Effervescence

A dictionary definition says there are two sides to my title word.  It is defined as “bubbles in a liquid; fizz” or “the lively quality of vivacity and enthusiasm”.  Well, the word also happens to be the name for my dress’ fabric print…and it is every bit as lively as its name. 

I am pleased it is also a play on the two Pantone colors for 2021 – “Ultimate Gray” and “Illuminating” (bright yellow) – in a manner as trippy as a psychedelic Ishihara eye test.  This works perfectly for the decade of the 60’s.  I had to oblige my inspiration by using a vintage pattern to make this dress a reality soon than later.  I need the mood boost this color combo promises!  Pantone explains it thus, “”Illuminating” is a bright and cheerful yellow sparkling with vivacity, a warming shade imbued with solar power. “Ultimate Gray” is emblematic of solid and dependable elements which are everlasting and provide a firm foundation.”  Such a summary makes my dress sound like a grounded, tangible interpretation of effervescence to me, and I like the sound of that!  Add in a dash of turquoise – just about my favorite color – and I am a happy girl.

THE FACTS:

FABRIC:  a 100% cotton “Effervescence” design print in the “Riviera” color way by Amelia Caruso for Robert Kaufman  

PATTERN:  Simplicity #8591, re-issue of a year 1961 Simplicity #3782

NOTIONS:  Lots of thread, one 22” zipper, and some bias tape

TIME TO COMPLETE:  This dress would have been even quicker to sew if I hadn’t had fitting problems…as it was this was a reasonable 5 hours to finish.  It was done on June 18, 2021 and ready to go with me for a weekend getaway!

THE INSIDES:  cleanly bias bound

TOTAL COST:  For 1 ½ yards at 45” width my total price was $18.  My fabric was bought from “Bits & Pieces” shop on Main Street in downtown Hannibal, Mo.  I highly recommend their shop – it has high quality offerings at reasonable prices and excellent service!!

This is yet another experiment with a border print fabric.  This time I had the border run up starting from along the bodice waistline.  With this layout the border ends with its vertical stripes across the bust line.  The remaining overall print is used for the skirt as the border runs along just one selvedge.  I have seen this layout in mostly 1950s era dresses, and I feel that a pattern from the very early 60’s wouldn’t be too far of a stretch.  The perks to such a use of a border print is that it visually slims down the hips by overly emphasizing the bust and shoulders.  Granted, this dress has a full skirt that sort of negates that benefit, yet I did greatly pare down the gathers from the original design in my own version.  This was equally due to being short of fabric as it was because I wanted the skirt more manageable.  I only bought 1 ½ yards of material because I originally planned on making a blouse.  Soon however, a better idea presented itself, as you can see.  I’m glad I chose to sew this up as a fun, simple frock. 

I think the crazy print and the fact this is above my knee in length, as well as sleeveless, helps this dress has a slight 60’s air.  Yet, the classic bodice and the gathered skirt, even if it isn’t very full, helps this dress be a call-back to the 50’s decade.  I wanted this to be an example of what the fashion of the early 60’s was…a thorough mix of both decades.  Styles didn’t change overnight.  What we think of being the stereotype fashion for a decade in the 19-something era is often a fad that came later on at the end of those 10 years.  The mod youth fashion of the 60’s wasn’t a widely adopted style until after ‘65.  Before then, there were a lot of deceptively 50’s looks.

Let the ‘vintage’ labelling be darned here, nevertheless, because the bodice is pretty close to having design lines of a basic two dart bodice block, also called a sloper, and the skirt is self-drafted by me to accommodate my lack of yardage.  Thus, I truly don’t know how 1962 it is on paper at this point.  It’s all about the styling here I suppose.  I almost always have a vintage influence in my choice of accessories and the way I fix my hair, so there’s that.  I do love how versatile this dress is – it can be vintage looking or not as I choose.  Either way, it’s a comfortable, sensible dress that will work for several seasons, too.  Adding a grey blazer, fun tights, and booties might creatively make this dress work into the cooler temperatures of fall or spring.

