Refashioning My Own 60’s Style Babydoll Blouse

When the items I sew for myself no longer fit or work for me in some way, they are not given up on but treated just the same as – if not better – anything else in my wardrobe.  They either get refitted, resized, or mended.  If any of those three actions are not possible for one reason or another, they get refashioned.  This has especially been an important task for me to tackle since 2020.  Ever since that year, the reasons and occasions for which I leave the house has decreased, so I sensibly expend my sewing efforts on the wardrobe I do have versus only adding more new (me-made) pieces.  Just recently I refashioned a project I made almost a decade ago, and this has now turned out to be a much more appealing creation for me than when I completed its first iteration! 

I sewed up the original blouse in 2013, and it was a success, but never as interesting to begin with as I have turned it into today.  As I said in that original post, I struggle to like myself in peter pan collars, and overly sweet styles.  I liked it, to be sure, but never felt ecstatic over how it turned out enough to be ranked as a ‘favorite’.  I wore the blouse for only a few years after it was made since it quickly became too snug to be comfortable.  To be fair, I originally cut it out in a smaller size – I was severely short on fabric.  Long story short, I haven’t worn this for the last 8-something years and now that problem has been amended in the most fantastic way I could have ever hoped for! 

This is the old original top, for comparison.

Measuring the old top as compared to my current body, I realized I needed to add in about 3 inches widthwise to have this fit me comfortably again.  My main focus was on adjusting for my shoulders, and I (correctly) figured that a good fit for the bust of the blouse (which had been snug, too) would then follow, as well.  Aiming for about 3 inches was ideal because I had no scraps of any worth to use and needed to cannibalize from the current blouse itself.  Cutting off that much from the hem meant that the new blouse’s length would be just below my natural waistline…perfect!  The puffed sleeves do give a bit of leeway over the shoulders so I didn’t worry about an exact re-fitting.  If I would have added in much more than 3 inches my refashion would have been too dramatic and obvious of an addition, anyways.     

Most of the original blouse was left untouched, but the little bit I did do made such a bit difference!  My first step for this refashion was to cut 4 inches horizontally off of the bottom hem (the 3 inches I needed plus enough for two ½ inch seam allowances).  The side seams were cut off to make two rectangular panels.  Then I cut vertically down the center front and the center back, separating up the collar.  One of the two panels cut from the bottom hem went right away into the center back.  With this step, I was able to get my first taste of how my refashion would fit and look and I was so excited!  I realized ahead of time that the tiny polka dot print of the back’s added panel would be running oppositely of the main body.  The print is so small, I didn’t really care nor did I have much of a choice with what to work with.  I rather like the interest it adds to have the print contrast itself ever so slightly.  According to my idea, the front was going to have most of the attention so I like how the back is low-key appealing, too.

The front panel required a bit more effort than the back, since I had a grand idea for ramping up the femininity and eclectic detailing to this new version of my old blouse.  Luckily, I am quite organized when it comes to my sewing notions (not to brag, but I am proud of this fact).  Thus, I was happily able to find the little bit of aqua bias tape leftover from what I used to make the elastic casing on my blouse’s puff sleeved hems.  The bias tape was extra wide and double fold, so I found that opening it up fully made it just about 3 inches wide…I suppose you can guess how thrilled I was to discover this!  The solid toned bias tape, which was opened up and ironed out as if it was a cut of fabric, was layered over the remaining blouse fabric panel.  Doubling up here both used up all of my fabric cut off from the hem and kept the front from being see-through (the bias tape was tissue thin), besides lending some wonderful continuity to the overall look of the blouse. 

With the idea that “more is more”, I also sandwiched some vintage cotton lace into the seam when stitching on the front panel.  The lace is a slight ivory tone to complement the yellows and greys in the collar.  Then, I found a half a dozen vintage ivory pearled ball buttons from my paternal grandmother’s notions stash.  The buttons really filled in the big empty front panel and matched with the lace bordering the front.  It seemed to be a popular design element to have a decorative-only contrast chest panel to blouses and dresses of the 1960s.  I suppose I was kind of vaguely inspired by seeing such patterns in my own stash (such as Simplicity #6801) or through perusing online (see Simplicity 7736).  Honestly, though, my refashion was merely the best I could do with what I had available…which wasn’t much to begin with!  I wanted to add pintucks or some other sort of extra details to the front panel but I felt lucky to get by the way it was.  My blouse is immensely more appealing to me than how it first was, so good enough is as good as done for this refashion project.  

