My most common item I create as a gift for someone is a really cute, finely detailed apron…and if not self-drafted, there is one pattern that I use for all of them. It’s a vintage re-issue, Simplicity #1221, originally Simplicity #4939 from 1944. This is a true winner of a pattern, with one cut piece needed to make it and a good design that has a complimentary fit. Not every apron is so good at being fashionably waist slimming yet with full coverage for food stain protection, too. Neither are all aprons so good at being a one yard, two hour project! One of these days, I need to get around to making a version for myself, especially after making so many for others. Here’s the post on my first gift version of this same apron pattern. This particular one was going off to my hubby’s godchild as a present.
This is the first time I had made a reversible apron, and I love how it turned out. I wanted her (the recipient) to have something she would not find otherwise, something fun, and ultimately useful! Just one layer of material (printed cotton) alone was too thin to be a useful against food splatters anyways. As the apron design is so simple, it was easy to merely have the backing fabric become an optional, yet wearable, second side. The entire raw edges are encased in ¼ inch bias tape so they look the same on either side, too, besides being an easy and colorful finish.
The sizing is good for gifting, as well. It is in loose, general blocks of measurements as small, medium, and large gradients rather than precise numbered sizing. As long as I can estimate the recipient’s body as compared to my own, I can find the right size. The waist of the apron should just about cover the front 2/3 of the wearer’s waist, so that always gives me a good way to choose what size to make after measuring the pattern in comparison. The godchild is actually a 20-something who is my size body (or slightly smaller) so I made the apron to fit me. However, it is always harder to let something go to someone else once you try it on for yourself, you know what I mean?
I made the ties as long as the pattern calls for, which is short enough for only a knot and not a full bow. The neckline has no closures and flips over the head to lay on the neck and shoulders like a collar, so I feel the shorter ties complement the overall simplicity of the design. At the base of the ties, I added a small name tag to credit me, the maker, so the recipient can remember who gifted it to her!
My avid, life-long research into medieval studies, especially when it comes to manuscripts, is distinctly tied to my fascination for the revival of its tales and artistry through the Pre-Raphaelite movement, which spanned the 1850s to the late 19th century. The term “Pre-Raphaelite” is associated with the much wider and long-lived “Brotherhood” of English painters, poets, and art critics that included both men and women in its ranks and influenced architecture, music, and literature, as well. They developed a particular taste instead for medieval and early Renaissance art made ‘pre’, meaning before, Raphael, focusing on working from direct observation with dazzling, sparkling colors and incredible attention to detail. It is full of romantic idealism, old-style stories, and classically draped damsels in distress…perfect for a princess at heart!
My particular favorites are the pensive, realistically styled images in the latter half of Pre-Raphaelite art, particularly those of medieval characters or fictional fairytale damsels produced by Brotherhood members such as Rossetti and his followers William Morris, Edward Burne-Jones, and Evelyn De Morgan. The women in such art always have hair and clothing that are total romantic perfection while the men are yearning, staunch, and heroic…I’ve been entranced since my childhood. In a recent post, my sewing was inspired by the classical, flowing, Grecian style of Disney’s Meg from the 1997 animated film “Hercules”. Here I am continuing that idealism with posting the making of a dreamy, draping 1940s era “Goddess gown” with matching bolero and jewelry, all inspired by the medieval inspiration behind the Pre-Raphaelite brotherhood.
How did I link paleographic manuscript studies to both an art form and fashionable clothing? Well, just like Pre-Raphaelite art, my outfit has a blend of the medieval with the elements of other eras tied into one. The floral printed silk of my dress and the canvas print of my bolero are veritable copies of the beautifully scientific style of accurately painting nature as can be seen both on the pages of late medieval illuminated manuscripts as well as a tapestry of Burne-Jones. It was often in the page margins or borders of illuminations that such texts (primarily early 15th century) used flowers and insects so as to heighten and add depth of meaning by their symbolism.
This is no less the case with Pre-Raphaelite artistry where such a lush amount of detailed flora and insect fauna was frequently added in abundance (especially on tapestries). Doing so was not just to add beauty, although that is often the extra benefit. Both this 19th century art form and medieval manuscripts used the visibility of nature to aid and enhance our understanding of ancient stories and the people of the past. Every moth, every fruited berry, and every flower had a symbolism, a meaning that added to the message of the art, sometimes even hinting at whether well-intentioned or full of irony. Our modern times have forgotten much of the rich underlying meanings to such beautiful creations, and I say we need to relearn this knowledge!
So why channel this classical idealism through a 1940s gown? I wanted to emulate Madame Eta Hentz, a designer born in Budapest and educated in Hungary who immigrated to the United States around 1923. She presented her distinctive masterpiece collection of Grecian themed gowns in circa 1943. Please click on over with the provided links to see Ms. Hentz’s “Athena gown”, her black and gold “Clytemnestra gown”, her “Iconica” pleated dress, her “Walls of Troy” butter yellow gown, and her unnamed but strongly classical evening gown, one in ivory and a version in black – all from the same Grecian collection at the MET museum. They are flowing, draping, asymmetric creations resembling either an ancient chlamys, a Roman palla, a column in the Pantheon, or a pleated Fortuny toga. Such a beautifully simplistic style of dressing has been around since the beginnings of civilization, but I love how the late 40’s and 50’s Hollywood puts its own subtle high-fashion spin on such a garment. Yes, there have been many other designers from many other eras who have created according to ancient inspiration. Yet, 1940s gowns are already elegant to begin with, and to combine such a trait with the references to the classical past gives a very winning result I had to try for myself.
