and a thrift store belt and shoes.  A lovely ruffled authentic vintage 50’s blouse (given to me from a friend) completes my rockabilly look with its red plaid.  The flat heeled shoes mellow the outfit a bit, hopefully, but I did like sporting a bold pompadour roll with a ponytail!

THE FACTS:butterick-5895-cover

FABRIC:  100% cotton lightweight chambray denim

PATTERN:  Butterick #5895, a ‘Gertie” pattern from 2013

NOTIONS:  I bought the bias tape as I generally do not sew with red and therefore do not have much in my stash except for a few vintage packs.  The zipper, interfacing, and thread needed were on hand already.  

TIME TO COMPLETE:  If I hadn’t needed to do unpicking these jeans would have practically made themselves up!  These were made in about 5 hours on May 13, 2016.

dsc_0132a-compwTHE INSIDES:  So fun!!!  Every raw edge is individually bound in skinny bright red bias tape. 

TOTAL COST:  Under $10

These denims are simple because they are like a bare bones version of real jeans – closer to plain pants really.  No bootie cheek pockets, rivets, and contrast stitching here, my dear readers…and I like mine this way.  This makes them ultra-versatile enough to work with anything under the sun from modern to vintage of many eras (speaking of which I did wear them a layer under my 70’s shirt dress).  In the summer these are my favorite bottoms to my 50’s bra top.  Of course, this pattern is wide open ready for personalization, such as adding on one’s own pockets and details or even sewing this in a stretch rather than a woven!  I love the possibilities of this pattern and will definitely be using again…maybe with a fun colored denim next time for a really modern look!

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As basic as they are in style, they were just as quick to sew.  However, the real shocker to this pattern was the excellent fit.  This Gertie pattern is the first modern pattern for pants/trousers that I have found to have a truly vintage type of fit.  I didn’t do one single fit adjustment (besides my normal grading up for the hips) and they’re like they were made for me.  I found true-to-life bootie room, and a comfortable inseam, as well a good room for my power thighs.  This doesn’t hide the body, but fits the body in true rockabilly spirit where the women showed off their shape through a skimming fit (think of wiggle dresses) and peek-a-boo features of their clothes (like the tie off crop top included in the Gertie pants pattern).  I think Gertie’s pattern has the perfect balance of close fit combined with enough ease to be comfortable.

The high waist is much appreciated here but for some reason my waistband has the aggravating tendency to roll and wrinkle.  I used a stiffer interfacing but the waistband continually needs straightening out unless I’m wearing a belt.  And yet, a belt doesn’t work too well on its own because I don’t have carrier straps to keep it in place…at least not yet.

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As much as I love the pockets I do find a weird pull at the side seam corners of them.  The pants have such a snug fit I can’t really put anything bulky inside the pockets either, but there is enough room for a to-do list or a handkerchief.  Some of the weird pulling could be because of the zipper in the side seam.

The pattern originally called for (of all things) a zipper down the center back bootie seam.  I have seen this in a few vintage pants patterns, and I did put it in that way at first but found it just too weird, odd, and embarrassing.  This is why I buckled down to unpick (something I hate doing) so I could sew the zipper in the left side instead, like conventional pants.

dsc_0050a-compwWithout being rolled up higher, the original length of the pants’ hem is ankle skimming on me.  I like the cuffs better mostly because it shows off my fun bias binding and is more rockabilly, anyway.

Now, where’s my opportunity for a motorcycle ride?!  Can I ride with a young Elvis please?  Maybe, I’ll just have to settle with some good listening of some 50’s Memphis blues music or old time Patsy Kline country classics – always great, anytime.

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What I’m Watching Tonight…

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I might not have Marvel’s Agent Carter Season 3 to watch, but I am sort of pumped about the CMT (Country Music Television) series special “Sun Records” premiering tonight.  The actor Chad Michael Murray, better known as “Agent Jack Thompson” from Agent Carter, dons some spiffy vintage duds and snazzy ties again to be in the 1950s telling the story of Sam Phillips, founder of Sun Records…the iconic Memphis label that introduced Elvis, Johnny Cash, and those who began rock n’ roll.  Some of the previews I have seen seem steamier than the other previews that focus on the music, and I have no idea how decent or authentic it might be.  I have low expectations, if nothing else I am excited to see Chad Michael Murray again on the screen, especially in vintage.  Will you watch this at all?

Simple Luxury – a Fleece 1943 House Coat

Some house coats are fancy, some are like wraps.  Some have coat-like lapel flaps.  Mine is of fleece and quite fine, perfect for lounging after I dine.  With fabric on hand so counted as free, what better way to sew for me!

