In the Spirit of the Rani

Even today, women of India grow up with the name of the Rani, a warrior for Independence and queen of Jhansi (circa mid-1800s), as a household celebrity and role model, so I have heard.  Now that her inspiration has transcended the continent of India, thanks to some authentic representation through Hollywood (the likes of which has not been seen before), women of American can now also love the exciting historical story of Laxmi Bai.  “The Warrior Queen of Jhansi” movie, released November of 2019, is purported to be the very first United States movie starring an Indian woman as the main character, besides being produced, written, and directed by the mother-daughter team Swati Bhise and Devika Bhise.

As the manifestation of finding a new personal hero, this vintage mid-60’s style dress is the visible result of me channeling my own inner “Spirit of the Rani” since I first found out about Queen Laxmi Bai a few months back.  This outfit mirrors both the traditional clothes of Maratha province of India, besides imitating the outfits worn by the leading lady in “The Warrior Queen of Jhansi” movie.  Now more than before, I am fully invested in continuing to add to my wardrobe of Indian inspired fashion (see my 1947 Independence Remembrance dress here and my 70’s inspired Sherwani jacket here).

I love the beautifully rich complexity that every Indian inspired outfit offers – a whole new aspect of their culture and history is opened up every time I dig deeper into the traditions of every different region.  I am in awe of the detailing and thought that goes into the practices and the fashions of India every time I sew something related to it.  This dress is not as culturally compelling as my last two Indian inspired garments and the ones I have plans for next, but the feelings behind it are just as strong as for the others…especially with the Rani as my muse!

THE FACTS:

FABRIC:  a 100% rich-toned cotton print with gold foil accents; the bodice is fully lined in an all-cotton broadcloth

PATTERN:  Simplicity #5702, year 1964 (Is it just me or does the middle woman in black remind you of Sophia Loren?)

NOTIONS:  All of what I needed was on hand already – zipper, thread, seam tape, bias tape – but the authentic Indian trim which is on my sleeves was ordered from “Fibers to Fabric” on Etsy.

TIME TO COMPLETE:  The dress was made in about13 hours and finished just in time – November 13, 2019 – for us to see the movie on its premiere weekend for United States showings.

THE INSIDES:  all either cleanly bias bound or covered by the bodice lining

TOTAL COST:  The foil-printed cotton fabric is something I have been holding onto since the late 90s or early 2000’s.  It came from the now defunct Hancock Fabrics.  I always received the best deals from Hancock but after about 20 years in my stash, this fabric is as good as free to me and more than deserves to be seen and worn – finally!  My only cost was the lining cotton and the trim…$15 or less altogether.

The actual design lines to this dress are deceptively simple.  It is basically a standard sheath dress with a few lovely tweaks for a very nice fit.  The neckline is a rounded boatneck, the skirt has a mock-wrap look with its deep-set asymmetric knife pleat, and the full back zipper makes this easy to get on.  It fit great right out of the envelope, after only slightly shortening the rather long bodice.  I left the length long for more elegant air.

I do believe it is the rich-looking, detailed print of the thick cotton I chose (look at all the colors in it!) as well as the proper ethnic accessories which add so much to my dress.  There is no sense making an Indian inspired dress without the proper attributes!  Except for my shoes, which are vintage-style Chelsea Crew brand, my vintage golden belt, and my hair comb, which I made myself, all else was bought from local stores who carry ethnic sourced items.  Although this is a modern merge of Indian traditions, I would be remiss to leave out a dupatta shawl.  This one is woven rayon from India.  My necklace is composed of beads made from recycled sari remnants and my earrings are blue agate beads – both handmade in India.  However, my prized and proper, true ethnic addition is the mirror-work trim sewn down to the sleeve hems of my dress.  This was ordered direct from India out of a shop that specializes in supplying traditional buttons, trims, as well as woven and natural dyed fabrics (Fibers to Fabric on Etsy).