Furthermore, the post-WWII (40’s into 50’s) boom of Biblical, early Christianity, and ancient history related films also resulted in the popularity of the sensual, sultry “goddess gown”. In 1949, the year after the pattern I used for my gown, Cecil B. DeMille released Samson and Delilah, a picture that became the biggest hit of that year. This was one of the very first big epic films made using the latest technology that ushered in the height of the Biblical silver screen drama so prevalent thereafter in the 1950’s.
Even before the popular quasi-religious films of the mid-century, however, Grecian style gowns were a go-to choice for either elegant evening wear or a classical themed costume in Hollywood at that time. In 1947, the year before the pattern I used for my gown, the famous Rita Haworth was seen in a sexy, one shouldered goddess gown for playing the part of a Grecian Muse in the popular musical film “Down to Earth”. Also in 1947, for a Christmas dinner party, the actress Gale Storm graced the screen during the movie “It Happened on 5th Avenue” with an asymmetric goddess gown. Next to the works of Eta Hentz, this goddess dress heavily influenced my own version. Similar to the one shoulder strap which mimics a climbing vine on Gale Storm’s evening dress, I incorporated me-made leaf jewelry as a compliment to my outfit. The accessories I crafted to match are a further nod to the sneaky Pre-Raphaelite inspiration of my outfit besides being a very classical touch. More on this further down in the post!
A goddess gown is usually a one-shoulder dress that is made from a quality fabric that drapes gracefully, simple in lines and inspired by the togas of old. It is so effortless, so ageless in style, and it’s wonderfully flattering for all! I went with a sheer floral silk underlined with an opaque rayon for my version to turn my goddess gown dreamily feminine rather than just architectural, after the stylizations of Waterhouse and Rossetti. The bolero is like a condensed minuscule version of the printed silk, and turns the dress into a refined look, with a bit of added interest, while also not disturbing the aesthetic. My bright green jewelry and vintage green suede heels freshen up the tone, saving it from being too dark. However, the black background for both pieces to this outfit keeps it moody and somber, just like a Pre-Raphaelite painting. We happily tuned into that for the photo shoot location. What could be more melodramatic than old building ruins around a pond with giant lily pads (just like John William Waterhouse’s painting “Ophelia by the pond” from 1894) or gliding into a weeping willow tree at dusk?! I’m living a dream.
PATTERN: Butterick #5136, a year 2007 reprint of an original 1948 pattern
NOTIONS: lots of thread and one zipper
TIME TO COMPLETE: The dress took close to 30 hours to make, while the bolero only took 3 hours. Both were finished in October 2019.
THE INSIDES: The bolero is fully lined, so there are no seam allowances showing at all! The entire dress and its rayon lining (which is separate, free flowing) are both finished in French seams.
TOTAL COST: The silk on discount and was ordered direct from Hong Kong through a shop no longer in business. The rayon crepe and the poly lining for the bolero are as good as free as they were leftover from past projects and came out of my stash. The bolero fabric was free, but I had to pay the shipping. So, between the silk, the jewelry I made, and the shipping cost to the bolero fabric, my total cost was about $40.
Of course (knowing me) I slightly adapted the design (of the dress) to accommodate the border print of the silk, but other than that I made this entire outfit as-is out of the envelope…and it is to be highly recommended. Some vintage reprints have strange amounts of ease or finish different than the cover image, but not this one. It was indeed easy to make, as it says, too. It’s only because working with a silk or a rayon crepe is never easy that my version was more challenging. The bolero’s most challenging part was being precise with the stitching (and then trimming) the curvy seams around all the edges.
The one slight change I made to the dress can be seen when I walk away. I think the contrast panel train I added is a beautiful touch! I had to add a gored godet to the center back of my dress’ skirt because working with two yards of border print material wasn’t enough to go around the bottom hem. The one selvedge to the silk had the floral border I used along the hem while its opposite selvedge had a dense line of paisley ‘almonds’. I used this paisley along the other selvedge for the back skirt godet add-in, and drafted its godet point to start where the center back zipper ends and curve out past the hem to be a train.
The bodice was cut out of the material in front of the paisley selvedge where the underlying print is more spread out with only a few random bugs and flowers. I actually had to seam together several smaller pieces of rayon to make my remnants work for lining this dress, but as it is inside underneath the silk, the odd excess seams are unnoticeable. This was such close call of a project!
