A Peggy Carter Outfit as Undercover as a Shield Agent

This post is a week later than I intended it to be, but for a girl like myself with a rich Irish heritage on both sides of my family, seven days after St. Patrick’s day isn’t bad for celebrating either.  Any and every day is good for reveling in one’s heritage!  I always find it so perfect that the holiday for wearing green comes around for us just as the season of spring does, as well.  Verdant hues are the newest cloak being worn by nature, as well.  Spring also means school break, however, and as a mom it is always such a challenge to accomplish anything I had previously intended during our son’s time off at home.   

Thus, finally, I’m so excited to be sharing another amazing Agent Carter recreation unlike all the rest I have finished.  It is secretly a one-piece jumpsuit – surprise!  By choosing two different colors and types of material for the top and bottom half I enjoy the appearance of separates.  Yet, my top stays perfectly “tucked in” and my high-waisted, wide-legged 40’s style trousers stay up in place…because it is an easy-to-dress-in, all one garment kind of jumpsuit!  I still faithfully recreated Agent Peggy Carter’s outfit from Season Two, episode 3 ‘Better Angels’, of the 2016 television series.  

It has pockets!!!

I laugh in enjoyment over the sneaky deception of the way I made my version.  As I make mention of in my title, I feel this jumpsuit version is so very suited to Peggy’s smart but sensible personality.  It is also a bit deceptive in plain sight just like so much of her life as an agent of the S.S.R. (or should I just say S.H.I.E.L.D., right).  Also, it is has a bright and cheerful “Leprechaun” green which, between the versatile fabrics I used that are perfect for cooler in-between temperatures, makes this my favorite classy-but-casual vintage inspired outfit for spring (or fall, too, of course).  The best part is the fact I used a modern (therefore relatively easily available) sewing pattern as my verbatim source for this outfit.  Leave it to Peggy Carter to keep inspiring me to sew myself clothes that become such wardrobe winners which I feel great wearing.

THE FACTS:

FABRIC:  the top blouse half is a Kona brand all-cotton in “Leprechaun” color; the bottom trousers are a heathered grey brushed suiting bought here from Fashion Fabrics Club, in a 63% Rayon 16% Viscose 12% Linen 8% Silk 1% Lycra blend; the lining for the bodice was also used for the side seam pants pockets and that is a basic lightweight polyester in a dark green color.

PATTERN:  Butterick #6320, year 2016

NOTIONS NEEDED:  I needed lots of thread, interfacing, one long 22” invisible zipper for the center back closing, and I used one vintage dark green Bakelite buckle for the belt.

THE INSIDES:  all nicely finished in bias tape for the trouser half, otherwise all other raw edges are invisible due to the bodice lining.

TIME TO COMPLETE:  This jumpsuit felt time consuming.  After over 30 hours put in, it was finished in March 2020.

TOTAL COST:  The trouser fabric alone cost me $35 for two yards, and the bodice was $7 for one yard.  The lining was on hand leftover from another project years back so I’m counting that and the buckle from my stash as free.  My total cost with the other notions is $50.

Now, one really never gets to see my project’s inspiration outfit on Agent Carter for very long in the “Better Angels” episode, and even then, it is mostly only her green blouse that we see in detail.  That’s okay.  The trousers are basic 40’s era suiting bottoms and the blouse carries the brunt of the meticulous design lines, after all.  Peggy’s green top had these shoulder panels which wrapped from the back to the front where they create a wide, curved sweetheart neckline before they end under the armpit.  The rest of the center front to the blouse has a dipped neckline which gathers into the bottom of the shoulder plackets to create bust fullness. 

All of these details were already there on Butterick #6320 pattern – yay!  The most obvious variance is having a plain, flat front with the lack of a buttoned front opening, such as what Agent Carter’s original blouse had.  I like this pattern’s smooth front better, just the same as I chose puffed sleeves over plain sleeves with a hem notch as Peggy’s original had.  I recreated those sleeves on this other Season Two blouse (posted here).  Also, these trousers are a comfy, pleated front while Peggy’s version had a smooth, fitted front.  I have made several smooth front 40’s pants for myself already anyway (see here and here).  For as much as I try to ‘copy’ Peggy’s outfits, I always make sure to stay true to my personal wearing preferences so I can have my Agent Carter garments be everyday clothes and not just cosplay costumes.  Also, I like to honor the ingenuity of the designer, in this case “Gigi” Ottobre-Melton, by not making an exact copy.

From the soft shine of the original blouse on Agent Carter, I assume it was silk.  I cannot tell what material her trousers were but they seem to be a thick rayon suiting to me.  My chosen fabrics are more basic and casual, albeit very nice.  Kona cotton is synonymous for quality, especially being a Robert Kaufman product.  It is thick but soft, durable with minimal shrinkage, and the colors don’t bleed (important as I am making a dual color, two material jumpsuit).  I always appreciate the fact Kona cotton certifies that no harmful chemicals were used in its production, processing or finishing. 