I wanted to keep the popover simplicity of getting dressed in this blouse, for all its extra elements it now had.  However, it turned so very boxy in shape with the new panels added!  I had to sew in four deep, curved, vertical darts to the bust of the front and shoulder line of the back for shaping the blouse.  I made sure to not take in enough to necessitate a side zipper.  I was trying to ride a fine line of having it fitted yet still staying as a popover-the-head top.  I never mind installing zippers (I half enjoy the process, really) yet if I can avoid doing so, I will in no way turn down the opportunity.

Not only is my refashion an improvement on the overall blouse, but I am thrilled over the way I love the collar so much better by it having a wide open neck.  Most babydoll style blouses (and dresses) have a peter pan collar that closely hugs the neckline.  It takes a very specific interpretation (such as the 1930s; see my “Snow White” dress) in a select few colors (see this 40’s “Candy Stripe” blouse I made) for me to like what a peter pan collar does for my face.   I can afford to be picky when I sew my own wardrobe!  Then again, taking such an approach helps me hone my taste in fashion and cater to my personality unlike a dependency on ready-to-wear could ever offer. 

Re-working something your own hands have already made not only is sensible, eco-friendly, and responsible, but also it requires a greater amount of creativity and determination.  I will not deny, there is a dopamine rush from the amazing process of starting a sewing project from scratch and seeing it go from paper laid out on fabric to a wearable garment.  Sure, it would be much easier to merely donate and move on, but landfills do not need a single more item added to them when a few extra hours of my time can give me back a new and improved version of my own makes.  

I find a more innate sense of personal pride in my every effort to alter, tailor, or otherwise extend the life of the wardrobe I already have.  For me, doing such actions also shows me just how far I have come with my sewing skills to be able to add significance and worth to what I have made in the past.  I am constantly mending, letting seams out and taking them in, darning sweaters, dyeing, patching or doing some other sort of garment care for me and my immediate family (even for my parents, too, on occasion).  This blouse’s refashion is merely the most visually stunning recent example of all the mundane clothing care that I do behind the scenes of my blog!  I hope this post has inspired you to “give a darn and mend”!   

Ceiling Paint Splatter

1986 was an interesting year with many definitive events that I am sure anyone who experienced in some degree will not forget.  There was the space shuttle Challenger disaster and the arrival of Hailey’s comet.  There was the Chernobyl accident and the Iran–Contra affair.  There was the debut of both the Oprah Winfrey show as well as the stage musical “Phantom of the Opera”.  Wow, right?! There are recognizable parallels to 1986 recently, between the popularity of a new Top Gun movie (gosh, Tom Cruise has barely aged) and the current Russian aggression (evocative in some ways of the Cold War’s nuclear brinksmanship).  Reminiscing along this vein, I finally bit the bullet and sewed up a crazy print dress tied to that definitive year, using a pattern from a largely unknown designer.  This is one project I have long wanted to make, and I am thrilled over my resulting dress.  It is so enjoyable, cute, and comfortable!

My dress was inspired by another event of 1986, one that was momentous to the entertainment industry – the music video to Lionel Richie’s song “Dancing on the Ceiling”.  Out of all the music videos out there, this is one that I absolutely wish I could go back in time and be a part of.  I am an absolute Lionel Richie fan the way it is, but I even more so adore the energy and craziness to this specific song and its accompanying video.  It reportedly cost somewhere around $400,000 for only 4 days of shooting, making it the most expensive short form music video production at the time.  

The music video was directed by the great Stanley Donen, whose most celebrated works include Hollywood’s classic films such as Singin’ in the Rain, Royal Wedding, and Funny Face.  The director Donen said that Richie actually adapted easier and quicker to the rotating room used in the video than Astaire did while shooting similar scenes in his 1951 film Royal Wedding.  It is an energy release for me to even just listen (but also dance) to when I indeed feel like I need to crawl the ceiling from being so cooped up inside with nothing of great fun to do. 