Looking back, Indian inspired fashions had seemed to explode in the global fashion scene in the 1950 era, especially so in the 1960s.  Sewing patterns (particularly ones idealized for border prints) which call for saris as suggested material and saris made into fashions according the mode of the day can be easily found popping up in vintage selling spheres today.  Sadly many such designs lack any sort of traditional approbation.  (See this Pinterest board of mine for some visual examples.)  These are great examples of the many ethnic influences which were prevailing in the Mid-Century Modern times.  I am wondering if the Indian influence of these decades past is due to something else besides a general outward-focused interest or desire for foreign inspiration, perhaps.  Maybe there was a steady influx of immigrants from India sharing their culture in America and elsewhere?  If so, was this maybe because of good visas abroad or because of some homeland political upheavals popping up in the decades following the 1947 Independence?  I have so many unanswered questions.

Either way, my dress follows the norm of such loosely influenced Mid-Century designs, with greater attribution coming from my accessories and idealism of the Rani.  Even the foiled cotton print is something which would have been very popular for the times as well, with fabric pioneers such as Alfred Shaheen bringing such a basic material up to a whole new level of classy with metallic accents and rich, vibrant colors and patterns.  Not everybody knows that old cotton prints in their pristine gloriousness can put contemporary versions to shame.  A cotton dress was by no means plain in the Mid-Century – I mean look at this vibrant Valentine’s Day dress I made of true vintage 50’s cotton!  This dress is only made of a newer version of an old style.  Yet, as I stated above in “The Facts”, the cotton I used for this Indian dress was edging dangerously close to becoming modern vintage in its own right, though – it has been in my stash for the last 20 years!  All the more reason I am so happy with my new dress!

For someone trying to make something from practically most of the last century, finding a pattern that appeals to me from the year 1965 is still a will-o-wisp I cannot capture.  Nevertheless, this year 1964 project is a satisfying close-call.  After all, 1965 designs seem to be either quite plain or a mere repeat of the same styles I see in the years both before and after, such as this Pierre Cardin design, Vogue Paris Original no.1443 from 1965 (also with a pleated, mock-wrap style skirt to the dress).  I’m hoping the right year 1965 pattern will eventually fall into my lap, but in the meantime I’ll secretly be counting this dress as close enough to the middle of the 60’s.  There are other projects with a louder siren call to listen to!

I really did not see or plan for this project in my sewing plans queue, but was an easy make, an opportunity to learn more about my favorite foreign culture, a very good use of some lovely materials (if I do say so myself), and fulfilled my personal ‘need’ to honor the Rani at our viewing of such a wonderful film.  Many critical reviews are scathingly hard on it, but ignore them…the movie was beautiful. I cannot stress how important such historical and ethnic representation like this is to have today.  Besides the inclusiveness this film affords, the historical fact that the Rani – a woman – was the first popular freedom fighter and one of the top icons for Indian nationalists is not something only one country should acclaim. She believed women were just as powerful, smart, and worthwhile as men in a time (1850s) and place when she was fighting every side of societal and cultural norms for those ideals, not to mention standing up for her homeland first in diplomatic relations then in valiant battles to free it from the grip of the East India Company. Please make an effort to see this film for yourself or at least learn about the wonderful life of Rani of Jhansi.

Happily, my Rani inspired dress has prompted some discussions and sharing of my limited knowledge about her to those who happened to compliment me on my outfit the night I wore it out.  Any woman with an independent mind, courageous will, compassionate heart, loving temper, and patriotic fire inside manifested outwardly is the “Spirit of the Rani” today.  Not to be reckoned with lightly, such a woman is a powerful force in the world of today.  When women believe in their worth and capabilities they can do whatever it takes to fulfill their destinies and bring any dream to life. The Rani became more than a heroine, she became an idea.  When someone acts on an idea, anything can happen.  When the men around the Rani did not believe they had a chance of successful rebellion, she set up a formidable women’s corps to fight…which idea was also repeated during WWII with the ‘Rani of Jhansi regiment’ under Lakshmi Sahgal.  Let’s follow the Rani and act on those inspired ideas for the good of ourselves and others!  I started with only a dress, in this case

Little Letterman

A little bit of necessary and unselfish sewing which had been finished in time for the arrival of cold weather is my new pride and joy.  After all, it is worn by my little pride and joy!  The fall and winter holidays are all about family and appreciating those in our lives, after all!  My son needed a warm yet dapper winter coat and I more than stepped up to the challenge.  By using a vintage pattern with scraps leftover from other projects, I came up with a no-cost classy children’s coat unlike what any store has to offer with all the benefits of vintage and the longevity of brand new.  When a utilitarian garment like a coat can be as much as a fashion piece as a great shirt or a nice pair of pants, then outerwear is no longer an unwelcome covering merely necessary due to the weather.