I felt it was important that my trouser fabric be something a lot more textured than the blouse to imitate the appearance of two separate items.  The material I chose is a blend of most of all my favorite materials (rayon, linen, and silk) in a very unusual way – a twill with a flannel finish.  Nevertheless, it has a wonderful drape, great medium weight, and a finish which has it perfect for a menswear-inspired suiting look. 

The brushed finish makes this a slightly bit itchy (but I wear pants liners underneath to counter that) and the linen in it makes this wrinkle some, too.  However, the blend it is in also has the pants portion to this jumpsuit be much more breathable and multi-seasonal than one would expect by the look and feel of it.  I am happily surprised by the success of this jumpsuit project.  The way I was combining two such opposite fabrics had me worried from the outset, as did the fact I had spent a decent sum of money on the supplies in the first place.  The bodice was a beast to sew (more on this in a minute).  This had to turn out or I would have been devastated. 

I found the ‘bust-waist-hips’ sizing of this pattern to be spot on, yet the fit and proportions were off.  The way this is drafted on paper, the pattern is only made for tall ladies.  I do not consider myself truly petite at about 5’3” in height, and my torso length (from the back of my neck to high waist) is a common 15” (plus some).  As it was, the bodice was far too long, as were the trousers.  The pattern called for a 2-something inch hem…I had 10 inches in excess to hem these trousers on the long side for me (I have to wear heels in this jumpsuit).  I had to bring in the shoulders by about 2” to pick up the bodice so that the underbust seam rests where it should be landing.  

This pattern will NEED some adapting for most anyone who tries out this design, from my experience.  It is especially important to learn this from the outset at the pattern stage as the complex and fully lined bodice doesn’t give much room for adapting after it is completed.  Take into account that the curved shoulder panels have to be redrawn at the joining seam if you also need to take this design in to fit if you choose to sew this for yourself, too.  Please do not let my warning dissuade you from trying this pattern – I highly recommend it.  I love the many options it offers with the variety of sleeves and the option of a skirt bottom.

The bodice was extremely fiddly and tricky and takes some slow, meticulous going to sew it right.  I have seen some sewists who have made this pattern for themselves skip some details as well as the lining, but I recommend going all the way for this fabulous design.  Yes, interfacing the entire bodice seems like overkill, but I did it anyway.  Now that my jumpsuit is finished, I think it does help the bodice become a stable ‘anchor’ to the pants below and not be pulled down by that much fabric. Yes, it looks like there are way too many markings needing to be made to the fabric at the cutting out stage.  As a stickler for doing things right from the outset, I sucked it up and copied all of the balance marks, squares, triangles, and circles.  They all end up being extremely necessary and very helpful towards making construction much less confusing.  Even still, the gathering around the curved shoulder placket above the bustline was the trickiest part of all to perfect.  Luckily, the smooth inner lining (completely different pattern pieces from the exterior front top) help to bring the bodice together and right the seam allowances. 

Before I added the lining, I thought the bodice looked messy and was being pulled too much by the attached trousers.  Sure, I ironed the top along the way, clipping where necessary and pushing the seam allowances the right direction.  Once the lining was in, I had matched the lines of both the lining bodice and exterior bodice so I could hand tack them together ‘in the ditch’ of the seams.  My doing this interior seam matching was over and above what the instructions told me to do, but worth it.  After all, it was only then that the bodice was suddenly substantial enough to hold the weight of the 2 something yards of attached pants and therefore not have unreasonable wrinkles.  All the ‘good side’ edges have no visible stitching because I had stitched the seam allowance edges for the neckline to the lining as further hand finishing over and above what was called for.  I love the chic and professional appearance my extra efforts give, even though it is not clearly noticeable until up close…which nowadays, social distancing prevents that!  The lining, though a bother to cut and sew (besides being unseen), completely makes this jumpsuit work out.

My self-fabric belt is the “cherry-on-the-top” to the two-piece deception of this jumpsuit.  This was something not originally part of the pattern but something I added.  However, it is not your normal belt on account of the center back zipper closing.  I slid my vintage belt buckle over the belt strip and centered it between the two ends.  Then the center of the belt with the buckle was lightly hand tacked to the center front of the jumpsuit’s waistline.  I further attached the belt to the side seams of the jumpsuit.  This was done out of convenience for both dressing and bathroom visits.  Nobody wants to pick up something off of a public bathroom floor!  Also, I had no plans on wearing this outfit without the belt at all.  Two oversized snap help the loose belt ends lap closed over one another across the back once the back zipper is closed.  I am always justly wary of having anything Bakelite – normally buttons, but here it’s the buckle – going through a washing machine cycle so I now realize I will either have to clip away the threads that tack down the belt or hand wash this jumpsuit.  Oh well.  The finished project here makes up for any bother needed to take care of it along the way.

