Working in the Quad-angle

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

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

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

THE FACTS:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Collage of Vintage Scarf and Handkerchief Ideas

This a fun and different follow-up from my last post about the one yard 1940s top which calls for an oversized scarf as an optional material source.   Scarves – and handkerchiefs – have been used towards making something to wear for decades, but sadly it seems to out of favor today.  As I have a plethora of scarves on hand, and always see so many hankies and scarves for sale at vintage shops and antique stores, I think being creative with these little pieces from the past are not just an old fashioned ‘thing’ but can actually look quite cute and be useful!  Modern fat quarters would I believe do just the thing as well.  They are a similar size after all.  Quilters listen up – your fat quarter stash can become much of what is shown below if you want to switch over the apparel sewing!

Enjoy the following inspiration and eye candy.

Here is yet another 1940s pattern for a blouse that is made from an all-around border small scarf, fat quarter, or hankie for view 3…or remnants when it comes to view 4.  It is Hollywood #1523 pattern.

McCall #1525’s outfits are also made from multiple small hankies or scarves.  The full ensemble – dress, purse, and hat – takes 6 squares, I believe.  The hankies used make it look quite quaint, but out of modern printed fat quarters I think this would look quite fetching and fun!

Mena at “Make This Look” on Instagram posted a super cute and very much a regular shirtdress or skirt that is also made of hankies.  This could totally be much more coordinated and aesthetically pleasing if one went for using modern fat quarters to piece these outfits together.  This pattern is my favorite but I have no idea what its number is, so this will be hard to find.

One of the easiest and frequent way to use scarves with no sewing or alteration needed is to turn a scarf into a halter top.  This method of scarf tying has been popular since the early 30’s when it began during the rise of the resort-leisure and sportswear fashions that spawned beach pajamas.  It can be done with just a necklace and a safety pin needed.  First you fold the large scarf into a big triangle.  The folded edge goes around your waist.  Lay it over the front of you and tie the two ends at the lower back waist.  The two raw ends that make the third corner of the triangle go over your necklace and are pinned in place so that you easily end up with a cute sleeveless and backless halter.  The neckline corner of the scarf can be over or under the necklace and the pin can be seen or not seen (your choice).  I love it as an easy bikini top cover-up, and depending how you style or accessorize it, this simple halter can look 30’s vintage, 70’s retro, or modern.

The most amazing and hard to believe inspiration of scarf and hankie fashions is this old late 1930s “British Movietone News” clip – watch it yourself here.  It shows you how to fold and otherwise tie yourself in the “latest seaside fashions”.  I love the hilarious commentary, “It is difficult to imagine blowing your nose in anything as smart as this!”  The coat made of four scarves is the thing I would like to try to most.

There is another video from 1921 (seen here) that shows two hankies being turned into a brassiere (screenshot at left).  Granted, the final result looks very homemade and unattractive to modern eyes, but we must be thankful.  The modern divided cup bra had its origins – as the legend goes – from an everyday woman experimenting with two hankies.  At right is an early 30’s Kestos style bra made from a delicate embroidered hanky that is much lovelier to look at.

Such a bra like this is not only easy to whip up and very modernly appropriate, but I can attest that they are very comfortable.  The 1920’s bra I had posted about here called for hankies (but I used cotton scraps) and the book where my pattern came from, “Vintage Lingerie” by Jill Salen, has several other patterns that call for a clean square of fabric originally meant for your nose.

The most popular item of clothing that I see made from oversized scarves in the 1920s seems to be hankie-hem (uneven hem) dresses as well as caftans.  However, the great designer known for her work on the bias grainline Madeleine Vionnet made her famous “scarf dress” around 1919-1920, copied by many for years after.  It is made of four large square pieces of fabric which give you four “flaps” (or jabots I think is the official term) on each side of your body, a deep V neck on the front and back, with twisted shoulder straps and a sash to tie it all together.

There is a free and simple tutorial here on “We Sew Retro” and they claim it makes a dress in only 20 minutes when you start with four large square 1 meter pre-hemmed scarves.  You can try out a popular 1920s style from a famous designer in under half of an hour?  Yes, please, this is on my plan-to-make queue.

I have only two 1 meter scarves on hand and so I did a little experimenting on my own.  Firstly, I sewed the two of them into a 1920s inspired pop-over caftan.  There are two vertical seams along the sides to give me a subtle shape and only two small stitches at the shoulders to keep it on me.  Many original 1920’s caftans were actually made with specially printed or woven oriental textiles, or even long rectangular scarves.