It rather alarms me how successful my project was because of how grown-up this new jacket makes him seem.  Being that I see him on a daily basis, it takes something out-of-the-ordinary on him in a photograph for me to see our son in a different light.  I think kids’ clothes are way too casual in general today – kids are underestimated.  Dressing nicely in no way hinders them…rather the opposite. Children can be so cute all polished up and put together in something nice and halfway grown up.  It’s a good practice to get them in the habit of doing so every now and then, anyway, it gets them in a good frame of mind.  Sadly though, it is hard to find them dapper and somewhat fancy clothes in the ‘normal’ RTW circles.

Children’s clothes lacking attitude, lettering, and brand logos are hard to find today; however, letters were popular in vintage kids and teens clothing too (30’s to 60’s, peaking in the 50’s), with a different purpose.  Back then it was all about school pride, name initials, and occasionally movie stars like Roy Rogers (for one example).  Most of this lettering went on outerwear, like the well-known Letterman jackets and sweaters.  This particular jacket I made is very much a combo of the youthful Letterman style mixed with the more grown up Gabardine style.  A men’s Gabardine jacket is about hip length with little to no shaping at the hem (straight cut), regular set-in sleeves, and a collar (normally).  It was popular in the 1940s.  A letterman jacket for the youthful crowd often had two-tone colors going on with the sleeves – frequently raglan style – being a different color than the body, a banded bottom and collar.  Both styles have front welt pockets.  The pattern I used is a quaint “Father and Son” mini-me design after all, so I love the way the adult and the child features combine to make my son look like the little man that he is!

THE FACTS:

FABRIC:  the plaid is a rayon suiting, the forest green accents are a vintage cotton corduroy from my paternal Grandmother, and lining is a combo of fleece quilted to a poly lining

PATTERN:  Simplicity #7744, year 1968

NOTIONS:  I only used what was on hand – thread, interfacing scraps, leftover fabric, and even a zipper which was cut off an old RTW sweater of his which has been long ago been thrown away after he wore out.  I even had the snap system leftover from doing the placket on this dress of mine!

TIME TO COMPLETE:  After 30 plus intense hours over the course of just over a week, the jacket was finished on November 4, 2018

THE INSIDES:  Full lining means “What raw edges?!”

TOTAL COST:  Nothing, zero, zilch is pretty much the full cost.  Leftover materials from several other projects plus using material given as a gift for the other half of it means this coat of his is as good as free!  How’s that for a homemaker’s dream!

What I particularly love about this project is that because I am using up remnants for it, besides emptying my stash, my son and I end up matching each other just a bit.  Let’s fluff off the “Father-Son” look the pattern advertises and give a big ‘yay’ for a not so commonly seen “Mother-Son” pairing!  My 1945 Glen Plaid me-made skirt suit set left just enough leftover – one yard – to be more than just a scrap.  At first I was thinking of using it for a purse, but rayon suiting it too nice for just an accessory I probably won’t use all too often.  Great fabrics need to be seen, worn, and enjoyed!  By chance I asked my son if he liked it – he sometimes likes to “pet” my softest fabrics and his opinion is normally quite thoughtful and interesting.  His positive enthusiasm lined it up for something for him.  A winter dress coat was the next big thing he needed, and one yard was just so close of a cut for my chosen pattern so it seemed like those two were meant to be together.  It is not too obvious of a mini-me look (compared to my suit) for him to mind but it is still enough of a pairing that I am thrilled!

It also continues his mommy-made wardrobe sort of like a theme.  If you look at the 1940s overalls I made him a few years back and his recent 1960s house coat, leftovers from both projects are in this coat – one seen and the other unseen.  The forest green corduroy for the jacket’s sleeves and trimmings are leftovers from the overalls, which is already leftover from my Grandma’s stash.  She used this corduroy to make things for my dad and his siblings when they were little so I feel all choked up over how special it is for me to carry on the tradition.  The puffy lining to the inside of the jacket was made possible by the leftover “lily pad” fleece of his house coat.  I mock-quilted it to the poly lining in angled lines that meet at the back center for a bit of a decorative touch to something very practically meant to merely keep our son warm and toasty.