For being so basic, though, the bodice of this retro re-issue fits horribly.  For me, the torso length was very tall (long), the bust points were high on the chest, the shoulders were generously tall, and the armscye openings were very tight and restrictive.  I needed to do lots of tweaking and try-ons, including cutting several inches off of the waistline length, which only made me crabby such a “simple-to-make” dress wasn’t living up to its promise.  Yet, if you do the work at the pattern stage to perfect this bodice to your measurements this would be good shortcut to having your own sloper bodice block to use to future self-drafting.

This is a fussy pattern, but once I found the original to the reprint, I feel comfortable surmising the reason why.  Simplicity #3782 was originally a teenage and junior’s proportioned design.  I’m wondering if in re-sizing it up to adult woman proportions, they drafted it badly and threw the fit completely off.  How Simplicity allowed this to be printed this way is disappointing and beyond me.  What about standard sizing and quality control?  In whatever way it happened, something is wrong with the new #8591, and I might not be coming back to use this re-print again.  If you do try it, make sure to be prepared for some fitting frustrations along the way to completion.  

In all else, though, I love how this turned out.  I achieved a very good zipper insertion despite doing it by machine, bias bindings were much simpler than facings, and self-drafting skirts is such a joy for me.  The circumference of my skirt hem is the whole of the 1 ½ yard stretch of material and I took advantage of the other selvedge to avoid having to sew a hem.  From the waist down, my skirt is about 22” because the border at the other selvedge edge went towards the bodice.  As I my fabric was originally 45” width and I had to use extra inches along the border to match the stripes, this shorter-for-the-50’s-style skirt was all I could eke out…but I like it, after all as I said. 

A fully gathered skirt would not work I knew, yet at first I gathered only the sides over the hips.  This did not look right – it was much too poufy.  I unpicked the gathers and made a few 3” long half inch wide tapered darts on each side to ease out the total at the waist without taking any out of the hips.  This way I get a lovely bell shape to the skirt and an appearance of fullness to the small yard plus bonus length around.  Ah, isn’t the best part of sewing the way you can make the most out of what little material you may have?!?

Ready to walk down the famous Beale Street in Memphis!

I keep surprising myself at the amount of dresses I can make out of just over a yard.  This one has a full skirt to boot, though!  It was a happy last minute creation that was whipped together so it could have its grand promenade on a trip out of town.  Memphis, Tennessee was hot as blazes that day, but I was staying cool and looking good.  What is there not to be ecstatic over here?  I would say the print is very aptly an energetic word of life and activity the way my dress finally turned out, but then again most all of my handmade wardrobe gives be that happy confidence as well as this one. 

Have you specifically tried to wear the two Pantone colors for 2021, separately or together?  What do you see in my dress’ print – bubbles in a fizzy drink or a color test for your eyes?  Do you believe along with me that there is a special “effervescence” which exudes from someone who wears something handmade? 

Eggshell Blue Bow Dress

Mod 60’s fashion is not automatically associated with a sweet and feminine style.  Yet, when on occasion it is juxtaposed with the ‘baby doll’ trend, you end up with a very serious, no-frills, freshly classic take on something overtly pretty – a nice combo.  The Netflix show “The Queen’s Gambit” presented a version of this style to perfection with Beth’s bow dress in episode 6.  Of course, I was then on a mission to find a historical benchmark for the outfit, and have since found a true vintage pattern from which to replicate my own version.  This is my second “copy” of an outfit from “The Queen’s Gambit” (my first one is posted here).  Being made in a luxurious wool crepe and in the prettiest pastel tone, I think this is the perfect outfit to present to you now for our chilly Eastertide.

THE FACTS:

FABRIC:  a worsted 100% wool crepe with the black contrast being 100% rayon crepe lined in satin finish polyester interlock jersey

PATTERN:  Simplicity #6634, year 1966

NOTIONS NEEDED:  one long 22” invisible zipper for the back closing and lots of thread with a bit of interfacing for under the neckline contrast

TIME TO COMPLETE:  This dress took me 15 to 20 hours of time.  I finished it up on February 27, 2021.