Here I’m at my parents’ front yard mailbox, wearing an old 90’s corduroy blazer over my Agent Carter jumpsuit. I love that my mom decorates for every seasonal holiday!

This month’s green outfit of mine not only celebrates the equinox and St. Patrick’s Day, but also has a subtle nod to Women’s History Month.  This outfit honors the strong ladies who have influenced my life.  Agent Carter has inspired my fashion style, my sewing preferences, and my personal confidence.  Yet, no vintage outfit of mine is ever complete without something of my grandmother’s – whether it be her earrings, gloves, scarves, or such accessories I have inherited.  My Grandma is so sorely missed these past four plus years. She was the strongest, bravest, most resourceful, intelligent, caring, compassionate, and beautiful woman I could ever aspire to be.  It is her gold “Lady Elgin” 1940s watch which is the item I am never without for every Agent Carter outfit of mine.  Peggy Carter was never without her Nana’s watch in the first half of Season 1’s show…and I guarantee you my watch will not have the same sad fate as her’s did.  

I think it is a fantastic tradition for women to honor the previous generation’s women though continuing to wear (albeit gently) their heirlooms.  I like the keep some familial treasures stored away, yes indeed.  However, there are others which I feel deserve to be enjoyed and thus have a renewed appreciation through the connection they carry.  You know, many people have said I look like my Grandmother when she was young…but I also have people I don’t personally know tell me I look like Agent Carter on many occasions. What a happy connection this is as well as the best compliments I could ever hope to receive!  I know my Grandmother would want me to be as proud of myself as she was of me.  I can only hope and try to be as amazing a woman as she.   If I can sneak in a little Agent Carter reference by just doing my own vintage style along the way, too, well…I am blessed.  It must be the lucky Irish in me. 

Staunch in Scarlet

I am normally not in the mood for wearing red unless I want to channel Agent Peggy Carter. That is just me.  It is such a strong statement color, and it is the one bright tone I am truly still not accustomed to yet!  A classic red I reserve for her, my stalwart heroine, in my way of thinking.  Christmas and Valentine’s Day are my only exceptions, as well as any patriotic occasion…which in its own way is related to Peggy Carter via her beau Captain America.  It’s cool that there is a holiday in February (for the United States) where I can tick more than one of my ‘stipulations for me wearing red’ boxes.  President’s Day comes in February on the heels of Valentine’s Day and is close to the anniversary of the first release of the Agent Carter television show.  So here’s a post about a great ‘new’ me-made WWII era dress, sprinkled with a bit of blue and white for good patriotic measure, in an unusual red tone that works for many seasons and celebrations!

My accessories really carry this outfit, I think, and I am very happy how they complement my dress together.  I am proud the hat is me-made at the last hour before these photos.  Understand it’s not a proper ‘sewn’ kind of hat, but neither is it a permanent creation either.  It’s whipped together in a sort of very resourceful 40’s era ‘make-do’ idealology.  I will talk more about it later on in this post.  My shoes are a fabulous true vintage find I bought for only $5 (yes, you read that right).  I have been able to pin their style down to the late 1930s or very early pre-WWII 40’s, due to the heel shape, materials used (woolen fabric and leather), and the high vamp (where it cuts across your foot at the front).  My gloves as well are a true vintage late 30’s or early 40’s cotton twill pair. 

All these items tweak the year on the pattern I used to make it seem (from a historical standpoint) as if this is a style of dress earlier than what it really is for a 30’s spin on a 40’s pattern.  By adding inches to lengthen the dress, as well, I ended out with an overall late 1930’s look, instead.  Usually historical vintage fashion anticipates the upcoming era during decade transitions, but not too often can styles go back in time.  This is an interesting and successful experiment!

THE FACTS:

FABRIC:  a rayon challis for the dress and a sheer chiffon for the hat

PATTERN:  Simplicity #4949, year 1943, from my pattern stash

NOTIONS NEEDED:  All I needed was what was on hand – thread, a 22” zipper, and a bit of bias tape

TIME TO COMPLETE:  This dress was made in 8 to 10 hours and finished in September 2019

TOTAL COST:  I bought the under two yards cut of my dress’ material on clearance in my local JoAnn store for only $7.00.  The blue contrast is from remnants leftover from this Burda Style 50’s dress.  The hat’s chiffon was on hand, bought years back for another project not yet made.  I’m counting the scraps and the chiffon remnant as free.