Not content with only one use for my two matching scarves, I unpicked the few seams my caftan had to be back to “the drawing board” as the phrase goes.  I tied the two scarves into becoming a skirt.  Firstly I started by covering up my front half and tying the scarf in a tiny knot at my center back waist.  Then I repeated the same thing starting from the back to the front.  Just like the halter top above, this would make the cutest swim cover up…which is how I was actually wearing it here.  It shows just enough of a sexy leg flash in the wind or in movement, but I think is not obviously as much of a thrown-together item to wear as it really is!  This one was entirely my idea.

Besides the 20’s, 30’s, and 40’s inspiration it seems the 1970s was the next big decade for re-using scarves.  I did find several scarf and hankie printed fabric dresses in the 1960s, as if the era liked the idea but not the real thing and so only used fabric versions.  The hippie era and the Bohemian chic caused eclectic styles and re-fashioning to become popular.  Many designers made scarf dresses and paisley hankie print garments in the 1970s and the smaller brands and sewing companies followed with their own copies.

Although I never thought of such fashions as becoming widely popular or mainstream, they must have had their impact because several Design houses have re-hashed the trend in the last two years.  Strikingly similar to this LaVetta dress of the early 70’s, Gucci brand just came out with a scarf kaftan this spring 2019 (both pictured below).  Everything old becomes new again if you wait long enough.

Dolce & Gabbana preceded them in 2018 with a handful of scarf sourced fashion such as this dress.  Oh my…if I had that many pure silk scarves I really don’t think that is what I would do with them.  Nevertheless, the look is fun and colorful (but it’s almost $5,000)!  It reminds me of this Oscar de la Renta “Patchwork-Effect Floral-Print Silk-Chiffon Dress” from pre-fall 2019 or this poncho- style Oscar de la Renta blouse that looks like pretty quilters’ fat quarters or old table linen remnants sewn together.  *Sigh*  If only high fashion could be so sustainable that a dress or blouse like that would really be made out of scraps and not just printed to imitate such a practice.  I’ll have to try some knock-off versions for myself sometime because I both don’t have $3,000 to spare and goodness knows I have enough scraps to try!

Inspiration I have found on Pinterest that is not marketed as vintage is mostly either for neckwear or headwear.  Of course, scarves were immensely popular for heads, necks, and belts in the 1940s and 30’s…it’s nothing new, but still so cute and useful!  However, I did see some modern scarf ideas that did gain my main interest.  This asymmetric wrap top that employs one buckle clasp is to die for!  Sadly, I cannot find the source to credit it (lack of source information is only one of the reasons Pinterest aggravates me) but this one is quite inventive and chic.  Also, this – one of the many dresses at the shop “CreatedByMK” on Etsy (which also sells so many lovely scarves) – is so beautiful, versatile, and much more wearable than most tie or wrap on scarf garments.  This style should be easy to replicate, adaptable to many body shapes, and very complimentary in a very swishy and feminine way.  Compared to my earlier skirt idea, this particular scarf skirt is stunning, so completely blowing me away.  I love the way the corners come together at the waist so beautifully.  People are so smart.

Ugh, I need to find a cheap stash of scarves and have an immediate go at many of these ideas, now that I posted about them!!  Which ones are your favorites?  Do you think you will be trying anything here out for yourself?  There is more over on my related Pinterest board “Turning a Scarf into Something Wearable” here, if you fancy a trip down the rabbit hole with me.  P.S. There’s the coolest tutorial for cute little satin scarf do-it-yourself shorts over there!

“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!

Mother’s Day Mandalas

Every mom can fully appreciate the amazing benefits of having her own special ‘space’ and quality ‘down time’ to refresh.  This is why my Mother’s Day post will be an elegant, flowing, treat-of-a-1930s dress in a lovely Indian mandala print.  Mandalas are a concentric symbol for balance, harmony, and focus in the Indian religions…and goodness knows, every mother needs as much of all that in her busy, hectic, and multi-tasking life!  I know I do!  Just the action of sewing is enough to put me in my “happy zone”.  Combining that with a fabric allusive of serenity sewn into a feminine vintage dress which is as comfy as my best nightgown and bingo – my Mother’s day cannot be any better than this.