THE INSIDES:  cleanly bias bound

TOTAL COST:  The fabric was $35 for two yards from this Etsy shop (highly recommend!).  All the contrast fabrics are being counted as free since they came from small remnants leftover from other projects

My mom made all of these!

I specifically chose my version of Beth’s bow dress to be a soft blue versus the original mint green.  In the Netflix series, mint green is the color of Beth’s childhood and when worn by her as a young woman it connects her to certain events as she is struggling to find herself.  The prevailing color of my childhood was a different pastel hue, and slightly cooler in tone – soft blue.  I have a small portion of my childhood dresses on hand, and a good number of them are a pretty blue (see picture).  I felt feminine in blue, and I personally sense it compliments my skin tone more than pink, which I have grown to love more in the last several years.  Before the 1940s, blue was traditionally considered to be the more feminine color over pink, after all.  Besides, I have other mint green dresses that I love and could never upstage (see here and here)!

Fashion historian Raissa Bretaña fact checks “The Queen’s Gambit” outfits in this excellent video (watch it here) at Glamour magazine and the mint bow dress is included (skip to the time of 6:02).  Raissa Bretaña agrees this outfit is pretty accurate except for maybe the lack dark stockings or tights, which I added for my iteration.  Happily, as I was searching through pattern images online one day, this particular pattern showed up and I instantly recognized it as a very similar base in seamlines, contrast details, and silhouette of both body and sleeves to Beth’s bow dress.  The story is set in the late 60’s during episode 6, and the inspiration for Beth’s bow dress was 1966 to 1968, so this particular pattern hit the right spot.  I love happy circumstances like this where what you are looking for falls in your lap…only this kind of thing is always a challenge with vintage patterns because it is gamble to see if one is for sale.  As you can tell, I found one and couldn’t be happier with my finished dress!

The original version of this dress (which can be seen in an online exhibit here through the Brooklyn Museum) was crafted in a crepe (click on the info button).  A wool crepe has more body than a rayon, so I went with that because I thought this needs to be winter dress.  It should be a flowing dress but being inspired by the likes of Pierre Cardin means that it should also have a bit of structure, too.  I splurged for my dress and ordered something special I have been wanting to try – worsted wool.  I personally find worsted spun to be less itchy than a regular woolen, and a crepe finish is so very dressy with its soft shine and pebbled texture.  I love this fabric.  Worsted wool is considered stronger, finer, and more substantial of a fiber coming from long-staple pasture raised sheep.  Worsted wool is more expensive on account of the labor intensive production – it is not simply carded like other woolens.  I find it didn’t shrink much in a cold water wash and needs hardly any ironing more than a touch of steam (very low maintenance).  I am a worsted wool convert.

The dress itself was relatively easy to make.  The pattern is pretty basic.  The wool was as soft as melted butter to sew through.  As I was using a fine fabric and the pattern had such clean lines, I took extra time on both the finishing details and the fit so my dress would look first-rate.  I did have a few issues with the sizing and placement of the bust darts.  At first, at the cutting stage, I had graded in some extra width to be ‘safe and not sorry’ later.  By the time my dress was finished, I ended up tailoring out the inch or so which I added.  Oh well.  The bust dart was tricky to perfect because it was an unusual curved, very long, French style one that joins the side seam below my hip.  This different French dart creates a beautifully simplistic front panel with gentle shaping.  I think this is the best feature to the dress, yet it’s only a very low-key element though. 