Before I go any further, I need to point out that this dress is so wonderful it is my ultimate go-to 40’s dress.  I actually had to put it downstairs for the time being because I need to give my other dresses some love by wearing them, too!  The lack of a set waist (with a seam) is somewhat unusual and oh-so-comfortable.  The dress is one piece from shoulder to hem.  Added to that is the stretchy side panels cut from a knit.  Combined with the swishy rayon and midi length, this dress feels and wears like the loveliest nightgown.  I added a center back zipper to keep this dress easy and stress-free to put on, as well.  With the side panels in a knit, I didn’t really have a choice but to move the placement of the zipper anyway.  Sneaky loungewear which can also be dressy enough to wear out and about is a gem, especially today.  The colors work for all seasons too, as my grey, navy, or dusty blue blazers and sweaters pair well over this dress.  For only $7 spent and some easy sewing, I really received the most bang for my buck with this project.

Besides changing up to a back zipper and adding length to the hem, I slightly altered the pattern to both make it work for my under 2 yard cut of material and also not break up the floral print on the dress’ front.  There were only four main pattern pieces for this dress so I took the easy way to grade in an extra inch or two anyway and changed up the layout of the tissue pieces.  I didn’t even bother with cutting out the fussy neckline facings, either, opting for simple bias tape finishing.  My fabric was restricting me at only 45” wide.  Luckily, the dress is not bias cut but straight along the grainline.

Instead of having a seam down the front, I cut that on the on the fold.  Yes this eliminated the curvy shaping, but kept the print undisturbed.  In lieu of the original lines, I added a “fish eye” style dart vertically down the front center from the bottom dip of the neckline to taper off into the skirt body at the waistline.  The dart also nicely raised up the originally very low V neck.  The back half was cut as the pattern wanted, and was laid out on the fabric with the wide skirt portion at the opposite end as that of the front.  The short sleeves were barely squeezed out of the portion in between the side seams to the front and the back dress pieces.  There were scraps left which were no bigger than 4 inches.  As I have done time and again, I just made my project idea work out with an inventive tissue piece layout. 

Speaking of pattern layout, I also went rogue when it came to cutting out the side triangular panels.  I barely had scraps of my chosen fabric leftover big enough for the two side waist panels.  It was all that I could manage to cut out the side panels on the bias.  Not that it matters all too much as I was using a 4 way knit, yet it is always important to follow grainlines.  Oh well.  The fact that I kept the seam though the center actually helps keep the knit from stretching overmuch.  I stabilized the seam with a three solid rows of straight stitching while not letting the knit distend under my machine.  Furthermore, I did some small, decorative hand stitching along the seam to help the inside allowance lie flat but still add some subtle beauty.  

The knit panels help this dress hug my curves in a way I adore.  When I was looking through what scraps I had on hand to use which would be the nicest contrast to the rayon print, this dusty blue knit was really the best, most versatile match I came across.  The fact it was a knit was secondary to my choice of color, but I figured that it may help shape this dress into a body-hugging, comfortable, slinky little number.  I was spot on, apparently.  The fact the side panels are in a contrast really do so much to make this a dress which slenderizes a figure.  Seriously, if you want a dress that automatically makes you look like you lost weight, this is the one.  Just imagine if this was in a solid tone for some color blocking.  It deceives the eye to see an hourglass figure smaller than what is really there.  You see the side panels, but the mind centers on the main body of the dress, which at its smallest point, is only a third of what the true waist of the wearer is.  It’s a deviously simple successful design and incredibly fun to sew – the perfect detail to make use of fabric scraps, too!

Now, this style of dress seems to be relatively easy to find.  Since both before and after I have sewn my dress, I have found similar styles both in Hollywood costumes, designer styles, extant vintage garments, as well as through several sewing patterns, some of which are available to buy as reprints today.  If you like this post’s dress, particularly, than you’re in luck because the pattern I used for my own dress can be bought through Eva Dress (see page for it here).  

Yet, the 40’s era side panel dress pattern of the moment through the vintage sewing community seems to be Folkwear Company’s #233 “Glamour Girl Dress”.  However, I just do not see it having the same size-reducing effect as the Simplicity #4949 I used.  Perhaps it’s because of the way the panels connect in the middle into a tie.  I do not have this pattern myself and do not intend to, but the tie front seems to cause too much bulk and excess of material around the waist.  It is lacking the thin, smooth band of material through the middle of my dress which fools the eye into seeing an impossibly tiny waist.  Besides, so many ladies seem to have both fitting and sewing issues with the Folkwear dress, from what I have read and heard first hand from others.  The midsection to the Folkwear dress becomes more of a belt-like feature for ease of wearing rather than a flattering design element as on the Simplicity dress I made.  I will stick with something I have tried already and know I like.  I hope to revisit this post’s pattern in the future to make it in a different way, inspired by the many varieties you see in my collage image.