The combination of colors and crazy prints that the party-goers in the music video are wearing inspired me to gravitate to a multicolored cotton that is a riot of color.  Lionel Richie is the bold color focus while the band and extras are black and white (or silver) tones, so my dress is the general scheme in one package.  To me it is a print inspiring energy and absolute elation, exuding a feeling which seemed so appropriate for a dress inspired by the music video to “Dancing on the Ceiling”.  If you paint on the ceiling, it is bound to splatter, right?  And if you had a party on the ceiling, it would definitely need to be repainted, right?  So goes my fanciful way of thinking. 

Sewing my own garments may be more like creating a dream or interpreting my own art, I suppose, when I realize how imaginative I approach some of my projects, such as this one.  I hope you enjoy this wild throwback dress, and it’s even crazier photo backdrop location – the Museum of Illusions in Chicago, Illinois.  This place had an exhibition which gave me the opportunity to actually live out my dream of dancing on a ceiling, even if it is just an illusion!

THE FACTS:

FABRIC:  a 100% cotton lawn in a Lady McElroy “Artistic Vibrance” multicolored print lined with a bleached cotton muslin

PATTERN:  Butterick #3854, year 1986, a Kathryn Conover pattern from my personal stash

NOTIONS NEEDED:  two 7/8” black ball buttons, lots of thread, and two packs of ¼” wide double fold bias tape

TIME TO COMPLETE:  This dress was a 10 hour project and was finished on May 24, 2022

THE INSIDES:  the waistline is bias covered but side seams are left raw

TOTAL COST:  The Lady McElroy fabric alone cost me about $25 and the muslin lining was $5

This 1985 sports set is in a print very similar to my dress’ fabric!

This dress immediately helps me remember that the trippy color craze of the early 90’s was really a result of the late 1980s.  Coming before the age of the internet, it used to take a while for trends to catch up and turn mainstream!  Think of the titular intro screens to the television series Rugrats, which came out in 1991, and you can see the similarities with my dress’ 80’s inspired print.  The cotton lawn was slightly sheer, and being in a white, it needed a lining, for sure.  The bright white bleached muslin I used as lining seems to help the colors in the print pop by brightening the white background.  

I actually toned down some of the bold contrast and overall busyness to this design by switching up a few design details.  I also simplified the already easy-to-made dress.  There is no facing needed or complicated finishing here but only binding along all the entire neckline, which continues into the waistline seam.  For this purpose, I chose a thinner bias edge binding rather than ½” wide as the pattern wanted, as well as using pre-made packaged notions rather than cutting the needed strips myself.  Smaller edging makes the dress more delicate than clunky so that it is like controlled chaos.  I wanted this to be a wildly fun 80’s dress, but didn’t need it to turn into an immediate eyesore. 

This sediment is only another reason I switched to a clean and tailored pleated skirt rather than a mere overall gathered seam.  Especially as I was fully lining the skirt, pleats were necessary anyway to tame any bulk.  I enjoy the kind of math that sewing calls, for and rather enjoyed figuring out the depth and amount of pleats much more than if I would have set in gathers.  I always like to customize at least something from every pattern’s design!  I suppose I’m merely flattering myself to feel as though I improve upon patterns with some of my changes.  Yet, I think such is definitely the case with this design…sorry, Ms. Conover!

Kathryn Conover is the designer listed on this pattern, and she released a good number of dresses through Butterick for several years in the 1980s.  As she has a history of offering her fashionable designs for the last 50 years, it is a shame her name is not more widely recognized.   I can totally relate to her Midwestern practicality and upbringing, being a Midwesterner myself!  Her designing focus was centered on dresses that should “withstand the seasonal vicissitudes of fashion, in fabrics that endure and retain their luster.  However her primary aim,” she insisted in the interview, “is for a woman to put on one of my dresses and feel better about herself.”   Read her full interview in April 1983 with the New York Times (link here, from which comes the previous quotes) to understand the price points, ideology, and status of her brand in the early 1980s. 

