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.

A Few ‘Unmentionable’ Sewing Projects…

There’s been a lot of overly basic sewing going through my machine over the past months – and I’m talking about more than just masks.  The couple that wears handmade clothing stays together…did I get that right?!  Thus, I might as well spice that necessary stuff up a bit to make my practical sewing more interesting.

Not content with once around, the leftovers of one recent refashion plus some lace remnants were enough to eke out a special little sewing for my intimate wearing!  Then, some one yard novelty fabric remnants went towards making some quirky new boxers for my hubby.  Sorry if this is quite “too much personal information” to share, but I am proud of all the sewing I do and this stuff would never be seen otherwise if I didn’t post about it!  (That might be a good thing…anyway.)  I do think these look nice enough to share, especially my pretty bra, and yes – they are brand spanking new at this point.  It’s so hard to show how wonderful these items are without modeling them, but we’ll spare you that!  You’ll just have to believe our words and settle for my beginner’s ability to pull off an interesting flat-lay.  I paired the items with something that recalls the era of the pattern date.  You can see a peek of my silk true vintage 1930s pink bias slip as the backdrop for my bra, while hubby’s favorite vintage 60’s skinny tie and his monthly magazine subscription are the accessories paired for his boxers.

I think it is important to post about making underwear and lingerie so as to show others that it is much easier to make your own basic necessities than you might think.   These items are 100% more comfortable on us and much better fitting than any store-bought RTW items.  No wonder – they were tailored along the way to fit each of us, besides being incredibly personalized with the materials chosen, turning into an everyday treat to wear.  Also, everyone can see how pricey it is to buy quality, name-brand underwear and lingerie.  With remnants and under a yard of material, you can sew yourself something better than RTW at a very low or even free (if using scraps on hand) cost.  It’s a win all around.  Especially when these are such easy-to-make patterns, and vintage designs to boot!

THE FACTS:

FABRIC:  except for the little bit of lace on my bra, every item shared here is in comfy cotton – each one is just a different variety and weight of cotton (I’ll explain in further down in the rest of the post)

PATTERNS:  the brassiere – Simplicity #8510, a reprint from 2017 of a year 1937 sewing pattern (originally Simplicity #2288); the men’s boxers – Simplicity #5039, year 1963, from my personal pattern collection

NOTIONS NEEDED:  Luckily, I had the specialty bra making supplies already as part of a $1 grab bag of notions I bought a while back at a rummage sale.  Besides that, everything else I needed was basic – thread and elastic.

TIME TO COMPLETE:  The brassiere was made –from start to finish – in 3 hours and was made in the afternoon of July 27, 2020.  His boxers were made here and there over the past few months and only took 1 ½ hours each to make.

THE INSIDES:  The insides of the bra are cleanly hidden, encased between the layers, while hubby’s boxers are zig-zag stitched finished along the edge.

TOTAL COST:  Each boxer cost about $2 to $4 (what a deal) while the bra materials are as good as free, being mostly leftovers from something 15 plus years ago.

So – where to start?  At first, the motivation for such sewing was both pure necessity as well as an inability to shop for such things in person (as we prefer).  But you know, what?  Somewhere along the line such basic sewing became more enjoyable.  We normally make sure to save my time and buy such items, yet the amount of 1 yard or less cuts that I have on hand are so plentiful and the perfect resource.  Besides, they both were quick projects that required barely an hour and so were practically perfect for the small segments of time I have for sewing recently!  It is nice to have a fast turnout item in between more complex projects, like the over the top dresses that my pandemic brain has been needing as of late (more on that soon).  It’s wonderful to have a completely handmade wardrobe inside as well as out, and it is also really special to be able to share that feeling.  I suppose doing such would be weird to share with anyone else but a partner, anyway!

I will start off with my selfish sewing.  The 90’s plaid skirt I refashioned to become this 1940s blouse had a basic cotton lining underskirt to it which was left behind.  It was a very small amount, about a half yard wide by about 25 inches long, but in simple A-line shape with only the two side seams so it was as good as a folded fabric remnant.  While it was out and not stashed away yet, why leave that good fabric neglected without a productive idea to match with it?  That would not be me!  So I reached for something that would need very little fabric, be different to make, and be something I could use at a practical level.  The basic ivory color and semi-sheer thickness dictated using the leftover lining cotton for some garment that was not to be seen.

This vintage year 1937 lingerie set has been a pattern I have been itching to try ever since I picked it up when it came out and so it was the natural choice.  Even though I was only able to use the skirt lining for a half set – just the bra (and the leftover fabric went towards two face masks) – this refashion was an immense success that makes me excited to pick up the pattern again and make a full set in a fashion fabric.  This is a very lovely surprise project, and a totally wearable muslin test.