My hat is actually something I whipped up after seeing some tutorials for such a thing on social media several years back (which is why I no longer remember where it originally came from).  It is only a one-something yard length of sheer chiffon wrapped around two foam styling rolls (like a modern version of a vintage hair “rat”).  I used my “Hot Buns” hair tool, since I had it on hand.  Then I connected the two of them together to form a circle (there are snaps built into the ends so this was easy to do).  I was tempted to buy something a bit more defined in shape such as a Styrofoam ring (used for wreath making).  However, the Velcro-like outside to the “Hot Buns” grabbed a hold of the fabric nicely, just the same as it does to my hair, to help this impromptu hat idea work better than I expected.  I left enough of a ‘tail’ on each side of the ring for this to tie around my hair much like headband.  Otherwise I wrapped the rest of the fabric closely around the “Hot Buns” ring with no pinning or tacking needed to keep in place. 

I think a knit would have worked better than the chiffon for this accessory project, but I’m just happy to have a new, era authentic hat for no cost and no effort, using things from on hand.  I’m practical enough to know I don’t currently have any more room in my hat boxes, so this little head decoration suits me perfectly.  This is a very late 30’s to early 40’s style of hat that can be seen everywhere between that time – from Hollywood, such as the head of actress Ida Lupino in the 1939 “Adventures of Sherlock Holmes” movie, to a home fashions, like this page out of a Sears Catalog from 1940 (see bottom right).  It seems as if such a hat can be also termed as a turban, especially if it was knitted or a soft velvet.  With that in mind, it makes total sense now that it would come together quite easily, not be a permanent millinery piece, and be comfortable, practical glamor to wear. 

Now I suppose it is time to ease off of the fascination for red that the February holidays have brought upon me…at least for now.  Although scarlet tones are not seasonal (I do realize), it’s time to catch up on some more of my Disney inspired “Pandemic Princess” outfits next!  I will return to something more appropriate for the chilly weather we are currently having.  I’ll meet you ‘just around the river bend’…and let me know if you catch the hint!

Cranberry Comfort

I feel like I am barely making it through most days lately.  There, I said it.  Why hide it?  I think I speak for many people.  So, all I felt like making most recently was something really useful and unpretentious from my go-to decade of the 1940s.  I have a whole slew of fantastic things to make, all ready to get put together, but they sit there intimidating me at the moment.  Something as basic as my days have been, an item which helps me feel like myself, is all I wanted out of my newest sewing project.  

It has been a long while since I last had a new 1940s shirtdress but I’m back with another one finally!  The way my chosen cotton complements the local fall season foliage cheers me.  The relaxed feel but refined appearance to the thrifty 40’s era design suits any sort of occasion.  Not that I have many formal ‘occasions’ to dress up for anymore, but sometimes that means getting put together for myself because my well-being matters.  My most recent event which called for this post’s dress included taking a stroll through the neighborhood to find this amazing Dogwood tree at the height of its seasonal colors.  I rather wish I could stay hidden in its beauty but the leaves are nearly gone now by the time I write this.  

The color scheme here alone helps me find joy by reminding me of some favorite seasonal homemade comfort food by the rich cranberry color of my dress and the orange hues of the tree.  I love making homemade cranberry sauce with a hint of orange zest (no canned version for us).  Also, there is a fabulous roasted beet and mandarin orange salad I make with a red wine and olive oil vinaigrette poured over a bed of fresh spinach leaves.  Besides, these dishes, there is my yearly “upside down cranberry sour cream cake”, which is a family favorite I try to bake each November.  Mmm – are you hungry yet? 

So excuse me if my palette for this fall is exceptionally inspired by both nature of the moment and what’s cooking in my kitchen, but now you will know why after seeing the dress that started my current color scheme.  Look for more golden, earthy, rustic, rich tones to come!

THE FACTS:

FABRIC:  a 100% cotton print, probably vintage from the 90’s or even 80’s, with the brand of “VIP fabrics inc.“ printed along the selvedge

PATTERN:  McCall #3828, year 1940

NOTIONS:  I used lots of thread, one side seam zipper, and three vintage Bakelite buttons out of the stash of hubby’s Grandmother (There was fourth button to the set which has been sewn down the front of my dress.  It is on an older me-made project – this year 1940 velvet hat, posted here.)

TIME TO COMPLETE:  This dress was finished on October 16, 2020 in about 6 to 8 hours.

THE INSIDES:  cleanly bias bound

TOTAL COST:  This was a 3 yard piece out of box of about 50 something different cuts of vintage fabrics, all of which I bought for only $25.  So this was one incredibly cheap dress!