She was a dressmaker in a literal sense of the word – no suits, separates, or anything else!  Her love of sewing began as a hobby, but she then worked her way through the University of Minneapolis by collecting clothes from thrift shops, restyling them and selling them. (I have a soft spot for refashions, so she seems like my kind of gal.)  Her own line of clothing was founded sometime in late 70’s, with her first collection immediately gaining the attention of specialty stores such as Bergdorf Goodman, Saks Fifth Avenue, Niemen Marcus, and Lord & Taylor.  She sold her ready-to-wear through these stores and others until her line was ended in 1992.  Conover served as design director for the Liz Claiborne dress division from 1991 to 1993, where she introduced some of her collections through Perry Ellis.  She cited overly trendy fads and the liberal use of denim through the decade of the 90’s for a lack of popularity for the kind of dresses that she wanted to offer, what Conover refers to as having ”a strong classic undertone.” 

I respect the way that Conover was unlike many designers who adapted with the changing times.  She stayed true to her own tastes and desires to the point that she was not afraid to stop what she was doing to try something new in her career.  Conover brought back a line of dresses through the company Ronni Nicole for a short period of time in 2007 and the year after.  She began her own bridal consulting in 2003, which morphed into her working as a couture wedding gown creator for “The Knot”.  She is 74 years old this year!

I can’t help but wonder if my interpretation of her pattern is enough on brand to be true to Ms. Conover’s idealology.  I do have a Pinterest board created (see link here) for you to see a sample variety of her work from the 1970s through 90’s.  My dress’s print is no less full of 80’s obnoxiousness than any other Kathryn Conover dresses from that era, as can be seen in my Pinterest board.  The dropped waist is classic style point of the 1980s, when the era bought back modern versions of French heeled shoes and straight-lined flapper dresses, both inspired by the 1920s.  Many of her designs of the mid 80s seemed to integrate a dropped waistline, with or without some curve emphasis.  I think she would be pleased with my replacing the gathers with pleats as she did this for similar designs such as Butterick #3019 (those bows across that open back bodice are simply fantastic).  To complete my outfit, I’m wearing true vintage 80s heels, crafted with real snakeskin toes which have the primary colors plus green on them.  I then paired the dress with my grandmother’s 80s clip-on earrings.  The funny thing is, since I was going full 80s, even the fact I had an unexpectedly crazy curly hair day became a styling point to match.

There are a handful of copies of my dress’ pattern, Butterick #3854, out to be found for sale, and I definitely recommend it if you find yourself remotely interested in this design.  It is so easy to make, with no facings or zipper needed, and is a step-in dress, for ease in dressing.  Two buttons in the front are the simple closure in this double breasted style!  One word of warning – this dress is proportioned for very tall body.  Even if you are of average height, you will need to do the petite alteration as shown on the pattern pieces.  The bodice was the correct length for my 5’ 3” frame.  Even still, the skirt was really long.  I did the petite alteration to the dress and the skirt still came to my ankles, so I had to do a deep hem.  This ended up in my favor because a thick hem nicely, but gently weighed down the skirt (so I didn’t have a Marilyn Monroe moment walking along Downtown Chicago) and keeps the fabric opaque.  The arm opening is comfortably generous and adds to the general loose and breezy classy air of the dress. 

Do not be dismayed if you try this dress out for yourself and discover that it has a roomy ease amount.  If you look at the model image on the cover and the version I made for myself, it is fitted but not snug, tailored but still generous – and that is the beauty of a good design, the trademark of a designer creation.  Not everything has to be skin-tight to look good…that is a modern mentality and inaccurate.  Slip into all the good points about the 1980s.  You may just find, like I did, that a tailored fit on the higher end of wearing ease can be a gloriously exhilarating experience which doesn’t have to mean frumpy.  Rocking the 80’s doesn’t have to mean something gaudy to wear when it is coming from the hands of lesser-known, but no less talented, United States designer Kathryn Conover.     

Conover’s self-named line of clothing might not have lasted all that long yet I am very glad I tried out a taste of it for myself through the hands-on means of a sewing pattern.

Sunshine Linen and Silken Flowers

Excuse the lack of new posts recently but an extended weekend trip to Chicago has eaten away at my free time for blogging.  However, you know what a trip away for home means for me?  New outfits were sewn!  This equates to fresh new material to share on my blog for you to enjoy!  Here is the most recent outfit project hot off my sewing machine – a summer silk hooded blouse from the 1990s and a linen early 1940s Clotilde brand jumper dress.  I couldn’t have wanted a better set to wear for enjoying my day in cheery, luxurious comfort and style.