Lengths of both hem and sleeves ended up different than both what I had originally wanted and what the envelope cover seems to show.  I kept the ‘longer-than-your-normal-60’s-dress’ length because I think it makes my version of Beth’s dress more elegant and something not so youth oriented (like many Mod fashions).  I found the sleeves ending up as bracelet length, but I don’t mind this feature either.  They are very dramatic being so wide and bell-shaped, too.  I can clear off a table without even trying – it’s quite hilarious.  Nevertheless, these kind of sleeves are really quite part of the general flowing aura of this dress, I think.  Can I repeat myself, again…I absolutely love my newest Queen’s Gambit dress…it’s so different from my first one.  It’s remarkable how varied the fashions of the 60’s can be.

My chosen pattern was the shadow of my inspiration dress except for the neckline bow.  This was an easy addition but a bit complex to craft.  I wanted the black stripe only on one side of the bow strip.  The underside needed to be plain blue and not showing the stitching from the contrast stripe on the other side.  This is how it was on Beth’s original dress (I can see as she is running through the café) and I had to recreate that because I love a challenge.  Sewing challenges are a good learning experience to further my skills, and this time will go towards adding a deluxe touch.  

It is always a task in itself to try and figure out how to recreate proportions of details as compared to a picture.  I mostly just kept the bow’s width as wide as the neckline facing for uniformity.  I had to double the width and add in seam allowances because this was going to be a folded over, one seam tie strip.  Then I carefully marked the center length of only one side to the tie strip where the black contrast will go.  I chose not to line the bow so it could hang soft like the rest of the dress.  I thought of crafting the black contrast as a tiny tube, ironing it flat, then top-stitching it down in place on the blue strip.  It was an unnerving step to sew the entire blue bow strip together finally.  If the black contrast was stitched down in the wrong place, my life was about to be miserable.  I absolutely hate unpicking!  However, I turned the tube inside out and it was looking all good after a light ironing!  Whew.  I was so happy it was figured correctly. 

One small, extra cut of the bow strip became the center holder.  I have an extra-large safety pin from behind (inside the neckline) holding my bow down in place.  I do not want to wash the dress with bow on it.  Neither do I want to have to unpick threads before it needs a wash.  Keeping the bow unstitched makes my dress project easy to take care of as well as versatile.  I can wear the dress without the bow for a different look, but really – adding the bow brings this dress from a ‘meh’ to a ‘wow’!  Sometimes it is so amazing how one little added detail makes such a big difference.

For this dress, there isn’t much that needs to be added to it for a complete outfit.  The color blocking and the oversized bow takes most of the center stage.  However, what I am wearing to compliment my dress here make a big difference.  Slip on heels were an important part to the story of this dress for the occasion Beth wears it…she only had time to put on her shoes at the very last minute!  I updated the look with a modern pointed toe, block heeled version. 

Beth’s cuff watch is a small part to the storyline, too.  In a brief scene, she receives a Bulova “American Girl” watch from her (adoptive) mother as a graduation gift (also see this post for detailed pictures).  My 60’s era, two-tone cuff watch is from my Grandmother, as are my earrings, but it is my gold pearl ring which is a similar graduation piece.  My mother recently passed this pearl ring down to me, telling me it was the gift her mother gave to her for her Graduation in 1969.  I’m so glad it fits me because it’s so special to wear.  I’m connected to the past few generations of women in my family history just with my accessories alone.  How cool is this?  Then, I go and choose a color for my dress that recalls my own childhood fashion preferences.  I love this outfit for more than just the fabulous dress alone. 

I will follow up this post with my next one being about another ‘vintage’ childhood style that I am reinterpreting for myself today.  Yes, it is also in blue!  Until then, I do hope everyone has a beautiful, peaceful, and happy Easter weekend! 

Wearing the Colors of the Wind

Of all the Disney princesses, Pocahontas is perhaps the most underestimated and impressive, in my opinion.  She is the real deal, straight out of American history!  Not that an animated children’s movie did the best possible job at transferring a real life impression of her true story.  However, it is still a visually appealing treat and well-crafted interest point from which to find an incentive for reading up on the factual tale of Pocahontas.  She is portrayed as resilient, compassionate, understanding, beautiful in her selflessness, and remarkable in the way her life had a notable impact.  Yet, she is relatable royalty, and quite down-to-earth for a princess, er…daughter of the Chieftain.  For all of this, Pocahontas is coming sooner than later as part of my ongoing “Pandemic Princess” blog series.    