There’s really not much to say about making this dress other than praise.  It was pretty basic to sew but I can brag this is probably my best made collar to date.  The overall dress turned out perfectly without any fitting tweaks needed (although I did grade up in size).  I will get much use out of this because the color, fabric weight, and ¾ sleeves will lend this to being an all-season item so I my 8 hours spent to make it was very worthwhile.  This can be dressed up with pearls and heels or dressed down with tennis shoes or sandals.  The dress is deceptively as comfy as a nightgown but makes me look oh-so-put-together in the blink of popping it over my head.  Altogether, it is nice casual wear that is the golden ticket to versatility – so very hard to find in RTW.  I know I am partial, but my opinion is that the decade of the 40s does this style of dress best!  We are so lucky to be still enjoying the benefits of such smart fashion, born of the trials of the WWII era, in our own times.

The buttons might be the coolest part to this dress, being prized vintage Bakelite notions from the sewing stash inherited from my husband’s side.  They are purely decorative because I was apathetic enough to not even bother to make proper buttonholes.  “As long as it’s wearable…” I felt so very below my normal par.  Honestly, I almost felt bad using them on such an everyday style dress I (nicely) whipped up.  Weird, right?  It’s the kind of the feeling of wanting to save them for something better.  Yet, I really think there is something to letting ourselves enjoy those really special things in seemingly not-so-special settings.  Don’t wait for the ideal tea party to feel the thrill of connectivity when using your Grandmother’s antique china.  Why wait for the right occasion to make yourself up if you think it would make your day nicer?  You are worth it, even if you are just at home.  Enjoying something special in a regular setting is better than never at all.  Yet, as these singular buttons were the perfect complement for this dress, I’m just going to let them be one of the many reasons why I want and need to wear this dress frequently!

My dress’ details are surprisingly low-key given the date on the envelope – year 1940.  Vintage McCall’s patterns are always such wonderful designs but this one is a little different than the norm.  I appreciate the fact that the collar is a lot smaller than the traditional 40’s era overpowering one and the sleeve caps are not as obnoxiously puffed as most from the time.  It slightly bothers my mathematical perfection tendencies that the front overlapping blouse-style bodice leaves the seam off-kilter to the center seam to the skirt.  No matter – I can get over that but I have come to expect a bit more precision from a vintage McCall!  The skirt’s front box pleat and the back skirt’s 3 panel seaming is classic early 40’s feature which keeps the skirt looking slim but gives me plenty of room to move easily. 

At some future date I may come back to embroider an arrow point to stabilize the top seam end where the pleat opens up.  Apparently, I’m expecting to wear this out soon enough!  Such a detail might bring this dress up a par, so until it is needed, I will not add it.  This has to stay a stress-free creation that fulfills a need for the moment.  I also realize now after the fact that a good project which grounds me is just what was needed after all the super fancy dresses I have been sewing in secret behind the scenes…subtle hint for a vintage princess themed series to come!   Not that I have any qualms about going out in a strongly vintage outfit or over-the-top frock, but it is always nice to have something to wear which doesn’t scream my presence as loudly as other new items do in my closet of today.  As I said above, this way I’m camouflaged with my favorite fall tree!

I added something old, something new, and items dated in between the two when it came to my accessories.  My leather woven belt and leather Naturalizer brand heels are from my teen to early 20-something years.  My earrings and watch are late 40’s from my Grandmother, when she was a teenager herself.  However, the one add-on that stealthily steals the show is my handbag.

The purse I am using is a true vintage mid-40’s telephone cord treasure, also known as a “plastic cord bag”.  (See this excellent post at the “Dusty Old Thing” blog page for more history to these!)  The ivory and brown version I have creatively has a different design layout for the cord on either side (which you can see if you look close at the details of our pictures)!  I used to always think these kind of purses were too novelty for me and I never intended to buy one.  The bright red, blue, white, and yellow combination versions turned me off by being so garish (in my eyes).  However, I came across a perfect condition one locally for a steal of a price (they tend to be very pricey) and I couldn’t resist.  Owning one for myself now, I have found a true appreciation for their quality, besides the fun and statement-piece like quality a “plastic cord bag” has to perk up an outfit.  A basic outfit needs a bit of a pizzazz, right?

I can’t just finish up this post without giving you something extra.  All this cranberry and orange colored saturated color goodness can’t go wasted.  I know you are curious about some of my favorite cranberry recipes, right?!  As Thanksgiving will be soon upon us, I’ll give you the recipe I use for homemade cranberry orange sauce.  This is a ‘from scratch’ recipe which is super-easy and it calls for healthy ingredients like applesauce and a touch of maple syrup.  Enjoy and please do let me know if you try it and find yourself liking it as much as I do!  Here’s a toast to all the goodness around us, whether we are able to realize it or not, which is upon us this season.