As it turned out, the heavy rayon lining sort of pulls the dress down on the one open-shouldered side, and I half think that adding boning as well an inner grosgrain ribbon waistband would’ve been a worthwhile idea to improve upon the bodice. It is just fine without such ‘improvements’ too, though. A structured bodice would bring this dress closer to the silhouette of a 1950s era dress and deviate the dress away from the soft, flowing overall appearance I was aiming for originally. It’s often good to leave what’s well enough alone. At least I did made sure to sew seam tape into my stitching along the top neck edge and into the dual skinny shoulder straps so these spots don’t stretch out of shape at all. As I’m my own garments’ maker, I’m naturally going to be hard on myself. I realize this much. Any small ‘faults’ cannot in the least make me love this outfit any less.
The bolero’s fabric was a happy find that just happened to match because, I’ll admit, it was only made as an afterthought. When first creating the dress, I discounted the hope of finishing a complete set as I had no idea what would be a good pairing. Would a solid color bolero overwhelm? Would a black one underwhelm? I was at a loss. What would remotely ‘match’ the printed silk enough to seamlessly blend in with the dress? Upon browsing the “Spool and Spindle” site after receiving my “Designin’ Designer” gift, I was looking through the Rifle Paper Co. fabrics (something nice I would never buy on my own). I happened to see a fabric print so similar to the silk goddess dress already made and jumped out of my seat. Serendipity had decided for me a matching bolero was on the table! Luckily, I only needed half of a yard for the bolero. Rifle Paper Co. fabrics are pricey and my certificate voucher just covered it. Yay! I loved putting my prize fabric towards a very special outfit like this.
Beautiful seams, amazing details, and clever construction are all packed into this little jacket. A backwards closing bolero comes across as very unusual to me, first of all. I added two shiny, faceted black buttons to close this behind my back neck with hand-stitched chain loops. The back opening lets the dress just barely peek from underneath. As if these features aren’t cool enough, there is that slight cowl neck front neckline fold, the front hem curve notch, and those perfectly curved cut-on cap sleeves which all totally vie for my “favorite garment feature ever” title! What makes this little jacket even better (if that’s possible) is the fact that it is slightly longer than most boleros, and actually comes down to the waistline, so it pairs with other things in my wardrobe, such as my black Burda pants (posted here)…among other things! Not that I ever wholly mind a one-way-to-wear-it outfit, but multi-use sewing is such a wonderful payback.
My handmade jewelry includes a full bracelet, earrings, and necklace set. The necklace is the main piece. It was two sets of enameled leaf ‘charms’ from the “Gilded Age Timeline by Bead Treasures”, a Hobby Lobby line of vintage and Steampunk inspired jewelry supplies. They were on deep clearance, probably due to having the date of 2013. Each pack made a chain of 7 inches, and I knew the base of my neck (measuring around tightly) is 15 inches…this would be a close call. The lobster clasp and loop closure, as well as the front ring that combines both leaf chains, added another 1 ½ inches so I ended up with a perfect length for a closely fitting necklace. The two leaf chains fan away from one another yet meet in the middle front and back of my neck, so my necklace ends up looking like a Grecian or Roman coronet.
In medieval imagery, a laurel leaves symbolize peace, tranquility, and the power of a promise. A simple internet search has shown me that 15 inch enameled leaf necklaces were not only existent but also popular, primarily in the 40’s and 50’s, so I was onto something era appropriate anyway, it seems!
As there weren’t any more of the necklace leaves to be had, I improvised to make something similar to complete the jewelry set. I chose green glass teardrop beads in the same deep but bright green color as the enameling on the necklace leaves. I made the bracelet and earrings reference the necklace by interweaving small metal leaf beads above each glass teardrop. I rather love the look of how this jewelry set turned out. There’s nothing quite like an outfit that is all handmade, excepting the shoes (and underwear), of course, ha!
This is a project into which I put a lot of thought and meaning, since not only have medieval subjects been a lifelong interest but I am also much more artistic on paper than I let on through this blog. Perhaps that’s what helped my outfit to be just as dreamy and romantic as the inspiration behind it, though. I could have expounded upon several points in detail but I reigned myself in to keep on topic! I only hope I conveyed some of my thoughts, inspiration, and construction notes in a clear and intriguing manner enough to maybe even interest you in finding a channel for your own goddess gown.
It really does take a lot of effort to come up with a completely me-made outfit and also make it look just like what was dreamed up in one’s own head. That is perhaps the hardest part to sewing up something based off an exciting idea…to have what you end up with be just as you had hoped. It doesn’t always happen that way for me, yet even still, I always make sure to be proud of what I made and even enjoy the surprises along the way. Not here, though – it’s all that and more! You know, the definition of a “reverie” – as used in my title – is “a pleasant state of abstracted meditation or fanciful musing; to be lost in a fantastic, visionary, or impractical idea.” I see that it is said reveries often never come to fruition, being often negatively labeled as only a daydream. Bah. Anyone who believes that has never sewn. To be able to swish and glide around in this 1940s set the same way as I had hoped to be able to as I saw it in my mind’s eye is a fantastic thing. Make that reverie work out in real life for you – it’s worth it!
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.
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.
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.
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.
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!
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!