I have learned from many visits to Chicago’s surrounding Lake Michigan beaches that not all beaches are equally temperate.  I find Chicago’s beaches to be pleasant and enjoyable to be sure, but quite windy with a cool breeze and not as warm as a Florida beach.  Lake Michigan has water that can feel like it’s refrigerated, even in the summer!  From previous visits to Chicago, I knew what to expect and mentally pictured exactly what was needed out of my outfit for our day at the beach.  I’m happy to report, my set was every bit as wonderful as I had anticipated! 

When 1940s meets the 1990s things are bound to get interesting!  All my garments are in lightweight, soft and breathable fabrics which kept the wind and the sun from turning me into a crisp.  The color scheme is richly saturated and elegantly cheerful.  The fiber content is natural and sustainable in linen blended with rayon, and silk with coconut buttons, all finished using vintage notions.  The styling is versatile and unexpected, which I love, with a fluid vintage vibe which is also timeless.  Having a hood handy kept my hair tamed for beach time or when we drove our convertible car through downtown Chicago with the top down.  I love an outfit that has some good eye-catching features with lovely tactile qualities.

I paired my me-made items with a 20-something old RTW cotton stretch tee as my base layer under the jumper dress this time.  However, the billowy blouse included in with my jumper dress’ Clotilde pattern strongly reminds me of the 40’s chiffon blouse I made to wear with these 1991 NY NY “The Collection” McCall’s trousers.  If you visit that post, you’ll see that this is not the first time I’ve combined the WWII era with the age of the Internet. 

THE FACTS:

FABRIC:  a linen and rayon blend for the jumper dress and an all silk satin for the blouse

PATTERNS:  Clotilde sewing pattern #3559, estimated to be from the spring season of 1942, and McCall’s NYNY “The Collection” #5640 from January 1991

NOTIONS NEEDED:  thread and a bit of interfacing (I used the cotton iron-on), bias tape as well as one vintage 1950s era metal zipper for the jumper dress, some vintage rayon hem tape for the blouse, and finally a pack of coconut buttons from my local JoAnn fabric store

TIME TO COMPLETE:  The blouse and the jumper together were a combined time of 16 hours and were finished at the end of this month of May (just before our trip) 2022

THE INSIDES:  All French seams for the hooded blouse and bias bound edges in the jumper

TOTAL COST:  Both fabrics are from my local JoAnn Fabric store, but only the linen blend is still currently in stock.  The silk was something I found many years back now when they sold limited amount of fine fabrics in the physical stores and not just online.  It was on deep discount being as it was a one yard remnant of something the store no longer wanted to carry.  My entire outfit all together cost me under $40.

Clotilde patterns, such as this one, were often for what was considered the average woman (not talking about body size average) or for the on-the-go teenage girl.  I have noticed that Clotilde patterns through the 30’s and 40’s were often knock-offs of small designers or downgraded versions of Paris fashions for the woman who wanted a practical taste of the current styles.  They were pitched in ad write-ups as easy-to-make (especially when they offered a line of notions and haberdashery to match) with design details to make them appealing enough to have an edge on the market.  The company began offering patterns circa 1925, continuing to do so through the 1960s, and expanded to become a giant in the sewing catalog industry for many years.  Ms. Clotilde passed away in November of 2011 and the Company was sold to become “Annie’s Quilt and Sew Catalog”. 

Seeing as my Clotilde pattern was ordered through The Chicago Tribune newspaper, I researched through an archival site for that publication and was able to pin this design down to somewhere between the fall of 1941 and the spring season of 1942.  As this pattern’s blouse is so similar to the sheer bishop sleeved one I already made (posted here, also intended to be paired under a jumper dress), I am leaning towards thinking both share a date of early 1942.  Jumper dresses – intended to be worn over a blouse or top of some sort – were incredibly popular offerings through the mail order sewing pattern companies of 1941 to 1942, mostly tailoring their appeal for teenagers but also for young adult women.  Jumpers are so good for beach time because it is easy to hide some shorts underneath, he he.  This jumper has a very pre-WWII influence with the full skirt with a longer mid-calf length.  Even still, it required just over a full two yards of material.