Bittersweet

This time of the year always makes me a bit melancholy.  There’s just something about the beauty of gradually realizing summer is fading into fall, and seeing the season gently usher in the upcoming cold I despise.  I am not one to have Halloween in my blood the minute September rolls around.  Instead, I like to let the fall season come in barely perceptible stages, as it does naturally, and enjoy its every transition.  The sun might be just as bright but there is a different smell in the air.  The cricket chirps are louder without the competition from tree frogs and cicadas.  The night settles in a bit earlier.  Fall’s entrance is indeed bittersweet in emotion, which is why I find it so ironic I love the shades of bittersweet, the plant, because it also is the time of the year I can appropriately wear the most gloriously rich earthen tones of that vine – browns, tawny shades, dusty green, a wine red, and hues of gold.  This little vintage number is early fall embodied in a dress!

THE FACTS:

FABRIC:  a sheer printed polyester crepe for the dress and some colored jute ‘ribbon’ with some leather cording scraps for the belt

PATTERN:  Vintage Vogue #9295, reissued in 2018, labeled as a year 1940 design.  The original pattern was Vogue #8241, an “Easy to Make One-Piece Frock”, featured in Vogue Patterns booklet for March 15, 1939.  What is up with the confusion of the original date on the cover of the reprint?  My me-made belt was made with no pattern…just an idea in my head!

NOTIONS:  I needed nothing but the basics – thread, some skinny ¼ inch bias tape, and a small 14 inch side seam zipper

TIME TO COMPLETE:  Even with all the fine finishing inside, this dress took me only 5 or 6 hours to complete and the belt was made in 30 minutes.  Both were finished in May of 2020.

THE INSIDES:  All French seams

TOTAL COST:  This dress is practically free as all my supplies came from a local sewing rummage sale where everything was $1 per pound of weight…so my frock may be a dollar at the most!  My belt was made from some sort of multi-colored jute ribbon I bought on clearance many years ago when the now defunct Hancock Fabrics was closing.  I bought 2 yards of it for about $5.  The leather cording is leftover from a hat I had on hand (free).  This is a $6 outfit!!!

This is quite an interesting dress, full of contradictions.  First of all, it is a very classic dress design for 1939, with a very basic general construction and silhouette yet very interesting, tricky-to-make little details.  It is a sweet and feminine dress and tries to be complimentary with no real body shaping profile to it at all.  It is certainly not your 50’s take on a ladylike style, nor even a 40’s ‘I’m-ready-for business’ style…this is softer and more delicate without being girlish.  Even though the drawing makes one think this pattern might be scaled for a very tall woman with long legs, the proportions seem to be the opposite.  Sewing my dress as-is straight from the tissue, no fitting adjustments, it turned out perfect for my almost petite height (5’3”) and my short (14 ½”) back-of-neck-to-waist ratio.  The envelope’s yardage chart recommends anywhere between 2 ½ yards to 3 yards depending on the fabric width, yet – believe it or not, but I am the queen of optimal pattern placement – I was able to eke this dress out of 1 ¾ yards, with no compromise on grainline.  What gives here?  Overall, this was a quick treat to whip together and is a new dress that I absolutely love to wear, so I will not complain…not a bit.  I’m just warning every reader not to read this dress by its cover.

The full skirt, puff sleeves, and the bloused-out bodice are the obvious, and well-known visual giveaways for its original date.  Yet, somehow, the way Vogue styled their model and sewed up their sample dress made it seem more like a 1980s garment.  Weird, right?  That is an unfortunate reference which I do believe has turned off a number of sewists from potentially picking up this pattern to try it out because anything blatantly 80’s seems to repulse many.  As I said above, do not judge this by how Vogue has marketed it.

The decade of the 80’s does not give me an immediate adverse reaction and neither do puff sleeves, and so I tried to focus instead on the line drawing and give the design a chance.  I’m so glad I gave it a go!  It does have a bloused-out bodice that is something not all women will have a taste for today, yet it is very authentic, if you look at how garments fit women in old photos from the 40’s.  This dress has good lines, but it just cannot make up its mind what decade it wants to be in, and is not as timeless as other vintage designs.

 I dare to say it has a “cottage core” or “Laura Ashley” aesthetic at heart, with everything I still love about the 30’s, 40’s, and 80’s, so I’m there for it!  It is as comfy as a glamorous nightgown, with no need to feel to have a certain body image, yet it is as pretty as a picture perfect picnic and as breezy as a romanticized run through a field of flowers.