It’s the details that make a garment standout and stand the test of time, just like all the vintage items that are loved by so many or like the high fashion items crafted by design houses for superstars and runway shows.  There is something to the love for the beauty of sewing – or the love for the recipient, too – manifesting itself in the excess time which goes into fine details.  Such details make creating in the first place have a bit more easily visible worth, sort of like a proof of time well spent, remotely tangible for those open to appreciating them.

Such reasoning is why I spared no amount of effort in my zeal for a fantastic, professionally finished coat.  My first mission in this goal was to make the best welt pockets I have done yet.  I normally am not adverse and stressed out by a sewing technique as I am with creating welt pockets, even though I know how to do them.  The pressure was especially hard because of several irreversible steps before the pocket needs to be created and if I messed up, well…the coat would be no more.  However, I happily feel that I succeeded in not ruining my project, but still failed in making the best welt openings ever.  I am just overly critical on my own work, so to every other eye they are great welt pockets.  Working with tiny and precise seams in corduroy is not by far an easy thing.

That fact also applies to setting snaps though corduroy.  I had to make several “test run” tabs, complete with interfacing to mimic the thickness, and we failed with a few settings before we both realized we were running short of snaps and rather finding the right pressure to use on the press mechanism.  These sort of things – much like welt pockets – get to a point where you just have to take a deep breath and just go for it!  We made one ‘male’ snap on the hem tab itself and two ‘female’ snaps on the coat to give the option of pulling it in…or not, if wanted.  Having options to one’s clothes is lovely!

We did not want to push our good luck with the snap settings, and I wanted something lower key, so I stitched down large, black, easy-to-handle snaps at the sleeve cuffs and neck closing.  As much as this was mostly my idea, and my creation, I was thinking of him throughout the process.  I made sure the large snaps were something he could handle all by himself.  I made the front pockets bigger (they reach all the way to the front zipper and end at the bottom hemline) because I know all the things he likes to stash in his coats.   The front zipper is recycled off of an older garment he wore out and grew out of so I knew it worked for him.  Even the choice of green corduroy was really his choice – he could have chosen navy blue or burgundy cords, too.  I did think ahead and made the sleeves just a few a few inches longer in the hopes of this jacket lasting an extra winter.  The way he eats more food than us, though, and grows like a weed that thought is just a hope, perhaps.

Ironically, or maybe appropriately, the pretty fall backdrop for these photos is his school’s front entrance street-view grounds.  This was soon after he went back into a new year of school and after class picture time.  Sometimes, those school pictures are not always the best so we had a good excuse to take good shots of the jacket – going out and try to capture the real side of him in a much more ascetically pleasing look than a uniform.

For a jacket that resembles the symbol of the elite in a school, he really is nothing stuffy no matter how nice he may look.  He is just an eager, individualistic little man who is still trying to get the hang of finding the words for everything he has to say (it’s a LOT lemme tell you!) and the letters that form such.  Thus, he has no logo inscriptions.  I appreciate the fact he does seem to be forming another sphere of his life at the same time – a rather dapper, fun style for himself in his non-school-uniform clothes.  Sometimes we have to remind him on weekends to reach for the printed tees in his closet and not his plaid dress shirts!  If I can encourage and help him along in this sphere (especially since, for the moment, he likes my taste and I enjoy his), than my sewing is very worthwhile to be such a means of expression for one of the most important people in my life.  Never underrate the power of a boy and his mother.

Collage of Vintage Scarf and Handkerchief Ideas

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

Enjoy the following inspiration and eye candy.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Remnants, Scraps, and Leftovers, Oh My!