This jumper was simple and quick to make – except for the double sets of ties I had to make (I hate sewing them).  Yet, as is the normal “quirk” I find for vintage unprinted mail order patterns, I had just a bit of trouble getting this finished.  I correctly predicted it ran a tad roomy, as many old unprinted mail order patterns do.  This sizing generally worked in my favor because I took advantage of it to do a modern 5/8” seam allowance.  Even still, some of the quality to the pattern drafting was lacking, as is another normal “quirk” for many old mail order patterns.  I had to taper in the side seams smaller up to almost 2 inches on each side, only from the top edge down to the hips.  Luckily, I had greatly simplified the design so that the fitting efforts I had to do didn’t really set me back.  The biggest change to the original design was that I eliminated the back button placket closure and opted to lay that pattern piece out on the fold for a smooth, seamless look.  A vintage metal zipper was installed in the left side seam instead. 

The pattern gave little to no direction as to where to place and button the shoulder straps.  Mysteriously missing markings are another frequent occurrence to old unprinted mail order patterns.  I guess it is obvious from looking at the original design that I simplified the shoulder straps by leaving out the ruffles to them.  I pared things down to the basics even more by merely stitching the straps down to the jumper dress edge.  Why bother to make them adjustable when the pattern didn’t help me out and I’d have to figure all the buttonhole settings out myself?  The waist ties already add a level of fussiness to the style so stitching down the straps helped keep my travel wardrobe simple.  However, the pattern did call for ridiculously simple bias strip edge finishing.  I knew this design needed something more stable along the top edge, so I drafted together my own interfaced facing for the bodice.  It was two steps forward and one back during the construction process, but this was not intended to be a perfectly fitted garment…so all is well that ended well! 

The loose fit is sort of a design element based on the fact that there are waist ties to pull in the fit on this jumper dress.  I love how they are like little pointed arrows that sit at the waistline where they are top stitched down.  They help to visually slim the silhouette.  To gather in and control some of the center back waistline fullness, I stitched in a strip of ¼ inch wide elastic to the inside.  I picked a 3 inch horizontal segment at the waistline and sewed it into a 1 inch length of elastic, shirring the difference into gathers.  This was not part of the pattern but my own addition.  I also finished off the tie edges with a hand sewn buttonhole stitch for a little bit of a fine touch. 

My hooded summer blouse pattern is by far the standout piece to this outfit.  It is from my favorite NY NY “The Collection” line of McCall’s designer patterns which stretched between the late 1980s and the early 2000’s.  This will have been the seventh NY NY “The Collection” McCall’s item I have sewn.  There is a lot going for #5640 with lots of options to each and every item it offers so that an entire wardrobe of separates could be sewn of this one pattern.  The hooded blouse has the option of instead being sewn up as a wing collar and was originally supposed to be long sleeved.  How could I pass up something as uniquely amazing as a hood blouse, though!?  My amazing silk satin was just begging to me to be used to full dramatic effect and this design hit my creative happy place. 

Such items as hooded dresses or blouses were popular in the 1930s and 40’s for evening wear or resort occasions and now are rarities that sell for big money in the current vintage market.  Fashion designer houses of Valentino, Givenchy, Max & Moi, as well as Aurora De Matteis all offer their own silk satin hooded blouses today.   If I ever start my own business of offering couture finish custom-made ready-to-wear (not promising it will ever happen, though), a summer hooded silk blouse like the one in this post would be included in my collection.  It is amazing to wear and truly a useful statement piece.

As I only had one yard of silk to work with for the hooded blouse, I overhauled the design to accommodate both my shortage of material and desire to personalize this amazing design for myself.  The oversized print needed minimal seams so as to not disturb it.  This was perfect for that because there are no darts or tucks, and the entire shirt is made of only three pattern pieces.  Yes, you read that correctly.  The hood was configured to be cut on with the blouse fronts – a one piece design!  So cool, right?