As a girl who has grown up with a deep love for getting out into the local wilderness to enjoy the wonders of nature, the 1995 Disney version of Pocahontas is my sister spirit.  I for one certainly know the ‘river is not steady, but always changing’ after exploring the same waterside haunts all my life.  I never know what surprise will be waiting for me each time I go.  The creek never looks the same for each visit.  There is always different animal activity.  Yet, for as much as I relate to, and enjoy the song “Just Around the Riverbend”, this outfit is more inspired by the theme of the movie, “Colors of the Wind”.  My top has a Pocahontas-worthy magical breeze of leaves sweeping across it, complete with a sneaky silhouette of both Flit the hummingbird and Meeko the raccoon.  My skirt is a rich color akin to the natural ‘gold’ of the earth the Native Americans prized so highly – ‘Indian corn’, also known as maize.  My earrings are vintage turquoise cabochons from my own grandmother, a hint towards the necklace Pocahontas wears which was her mother’s.

Yet, because the sequel in 1998 “Pocahontas II: Journey to a New World” is my favorite over the original, we took our pictures in a winter setting.  As much as I feel ‘at home’ visiting our local waterways, I especially love the hushed, majestic beauty of a wintertime creek.  This way I could wear cozy boots and also take full advantage of the combo of prevalent snow and mud to do some critter tacking!  Being inspired by the ‘post-John Smith’ part of Pocahontas’ tale prompted me to make some related outerwear to go along with this outfit.  This outerwear will be in a follow up post.  Hint – it will be London inspired!

THE FACTS:

FABRIC:  top – a custom printed Spoonflower polyester crepe de chine; skirt – a golden mustard color slubbed linen-look polyester

PATTERN:  The blouse was made using a “Quick and Easy” Butterick #7490, year 1955, and the skirt pattern was Simplicity #3626, year 1961.

NOTIONS NEEDED:  one long separating ‘sports’ zipper, a waistband sliding hook n’ eye, a vintage metal 7 inch zipper, bias tapes, and lots of thread

TIME TO COMPLETE:  Both pieces were quick to make – the blouse took me 4 hours and was finished on January 25, 2021.  The skirt was made in 5 hours and done on November 5, 2020.

THE INSIDES:  Both items have cleanly bias bound edges inside.

TOTAL COST:  The Spoonflower fabric was about $20 for one yard (with a sale discount), and the skirt fabric was a remnant cut from a rummage sale – thus practically free.  The long separating zipper for the blouse was a bit of a pricey buy, so my total for this outfit is about $27.

Just like the last time I sewed this same blouse pattern, my Pocahontas set is an outfit composed up of two different one yard cuts of fabric – so economical!  The skirt was easy-to-make.  These one yard pencil skirt patterns from the 50s and 60s always look nice, are so versatile, and are pretty simple to fit.  Yet, the pocket details alone took up most of the sewing time spent.    The blouse was comparatively fail proof as I knew what to tweak this second time around so it would fit me perfectly.  It’s happily comforting to have standby separates to sew, but they are even better when princess inspired!

I steered away from any ethnic references for this “Pandemic Princess” outfit (out of respect for the Native American culture).  Instead I stuck with pure aesthetic reasons.  To me, Disney’s Pocahontas inspired clothes should be earthy in tones and comfy to wear.  Here I have both needs fulfilled with a dash of vintage class through choosing two favorite styles of mid-century era patterns in my stash.  The added fact I was working with one yard cuts of fabric was also a great restriction.  It forced me to hone down my separate pieces into both a wiggle skirt and a simple, cut-on sleeve blouse.  However, I was not forced to scrimp enough to leave out the fantastic skirt pockets – yay!  I also made the most of the top’s border print, too.  When my arms are open, it seems as though I have a wave of wind going across me to send off as a goodwill blessing, just like in the end of the first Pocahontas movie.