Ooops, didn’t mean to write poetry here – this just came to me and I didn’t have the heart to delete it.  But anyway…yes, this post’s house coat is a true WWII time fashion, with outdoor coat-like features.  To keep things simple to make, easy to care for, and quite warm, I used an embroidered fleece (bought about 10 years back) for the best of both modern and vintage in one quick and nicely practical project.  This is perfect chill buster that’s almost as lofty and insulating as a real coat.  That’s why I went for the short sleeves so as to not be too toasty!

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I really needed a housecoat so this was one of the few actually necessary sewing projects.  I use this so frequently it’s darn awesome.  Practical sewing is so often neglected but the reward is the frequent consciousness and subsequent pride in having something you use on a daily basis be an item you made with your own hands.  With many practical items which are used on a regular basis taking only a handful of hours to make (my underwear, my denim skirt, my 40s jeans, hubby’s pajamas, this housecoat), the only roadblock is just dedicating a tad more time to sew these in my queue of projects.

This is part two of my Simple Luxury posts of my sewn vintage nightwear.  Part one was my year 1940 bias nightgown (post before) which you can see under my housecoat.

THE FACTS:100_4675a-compw

FABRIC:  2 and ¼ yards of 100% polyester, lofty and thick periwinkle fleece which has floral vine stitching across it

PATTERN:  Simplicity #4759, year 1943

NOTIONS:  All that I needed was on hand – the bias tape, the thread, the notions.  The buttons are vintage (they have a very unique feel to them) from the stash of hubby’s Grandmother.

TIME TO COMPLETE:  In all, from cutting to wearing, this took me about 3 hours in total.  The housecoat was finished on February 27, 2015.

TOTAL COST:  When something is in my stash for about 10 years, well, I’m counting it as free.

I went bare bones for the construction thanks to the fleece – no facings, no lining, no edge finishing needed.  What helped is following the guide for how to make the night gown with quilting (which I definitely want to try).  Most vintage original 1940’s nightgowns I see for sale are quilted, but a few yards of that kind of material can break a gal’s budget in one pop!  So if I ever find some cheap enough I’ll make my own 40’s style quilted housecoat but ’til then, this fleece version is plenty good!

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The size of the pattern was already big for me, but I didn’t grade down because I figured a roomy fit would be comfy.  I was correct!  I know patterns for jackets, coats, and such outerwear account for the finished garment being worn over other clothes, but I like the bigger fit.  My fleece is lofty enough to fill in for some of the excess ease.  Besides – the slight slop-room in the shoulders together with the trio of darts at the sleeve caps makes this housecoat have a very strong WWII look about it!

I find it interesting how the front is smooth and streamlined with darts while the back has the traditional 40’s bodice pouf at the waistline (courtesy of box pleats).  I love the enormous pocket!

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My housecoat’s length is in between the short and the long options – it was whatever I had room for with what fabric I had to work with (just over 2 yards).  The bias tape around the outer edges of the collar, sleeve hems, and closing edges serves the dual purpose of slightly stiffening and supporting, besides being just for decoration and using up a remnant on hand!  Perhaps the bias tape around the edges is a pitiful half-hearted attempt at a fully nice finish, but with the nightgown taking only 3 hours, the bias tape is my easy last step to adding something extra to a very easy project!

100_6248a-compwI adapted in many ways to “make-do” like a 40’s war-time seamstress.  The tie closure inside is two of those free ribbons soaked in fragrance that employees of the perfume counters hand out to you as you walk through department stores.  I’ll bet you they would never think that what (to them) is only an advertising attempt to sell expensive brand perfume would became a thrifty seamstress’s answer to a project need!  The ribbon for the button loops is something that came off of a package, for even more “re-use and re-cycle”.  I choose ribbon loops as I was loathe to attempt buttonholes in the fleece, not knowing how or if they would turn out.  Using loops gave me an opportunity to use smaller buttons anyway so I could add on these amazing vintage ones in an odd-ball set of three.

Please treat yourself and possibly make your own sleepwear.  It is easier than you think, and though the general public might not see it (unless you blog about it like me), YOU are worth it!  Now don’t get me wrong, others are worth it, too…speaking of, I did promise my 4 year old son a fleece house coat coming soon.  So here’s to those easy but practical projects that might not be high on the “looking awesome” list but get the most love!  Have you made yourself any night time clothes or lounge wear?

Next, will be part three for a full regimen of nighttime for a 40’s gal.  I’m trying to decide how to do my hair tutorial.  Do I attempt a video, or just present a series of pictures that we’ve already taken?  I did spend some time as radio announcer, but that still means I’ve never really liked hearing my own voice.  We’ll see.  What is best for everyone to understand?  What are your preferences?