The original pattern called for the front center but, as you can see, I altered this idea.  It was intended to be a pullover top with a generous box pleat giving room across the one-piece front between the buttons and buttonholes which were to be worked onto the folded edges.  I was not doing this plan with my reiteration, which has an open front like any other blouse.  It is more versatile to me this way.  I can tie the waistline together to cinch the boxy, oversized silhouette in and keep it from flying around in the breeze like a flag.  I can still let my outfit underneath be visible, too, if I keep the blouse unbuttoned.  I don’t have to risk messing up my hair or smudging the blouse with makeup by having it be a pullover.  A hoodie is one piece, and that to me becomes more like a jacket.  I wanted a hooded blouse and adapted the pattern to be such.  However, it is loose fitting and rather makes a better overblouse anyways than being worn on its own.

My silk satin was so luxurious like insubstantial butter and a cooling delight to touch…I wish you could reach through the screen and feel it with me.  Such amazing fabric deserved my bringing out the high-end finishes along with such a good design.  There are solely French seams inside, which sort of makes it hard for me to tell the right side from the wrong side out for this blouse! 

Then, I used special rayon binding to hem the bottom edge for a clean yet decorative inside.  Such a notion is not manufactured anymore (to my knowledge) and it is a joy to use.  It is like a piece of tangible happiness to see when getting dressed so I see it as worth it to use rather than hoard.  I luckily have a few whole rolls of such notions so this was not the last to be had in my stash.  Even still, you can tell which projects are more prized by me when there is rayon tape as part of the inside detailing.  I hand stitched down the front and hood cut-on self-facings as well as the hem because I couldn’t stand to see obvious thread lines anywhere else but along the shoulder line.

Why highlight the shoulder line?  I absolutely love the way the hood is one piece with the bodice front.  I am proud of how well I achieved a perfect corner down and around where the hood angles into the back bodice.  This way the dropped shoulder line can be noticeable, too.  Might as well bring attention to how creative is the one major design line to the blouse!  I chose to use an all-cotton thread to compliment the silk material, but it is a fluffier, chunkier, duller thread when compared to the satin finish.  As I said at the beginning of this post, I was going for sustainable and natural fibers here. 

Trips away from home especially give challenging incentives to my sewing plans.  Now that we have traveled again after a long span of staying at home, I am remembering anew how trips inspire me to treat myself to exceptional hand sewn pieces (those over and above my everyday wardrobe) so I can rock my self-expression while creating wonderful vacation memories.  Do you bring your own handmade wardrobe on trips with you?  Please let me know I am not alone in this.  My most comfortable, favorite pieces are necessarily also the ones I have made for myself so there is one basic reason to bring me-made items on a trip away.  Seriously, though – can’t you tell by my glow that the beach is a special place for me?  Just think of what an amazing new outfit added to that!!  There will soon be more to come of our Chicago trip – hang on to this thread.

So – next time I have a break in my regular postings, just know that it means I am either taking personal time for recharging myself or at least working on some great new content.  I truly have the best readers and you all are the best audience!  For your information, if you only knew the amazing projects already sewn that are in my backlog of things yet to share, you’d flip.  This post’s particular outfit had a special day out so recently, I had to share it right away.  It was just too good, and I hope you are glad I didn’t let this outfit wait in queue to be posted later than sooner!

Tennis Top

In the quest for more sportswear that is also part of my handmade wardrobe, I have branched out to make something perfect for playing one of my favorite games – tennis!  This top had been part of a previous project back from 2016, only to be left unfinished when my ideas changed.  However, I detest sewing items lurking on the backburner and am a stickler for needing the projects I start to be fully finished.  At last I have conquered this little odd dress bodice to make it a top that does the job of a sports bra but with a fashionable, fun, me-made flair! 

This is a totally different side of me that is uniquely lacking in my normal glamour to show here on my blog.  Thus I am a bit unsure about sharing it yet too happy with what I’ve made to hold it back.  I felt it tied in nicely with my previous post of 1940s sporty, bibbed “short-alls” so I am sharing this now versus waiting until it is officially summer.  This is not a vintage piece, coming from a Burda Style pattern from 2016, but it does incorporate one of my favorite things – color blocking.  All of my favorite tones are here present – rich purple, bright pink, and a royal blue – all in a way that calls to mind a lovely stained glass window.  The black piping becomes likened to the “cames” of grooved lead which hold together the panels of color in a glass window.  I love the irony of recalling delicate stained glass for an item used for an activity that is quite the opposite – slamming of balls and full body movements.  Tennis is not listed as a high impact sport but it is the way I play it!