There isn’t much I changed, eliminated, or added here – just the almost-unnoticeable small details.  First, I’ll talk about the blouse.  To accommodate the border print for the blouse layout I desired, I had to slash the underarms to make the pattern resemble a “T” shape.  I probably would have done this adaptation anyway, as this pattern needed reach room.  It’s no fun to pull out your tucked-in top just to move your arms up to take care of your hair.  Then, I took out 2 ½ inches vertically across the back to shorten the long waist. 

As I learned the hard way the first time I used this pattern, it has a very generous shoulder room which never works well when there is a center back zipper.  As my last version of this top had a back zipper that reaches only 1/3 of the way down from the neck, I chose to make this top stress-free to be dressed into.  No wiggling and struggling is necessary here because I adapted the back to have a center separating zipper.  Even the neckline finishing was simplified, too, with bias tape used in lieu of proper facings.  The fabric is so sheer that a wide inner facing would’ve been obvious from the right side and distracting from the border print.

The skirt did need some piecing of the pockets for me to keep them in my pencil skirt.  As I was so focused on just trying to squeeze a successful skirt out of leftover material, I half-heartedly ‘forgot’ to make the pockets deeper.  As of now, they are shallow pockets.  I should not complain because pockets of any size are useful and appreciated, but it’s handier to have them to be more akin to mini purses.  Out of a desire to make construction simpler and keep the tapered wiggle line shape to the skirt, I left out the back kick pleat.  The seam is all sewn up.  This doesn’t make the skirt harder to walk or move in – the hips and thighs are roomy enough.  I had to shorten the hem by about 3 inches due to lack of fabric, so the hem is a bit wider than originally intended anyway.  As you can see, it did not prevent me at all from exploring around my favorite creek haunts to capture these pictures.

I must have done this princess outfit right because the wildlife came to me as we were taking some of our pictures.  It’s too bad for picture taking (but good for them) that the wildlife is camouflaged with the environment well enough to not be noticeable behind me.  In the following post, you will more clearly see the one creature which amazingly came up to check me out!  My Pocahontas vibes must have been strong.  “Come roll in all the riches all around you, and for once never wonder what they’re worth”, so she sang in “Colors of the Wind”.  Spending time outside in appreciation of Mother Nature is priceless. 

Checkmate!

There is safety in numbers…mathematical equations, that is.  The consistency and assurance of having a logical way to figure out a problem is helpful in other spheres of life because, as we are taught in school, math is not just pointless numbers on paper.  Mathematics can be found in science, space, biologics, industry, fashion, and more.  Games especially call for math skills.  Out of all the games to be played, there is perhaps nothing else that calls upon the exacting perfectionist in me, awakens my inner competitiveness, and leaves no room for my sense of graciousness to my opponent quite like a game of chess.  (Those are also all the reasons for me avoiding playing it.) 

However, that doesn’t mean I and others like me don’t have a great respect and fascination for those you enjoy and excel at the game.  Thus, it comes as no big surprise that such a powerful, mind provoking game loved worldwide could make related statement in fashion, yet the influence of “The Queen’s Gambit” came just over a month ago like an unexpected global storm.  It has become Netflix’s most watched scripted series to date.  Granted, “The Queen’s Gambit” is fiction loosely based on history, and sadly doesn’t really teach novices a whole lot about the game.  Nevertheless, the fashion for the time period it was supposed be set in (50’s to late 60’s) is spot on, visually stunning, and (most importantly) still very wearable for today.  So those of us who will not be playing the game more because of the show (raise your hand with me) can certainly copy the mid-century fashion. 