The one major change I did do on this dress was to simplify the neckline.  The pattern calls for a short back neck zipper to be put into a slashed and faced opening, and then self-fabric bias facing to be sewn along the neckline and sleeve edges.  As my fabric was a delicate crepe, and sheer too, I disliked the idea of a bulky back neck zipper.  I tested out the opening space of the finished neckline and guess what – you really don’t need that closure!  The dress can easily pop over my head without it, thankfully, because I think the dress is much better lacking the back neckline zipper.  Then, I used vintage cotton solid brown pre-made bias tape in lieu of self-fabric facings.  I love the simplicity and bit of contrast that this little step added.  Granted, I still made sure to cut the pre-made vintage bias tape out according to the patterns measurements for the given facings, just so I knew I was still keeping to the correct neckline.  I love it when some of my sewing work is already done for me with pre-made supplies, yet by using such quality vintage notions, I’m not just taking it easy – only adding a singular touch and putting my stash to good use.

Such a subject brings me to unashamedly brag about the total splurge of my really good vintage supplies on a finish that no one but me will ever see in real life – old rayon hem tape.  This stuff is so wonderful, and if you’ve never tried it, please find yourself some, use it, and you’ll thank me.  The wide and full skirt of this dress needed a deep hem to hang properly and have the proper weight, yet doing so is normally a slightly tricky technique.  It requires the cut raw edge to be gathered softly in to fit.  A regular folded-under edge is harder to do with this kind of a hem and, even on a soft material like this crepe, can turn out bulky and noticeable.

To get the nicest hem that is also invisible when worn, soft rayon hem tape is an incomparable wonder which does the job perfectly.  One long edge is sewn onto the cut edge of the skirt and then the other edge of the hem tape is sewn down to the body of the skirt.  The fabric merely ‘hangs’ from the hem tape instead of being firmly sewn together to the body of the skirt.  A light steaming sets the hem and controls the gathers.  Being out of the silkiest rayon, it gathers in so nicely and its lovely variety of colors that can be found make for a cheerful little splash of added beauty.  I chose a sky blue pack from on hand, and it contained a 3 yard length which was just enough for the skirt width with an inch or two to spare.  I do get a little concerned every time I use one of these vintage rayon hem tape packs because I know they are a limited resource and are not made anymore.  When they are gone, they will not be coming back.  Yet, what good will such items do me stashed in my notions drawers when they can be used and both bring me joy on my handmade garments as well as teach me a better way to do a sewing technique?  I rest my case.

Keep in mind the tiny, 1/8 inch pintucks are oppositely directional. They fold towards the center for both the front and the sleeves.  This was quite a challenge to accomplish when also sewing the edges into the skinny bias tape along the edges, but a little hand stitching finished off what I could not do using my machine.  Since the neckline and sleeve pintucking is practically the only major detail to this dress, it is well worth the extra time it demands.  There were so many thread ends to tie off though!  I can imagine how wonderful the pintucks would look on this dress if it was made of a solid color fabric.  They do stand out on my version by difference in texture alone, but are a bit lost in the print overall sadly.  Who knew making so many tiny stitched pleats could make such a difference in shaping when you do about a dozen of them!?

I paired my dress with a simple handmade belt, too.  I had two yards on hand of this novelty ‘ribbon’ made out of different colored jute.  I figured it would brighten the dress up a bit to add in more color -the late 1930s frequently combined unexpected tones to great success, anyway.  So I cut the two yards into half (for two one yard portions) and sewed them together lengthwise using a zig-zag stitch to end up with double the width.  I instantly had one wide belt.  Next, bias tape was sewed over the two raw edges for a clean finish, and then the edges were turned under and stitched down to form a loop on either end for the leather lacing to go through.  My belt kind of has the same idea as the one that came with the pattern, but was more fun to construct because it was my own idea.  I somehow like the belt better when the lacing is at my back and not the front.

The rest of my accessories are mostly vintage originals.  My earrings are from my Grandmother, while my straw hat is a 1930s mint condition original and a lucky find, as well as my kidskin leather driving gloves.  My velvet vintage purse is the only item that is from the 1940s and not the decade before.  Since the dress is sheer, under it I wore this deep purple, full-skirted, opaque 1950’s slip that I sewed awhile back now.  The two-tone heels are reproduction Miz Mooz brand.  I highly recommend anything from this vintage inspired shoe company…it’s like walking on air, they’re so comfy, especially their heels, and crafted with high quality (I have several pairs from this brand now, he he).  Altogether jazzed up, I went for a visit to our neighborhood “five and dime” candy shop to sweeten the melancholy I get from early fall.

I realize that readers on the other side of the world from me are just now easing into spring.  That is the other season of transition, kind of like fall, but with much more of a cheerful flourish.  I understand – which is why a dress like this could also be very appropriately a spring dress, too!  A little multi-season sewing is the most bang for my time spent, and hopefully a good inspiration for my readers no matter where you live.  Have I convinced you to pick up this pattern and give that 2 yards of material which is floating in your stash a chance to shine with this pattern?  What are your favorite tones of the fall season?