THE FACTS:

FABRIC:  a shirting basics stretch cotton sateen

PATTERN:  Burda Style’s ‘A-Line Cocktail Dress’ #122, from 03/2016 (see the German Burda Style page for actual pictures of the pattern, though)

NOTIONS NEEDED:  I had to buy an extra pack of piping to finish this, as well as the back separating zipper, but other than that all I needed was lots of thread, which I always have on hand

TIME TO COMPLETE:  The original piped bodice took me about 5 hours back in 2016, but then for the recent fitting and finishing I spent another 4 hours

THE INSIDES:  left raw…the stretch in the cotton keeps the fraying of the fabric in check

TOTAL COST:  I no longer remember because the fabrics had been on hand from before 2016!

The sizing definitely ran small and quite wonky for the original Burda dress pattern that my top came from.  See a full recap on this post here. Such a sizing discrepancy luckily didn’t extend to the skirt portion of the dress, but the top half was another story.  Neither did I have any more fabric to recut anything.  All the vertical seams together with the fact I added in piping to them set up any fitting adjustments to be a major headache.  I definitely had to come back to adjust such an unfinished object when I was fully ready and equipped with a definite purpose and incentive to complete this.

It was a sewing project I truly wrestled with to just barely make it fit enough to be salvageable.  Letting out the 5/8 inch seams to 3/8 inch in some places was barely just enough to have this squeeze on my body as well as get the piping back in again.  The piping makes the color gradient panels pop with the definition but definitely restrains the stretch of the fabric in between.  It restricts the curvy seams significantly yet I loved the overall effect too much to give up on the idea.  Now that it is done, I feel that the piping makes sure the fabric doesn’t over-extend its elasticity and also helps this have such a snug fit, which I normally wouldn’t like but found a purpose for this time.   

I took advantage of the fact this top has wonderful stretch and is skin tight to wear this as my sports bra.  I have only worn loose tee shirts for tennis before and have never been happy with how I move and feel sloppily clammy while wearing them.  This top is like a second skin, and keeps my assets securely in place.  The top itself stays in place on my body, is fuss-free, and does not get in the way of my movement at all like my loose tee shirts were doing.  Plus, the sateen doesn’t show sweat, keeps me cool while wicking any moisture away, and still looks nice.  I never knew what to do with it before now since I formerly saw it only as a failure left behind from an unfinished project.  Now that this top is not only finished but also useful with a purpose, I am so taken by it.  I have something I always needed but never knew I wanted…and I made it myself, which is even better! 

In lieu of the side seam zipper I originally planned for when this top was to be part of a dress, I changed to a center back separating sports zipper.  A sports zipper is more heavy duty, with chunkier teeth, and the fact it opened up at both ends makes this top very easy to put on.  I left the zipper exposed to not only save every little bit of room I could spare but also because it visually gives a black line in the seam similar to the piping in all the other seams.  The black back zipper gave me the ideal combo of functionality and aesthetics in one easy step.

Not that I would highly recommend this pattern, but this is the perfect stash busting project.  The pattern pieces for this top could probably even fit on some cotton “fat quarters”.  When I was originally making this, I happened upon three colors of the same fabric in my stash, all in a stretch cotton shirting, in colors which complimented each other.  They just had to be made into a garment together! 

The pink is a whole 2-something bolt, still in my stash meant for a future project, while the other two colors were under ¼ yard scraps.  I just gleaned a small amount off of the total cut of pink, not enough to dent my greater plans for it.  With some recent re-organizing of my fabric bins I happened to come across this pink fabric again, and so I took the opportunity to shave off a tad more to cut bias strips to finish the armhole openings.  At the same time, I also happened to find some scraps of black stretch cotton sateen on hand, leftover from a store bought dress I had re-fashioned years back.  I then used this to finish off the neck and bottom hem edges.  I was left with the feeling my top was very barely cobbled together but also amazed that such little amounts were all I needed.  The stash busting redemption of this top has left me further satisfied with it even though the fit of the design is much lacking.

You see on my blog what kind of styles I stitch together for everything else in my life.  Now that I’ve finished making this tennis top you see what I wear for sporting exercise fun!  Have you made some athletic wear pieces for yourself?  What is your favorite sport?