Say ‘hello’ to crisp angles and opposing colors, chic short dresses and straight lined silhouettes.  My mom says I look like Emma Peel (as fashionable as she was a smart espionage agent) from the 1960s British television show “The Avengers” in this dress!  I do so love the bold, mod fashion 60’s and forget that fact after so many other projects for other decades in between.  I am all here for a reason to jump back into the era headfirst through “The Queen’s Gambit” outfits!!  There will be more in the works very soon…this bow neck, babydoll dress will be next up for my early 2021 sewing.

THE FACTS:

FABRIC:  heavyweight 100% linens for both the exterior black and white fabric, yet the black is a smoother finish while the white is a textured (slubbed) hopsack; lined in a lightweight 100% cotton muslin

PATTERN:  Simplicity #8588, year 1969

NOTIONS NEEDED:  All I needed was one 22” long zipper for the back, lots or thread, and bias tape to finish off the inner edges and hem.

TIME TO COMPLETE:  This dress was whipped up in 4 hours and was finished in the afternoon of November 26, 2020.

TOTAL COST:  in the remnant clearance bin at JoAnn Fabrics, I only spent about $6 on this dress!!!

Both linens on this dress were something I had bought about 3 years back now.  Yes, as on point as sewing this dress may seem in the light of “The Queen’s Gambit”, I had the idea for making this much earlier.  Pierre Cardin is a long-standing fashion icon for me and his creations are the epitome of the power of the avant-garde (next to Elsa Schiaparelli).  Only now, it took an entertainment fad of today to give me a very good reason to pull my needed supplies from my storage tubs and finally make room in my sewing queue to transform them into something wearable.  Amazingly, I only needed one sole yard of each color linen for this project…60’s era mini dresses aren’t much to wear so they don’t need much material, ha!  This is yet another one of my many “remnant” projects.  They never cease to amaze me – how good you can look on scraps!

In the final episode of the series, Beth proves her dominance in a chess tournament in Russia.  The nail-biting competition sees Beth don an array of elegant and high-fashion outfits to communicate she is a woman in control.  Among them is the black and white “I’m Chess Dress”, made in viscose material inspired by mid-1960’s London design.  Like many of Beth’s other outfits, the two-tone coloring, and strong lines subtly reflects the pattern on a chess board (from here).  I immediately recognized the series’ dress mimicked the idea that I had a few years back!  Beth’s dress in viscose has more drape than many such 60’s era dresses, which tend to have a soft structure like stable knit.  Linen is similar in quality but a bit more of a call back to timeless quality I adore.  So I suppose this is all me working at redeeming a slight ‘fault’ I saw I the series’ fashion.  I like my version better – it’s more wearable!

I felt a pattern from the year 1969 was a perfect place to start.  On July 20, 1969, Neil Armstrong became the first human to step on the moon.  It was the dawn of true “Space Age” and the imaginations of designers were wandering very futuristic.  Pierre Cardin took his space travel seriously: In 1969, he went to Houston and quizzed officials at NASA headquarters about how to stay stylish on the moon.  Like his colleagues André Courrèges and Mary Quant, Mr. Cardin proposed a sleek, forward-dawning fashion.  This was the height of the “mod” fad.  As I thought about it afterwards, my mom’s reaction to refer to Dame Diana Rigg from “The Avengers” (which series ended in 1969) for my dress ticks all the right boxes. Rigg (as Emma Peel) wore the most avant-guade and Op-art fashions of any Steed sidekick, frequently toned in black and white.  Costume designer John Bates outfitted her in clothes influenced by the 60’s trio – Cardin, Courrèges, and Quant.  Ironically, series 4 of “The Avengers” had a chessboard opening intro, too (for American broadcasts)!  This “Avengers” dress for Dame Rigg is strikingly similar to this “On the Cross” on Beth wears in “The Queen’s Gambit”.