With the refashions and sewing projects which need small cuts that I’ve been doing lately, some deep questions have arisen in head.  Primarily, what constitutes a fabric remnant?  When is a scrap piece of material considered rubbish?  When it is no longer useable?  Who is the judge of that?  How has our estimation of when the leftovers from creating a garment are considered unusable changed over the years and why?  Is figuring out such questions another key to truly sustainable fashion and new creative possibilities?  I have a feeling these questions are not easily answered nor can they be figured out in one blog post, but perhaps this outfit project is a small example to part of the solution.  It is made from two less than one-yard linen remnants and a handful of notion scraps, for an on-point 1960s era set which defies the modern disregard for its ‘waste’.

Only half a yard of 45” width novelty linen fabric was turned into this interesting pop-over crop top.  Just under one yard of linen became the slip dress to complete it.  If a remnant can make a full garment, should we still consider it scrap fabric?  My last post featured yet another half a yard top.  I suppose remnants used to be considered as those tiny pieces that became 1930s era crazy quilts, the stuff that is thrown away at all the sewing rooms, fabric stores, and homes of other seamstresses I know.  I love how the end of the bolt is a gold mine waiting to be dug because they are almost always deeply discounted and do work with more sewing designs than realized.  The 1940s, 50’s, and 60’s were really good at having sewing patterns that boldly advertised they would work for one yard or less.

Having more than a yard to work with is needed for many sewing projects, but it is not automatically a necessary luxury.  Refashioning my unwanted clothes, or taking the time to mend and alter, is on equal par with the indulgence of making just what I want to wear when I make it work with unwanted scraps.  In my mind, it’s because I like to be responsible and caring and appreciative of what I have.  I can turn this outlook into something fun and creative, catering to my individuality, by being the maker of my own fashion.

To continue this handmade, sustainable, and thrifty outfit theme, I would like to also point out that I also made my necklace out of a cheap, assorted bead pack I found on sale recently.  I am freaking infatuated with purple and pink, and lately orange as well, so this whole outfit is like my dream colors…but purple is my hands-down favorite.  Thus this necklace set is my new favorite accessory!  Each of the two necklaces are separate so I can wear the assorted seed bead one with or without the fancier, Czech glass, detailed one for a flexible look.  I brushed up on some beading skills learned back as a teen and had a blast making these necklaces.  I get to wear just what I imagined for a fraction of the cost and much better quality than I could possibly find to buy.  My bracelets and earrings are true vintage.

THE FACTS:

FABRIC:  100% Linen all around, so pardon the wrinkles!  The top is from a novelty, multi-color, open weave linen and the solid under dress/slip is a cross-dyed semi-sheer linen is a reddish pink color.

PATTERN:  a true vintage McCall’s #8786, year 1967, for the under dress/slip and a Simplicity #1364 “Jiffy” blouses from the year 1964 (originally Simplicity #5262)

NOTIONS:  Everything for this outfit was scraps from on hand – the thread, bias tape, interfacing, and ribbons!

TIME TO COMPLETE:  Both were made in only about 2 ½ hours each, and were finished on August 15, 2019.  These were definitely easy and quick projects!

THE INSIDES:  As linen frays something awful and that fraying gets scratchy, my top is bias bound while the dress is French seamed.

TOTAL COST:  The linen for the top had come from JoAnn, and was only $2.50.  The cross dyed linen slip dress had been purchased for a few dollars as well when Hancock Fabrics had went out of business.  All together, the whole outfit cost me $6 at the most!

This is an awfully good classic, proper set for coming directly from the late 1960s!  The only slight giveaway to its era origins that I can see is in columnar, straight-line silhouette of the slip dress and the boxy shape of the top.  I love how cool and comfortable the set is and how versatile each item is on its own.  The underdress goes well with my modern bias flounced wrap dress, yet I do have some sheer pink floral chiffon in my stash to come back to this pattern and make the matching given overdress.  It is humorous how confused the 1967 pattern seems to be at what exactly to call what it has to offer – is it a camisole top dress, a slip, or just a dress?  The top goes with all sorts of bottoms, but especially my 1980s pink shorts!  These particular linens are such soft, sweat-wicking champions that layering them up like in this outfit is not a problem but rather feels quite good.  You just have to roll with the wrinkles, though!