I never have enough reasons or places to wear my fancy 1930’s gowns, and so this dress is my first (and happily successful) attempt at ‘normalizing’ that era’s evening wear.  Just by using rayon challis – a nice yet not-so-upscale yet equally flowing fabric as the satin or crepe the pattern called for – I took a special occasion dress into something which can fit more easily in my daily life.  I am in love with the everyday glamor, slimming silhouette, ease of construction, and interesting neckline of this vintage remake.  I definitely do not want to stop at only one of this design.  However, this version is such a keeper!

THE FACTS:

FABRIC:  2 ½ yards of a very soft and drapey printed viscose blend rayon with the bodice partially lined in a poly crepe

PATTERN:  Butterick #6410, a 1999 re-issue (now out-of-print) of a year 1935 pattern

NOTIONS:  nothing but some blue thread was needed…

TIME TO COMPLETE:  This dress was whipped up in about 5 hours and finished on April 18, 2019

TOTAL COST:  As the bodice lining was scraps from on hand, the rayon was the only expense and it was only $15. I bought it off of Etsy during a half-price sale at the shop “Fibers To Fabric”.

I cannot say enough good words about the work principles, the ideals put into practice, and the materials offered at Fibers to Fabric.  This is not sponsored – just my honest opinion as a happy customer and a seamstress trying to buy ethically.   They carry authentic, artisan, fair trade fabrics made with honesty and transparency in India.  Their true woven (not printed) Ikat fabric is to die for (I have one slated for an upcoming project)!  This printed rayon is so much silkier and sturdy than any carried by any big box store.  The viscose blended in makes this the perfect substitute for silk charmeuse, in my opinion.  Besides, ordering fabric directly from India is the right way to start off when making a garment with their cultural meaning or influence, no matter how slight, as I did here.

The pattern carries most of its complexity in the bodice along the neckline, but even still, those details were not enough to keep this dress from being a one evening project!  However, to be honest, I did greatly simplify the dress by leaving out the side zipper.  It is very tricky to keep a zipper from visibly restricting a flowing dress anyway, and even still, one that calls for delicate fabrics.  I went up one full size to make sure this would be able to slip over my head.  It is a bit roomy fitting this way, but it just makes this dress feel like some super fancy nightwear I can wear in public – is that wrong to want to stay that comfortable?!

Now what is important to realize with this dress is the skirt pieces are not cut on the bias so this pattern can be made on less yardage than the normal 30’s evening gown.  Here’s yet another reason I love this dress!  The skirt panel’s length is cut along the grainline and only the front bodice pieces are on the bias grain.  In order to make my dress on only 2 ½ yards of fabric, I opened up the fabric from the way it gets folded on the bolt and folded it a different way to still find the same grainline.  It was still a Tetris game, nonetheless, but I squeezed everything in after all (only by shortening the hem, which still ended up really long for my 5’3″ frame)!

The neckline is first rate.  It reminds me of a scarf or shawl that is tucked into a wide neckline.  Sadly the amazing seaming is rather lost in the print.  The bodice is kimono sleeved, but only on the sides because the neckline portion begins halfway out from the neck.  The the center back panels miter down into to a V.  The center front panels seam princess-style through the bust and plunge down to the empire waist.  Fill that wide neckline in with these long panels that reach from the front waistline to the back point between the shoulder blades, and there is one beautiful design to be had.  I love the way it frames the back of the neck and is more than just your usual V-neck or wrap bodice.

The pattern calls for the whole of the bodice to be fully lined, however my casual aesthetic kept only what was needed, which was just the facings to the draped neckline.  They were much skinnier than the neckline pieces of the fashion fabric, therefore only way to make the neckline fall into folds vertically, besides finishing the edges nicely.  I did not interface the neckline lining because you don’t need to add body there, just keep the gathers in.  Lacking the full lining which would’ve also filled in the side bodice panels, simple bright red ¼ inch bias binding finished off the armholes of my version instead.

Any time I have wearing this 30’s dress is instantly glamorous in a very unassuming, easy manner…the best of the 30’s for today!  Even though this dress’ pattern is out of print, there seem to be a good number still for sale out on internet sites so I heartily recommend picking up one for yourself.  This design would be great for scrap busting because a one yard cut could go towards a contrast bodice with a slightly bigger cut (no more than 2 yards, though) going towards the skirt portion.  I’m sorry my post did not even take into account how fabulous the little Mandarin collar crop jacket is in the pattern, as well.  I seriously need to come back and make the short jacket to match this dress in the future.

Whatever your state or position in life this Mother’s Day, we can all appreciate some relaxation and a calming moment.  I hope my mandalas for the day, and my quick-to-make but elegant to wear sewing creation, remind you that taking time for yourself is time well spent!