Besides the serendipitous dating, the clean, angular lines and chic thoughtfulness in the design lines drew me into this particular pattern.  Don’t judge a pattern by its cover.  Just because a pattern seems simple at first glance doesn’t mean there isn’t a happy little complex variation waiting for you once you pull out those tissue pieces or study the line drawings.  The detail of note here is the lack of true side seams.  The side front panel technically ends a few inches over into the back half of the dress.  It is so subtle!  Also, there are no bust darts.  The dress is strongly A-line yet some slight bust shaping is cut directly into the shaping of the side panels.  Most 60’s era patterns have sleeves which fit my larger upper arms terribly but these are so comfortable and generous in ‘reach room’ right out of the envelope.  I am very impressed with this pattern, unlike any other 60’s pattern I’ve used so far.  I appreciate a design which seems suited to my body type but more importantly I enjoy finding a pattern seems to have a touch of higher quality.  Everyday wear in the era of the 60’s is not particularly known for it’s complex, meticulous tailoring in the anxiousness of the younger set to depart from the classiness of the decade before.     

The common pairing for the popular black-and-white color combo of 60’s dresses seems to be having the dark color on the sides and the light color in the middle.  Check out my Pinterest page here on this topic for more inspiration and to see what I’m saying.  I realize the color layout I used on my particular dress is the opposite.  However, I just have to prefer what will suit me accordingly.  Black down the center is more slimming for my body type (believe me, I experimented with draping it differently on myself before cutting out).  The black emphasizes the angular qualities to this design.  It also makes this more of an all season dress in my opinion.  I am wearing thick ribbed tights with this – just as any 1960s gal would do – but bare legs and metallic sandals or even tall go-go boots would be just as perfect of a pairing in other seasons.  White on a dress may not be a popular color for winter but when color blocked intentionally yet minimally, it works. 

However aesthetic my choice of color layout was, my heavy use of black over white visually voices my lack of dominance in the game of chess.  If Beth Harmon in “The Queen’s Gambit” wears all white as the reigning victor, well I am more of the ‘dark horse’ kind of player.  It is said that the person who plays the white pieces (and therefore starts the game) has the advantage.  I am certainly not the champion type because if I was, I wouldn’t be enjoying the game anymore…no one wants to see me that serious and obsessive, not even me.

I couldn’t ask for a better backdrop for our pictures than the local World Chess Hall of Fame.  In front (and behind me in many pictures) is the world’s largest chess piece.  Just a year ago (October 2019) we attended the opening night for two very relevant chess inspired fashion exhibits, which were apparently ahead of their time. 

Firstly, Michael Drummond, a multi-talented artist and veteran of “Project Runway” Season 8, put on the exhibit “Being Played”, described as “thematically marrying the issues of climate change and the stress the fashion industry places on the environment”.  See the online version of the exhibit here!  Drummond was inspired by the noted chess fan Stanley Kubrick’s 1968 sci-fi film “2001: Space Odyssey”.  There was an amazing dress completely made of chess pieces as well as reclaimed remnants of sewing and art supplies reinvented into wearable art with a deeper message.  No wonder Drummond was interviewed by the New York Times regarding where to find clothes inspired by “The Queen’ Gambit” (see article here).

The second exhibit from back then was “A Beautiful Game”, showcasing the World Chess Hall of Fame’s artifacts of “chess-inspired beauty products, photographs, posters, and advertisements while illustrating how the sophistication and brilliance of the game have been celebrated and revered in chess and popular culture. Also highlighted was new, interactive artwork by chess champion and author Jennifer Shahade as well as Pinned! fashion designer Audra Noyes.” The online exhibit can be seen here.  It had the most appealing posters and glamorous chess sets from the last 100 years that made me want a perfume bottle or lipstick tube player set for myself (yes, for no real reason)!  The exhibit also taught me that the power of the queen piece was elevated to the status of “chief executioner” circa 1500 after a string of powerful female monarchs.

My husband and our son both enjoy the game of chess at least, with the occasional addition of my dad as another opponent.  One our son’s Christmas gifts from last year was the coolest ever variety of chess that has mirrors and lasers!  Nevertheless, I’ll just stick to chess inspired fashion for myself, thank you.  Sewing has the math and the strategy that I enjoy.