I did just a few adaptations to the pieces’ to both make them fit and be as easy to go on as they are to wear.  First of all, the slip dress was in junior petite proportions and a too-small-for-me size.  Thus, I had to readjust the bust-waist-hips spacing and grade up at the same time.  Luckily this was a really simple design – one front, one back, a few fish-eye darts for shaping, tiny spaghetti straps, and a wide neckline facing.  I went a bit over and above what I needed in extra inches because I wanted the slip dress to be a closure-free, pop-over-the-head type of thing.  If I was planning on wearing this as both a dress on its own and as a slip, I didn’t want a stinkin’ zipper in the side.  I already have a 1940s and a 1950s slip that both have zippers, so I’ve been there and done that.  This linen was too soft and wonderful to confine into a zipper anyway.

Going along with that aesthetic, I went up a size larger when cutting out the top (and was forced to make it shorter based on the half yard I was working with).  I wanted it to be closure-free and easy, breezy, too.  It’s such a refresher to do without a zipper.  I really don’t mind sewing them in at all and they are a must in the structured garments I love to wear, but it is nice to do without both from a maker’s standpoint and as someone who likes simplistic fashion sometimes.

A few little details were all my two pieces needed to elevate this basic set to a chic, coordinated set.  To tie the slip dress in with the top and also make it look a little less plain, I used two random pieces of leftover ribbon from my stash for decorating along the hem.  They secretly cover up my hem stitching!  The lavender velvet ribbon is true vintage and all cotton, still on its original card, and out of the notions stash I inherited from my Grandmother.  The cranberry sheer ribbon is modern, leftover from this dress project made many years back now.

My top needed something to pull the boxy shape in just a tad, so I stitched a button down at the bottom point of each side seam then made a thread loop three stripes away to pull the hem in.  I love how this ‘fix’ compliments the striped linen by making a lovely V at the side seam point (where the bust’s French dart and my back pleat is pulled in).  This ‘fix’ is nicely non-committal, too.  I can also wear it either way – full boxy or slightly tailored when buttoned in.  The notions I used were two leftover buttons I had cut off my son’s worn-through school pants before they were thrown away.  I’m proud of how I let very little go to waste around here!

“The Frade”, a stash swapping website where you can buy/sell/trade fabric, yarn, sewing projects and all sorts of maker supplies, states the statistic that approximately 15% of fabric is wasted when a garment is cut and made.  I do not know if they were referring to the industry or homemade clothing, but from the layout suggestions I see on modern patterns, for one example, I would personally think that percent would be much higher.  As long as grainlines are followed I see no reason for following a computer program’s suggestion for laying out pattern pieces on fabric compared to ‘playing Tetris’ to find an economical fit for minimal waste.  On average, I find I can make most patterns work with at least a half to ¾ yard less than the suggested amount needed on the envelope chart and end up with about 5% or less leftover.  Of course, all this does not apply to many vintage patterns, especially from the 1940s when they knew how to make the most of what they had on hand.

Sustainable fashion practices when sewing new from scratch might be more of a challenge or test of both patience and skill, but the results are worth it in the end.  Voracious fast fashion is ruining the world we live in and destroying appreciation for quality.  According to this article at the Fast Company, “the average number of times a garment is worn before it stops being used has gone down by 36% over the last 15 years (yay!), and yet many consumers wear their items for less than 10 times.”  This is bad news for efforts to limit waste in the fashion industry (info also quoted here @RightfullySewn)”  because over the last 15 years, clothing production has doubled.  There is a problem.

Whether or not we go through sewing projects just as fast as we might with store bought fast fashion, we sewists have the perfect opportunity to be smart about what we make, just as open to the kind of accountability we want – or should expect – from big business.  We can create with supplies that are either vintage, secondhand, or in our stash, and make items with a quality that we will enjoy for years to come.  We can mend when it is needed, tailor as our body demands, and finally recycle in one of the many modern means when all of those options are not viable.  Please, I beg you, choose natural fibers, anything other than a plastic or chemical based material.  We who sew have the answer to sustainable fashion just by our creative capability, and sustainable fashion absolutely needs to happen.  Might I suggest there is a duty attached to sewing, because ‘with knowledge comes responsibility’ as the saying goes.  Maybe we can kick start that with a change of mentality towards the good old-fashioned regard of remnants.  A good creative challenge never hurt anyone, either.