As the lining cotton was a plain ivory and almost sheer (even with two layers), I realized mere dyeing to change the color would not add both a special touch and a bit of decency to this bra the same way layering it with some leftover lace did.  As the pattern is not complex and has very few seams I chose a posh French lace from on hand to layer over the outside.  Wow, does that lace addition really elevate this bra!

Yet, without realizing ahead of time, I found out it is a good thing that the lace was so delicate and the cotton was so soft and thin because it was quite hard to gather the middle seam of the bra down to the length the pattern intended.  As it was, I could not gather any tighter and that spot is still ½ inch longer than supposed to be.  If I had used a fabric any thicker this detail would have been even more difficult.  It is important to get this section as closely gathered as possible because it provides the bulk of the bra’s shaping, beside the small underbust darts.  The lesson learned (without having to recover from a failure) is to keep to lightweight, thin, and drapey for at least the brasserie half of this vintage reprint design.

Other than the challenge presented from the fabrics I was using, this pattern was a breeze to sew.  I found the size spot on and the instructions good.  The shaping of the bra is well done and the support is gives is just enough to do its job while still being comfortable to the point of feeling heavenly.  Of course you can see I upgraded to modern bra notions when it came to the notions used just so that this can be a vintage merge to get the best of both worlds.  There are times where I like to go all out vintage so I can both learn a new, different way of doings and also come from a historical perspective to try to understand how things used to be.  I did that already, however, for this earlier 1930’s lingerie set (posted here).  That aqua bra was finished the way the old vintage instructions dictated – with twill tape straps and such in the non-adjustable manner – and it needs constant tweaking to be brought back up fitting me as perfectly today as it did when I made it.  This time, I was determined today’s pretty little project was going to be more enjoyed than the last vintage lingerie, and what better way to do that than make it fully adjustable for my body and a touch more up-to-date?!

Next comes my unselfish sewing project!  This trio of boxers were very much mindless sewing I really didn’t have to think about how to construct.  They were pretty much the same as the 1940s pajama pants I had made him (posted here).  To save on interfacing for the front fly, I merely tripled up on fabric layers.  Interfacing and elastic still seems hard to come by, but luckily I had a pretty good stash of 1 inch wide elastic from my deceased Grandmother.  Thus, with the exception of the first pair of boxers I made for him – the animal print ones – which were two channels of ½ inch elastic, all the rest were a single piece of wide stretch waistband.  The instructions said to make two channels, but he seemed to find the dual channels of elastic would twist and line up wrongly as they get worn, so a single wide elastic waistband is always less fussy…and who wants fussy underwear?!

I gave myself a bit of a break when laying out the pattern for these boxers.  I laid the lower bottom edge out along the selvedge to save myself a bit of extra time to do hemming.  Also. I cut them opposite the grainline to save on fabric and better align with the directional prints on two of the boxers.  All of the pairs are cotton wovens that are not shifty and so going a bit against the rules of sewing and fabric isn’t a big deal, especially when you’re talking about mere underwear.  I normally never do such a thing so I was really in a special mood for such a disobedience to happen in my sewing projects.

Each pair is a different weight and kind of cotton.  As I said, I was not only using what was on hand but was experimenting to see what he would prefer.  The animal print ones as a tissue weight voile, the Captain America print is a medium weight quilting cotton, while the red print is something you might recognize, leftover Indian block print from making my sari ensemble choli blouse (posted here).  The Indian cotton was actually my part of a deal he made with me.  He encouraged me to not be feeling bad for placing a big fabric order from “Fibers to Fabric” on Etsy (yes, I honestly sometimes feel guilt for adding to my already generous sized stash of sewing supplies) as long as he gets a little something made for himself out of it.  I said I would use one of the fabrics to make him boxers, because I know how luxurious Indian cotton is, and underwear is the best way to appreciate good material.  It seems this is his favorite pair on account of the fabric – it is almost like a silk in the way it is very breathable, cooling, and weightless.

The voile is lightweight, yes – but not as silky the Indian cotton.  I know, he put up with me sewing him the animal pair, but I couldn’t help but think of Tarzan when I saw this one yard remnant.  Those were my crazy choice and my hubby has humored me.  The quilting cotton is a thick and tightly woven, as I’m sure many of you know (us vintage enthusiast always get tempted by its pretty prints for day dresses!), that has way too much sizing in it so it’s not the best choice for underwear.  Many washes will fix that eventually and break it in…and by then it might be looking almost worn out.  Ah, yes, I have a love-hate relationship with printed quilting cotton.  Yet, the Captain America print is so darn fun it has to be the winning boxer pair, though!  It is a print that is practically made for our family interests.  I actually ordered enough of this official Marvel brand fabric to make several face masks for each of us, with a yard still leftover to sew some pajama pants in the future for our little guy out of it as well.

The frequent wearing of loungewear along with finding ways to be self-dependent both are having a strong moment this year.  As we are all staying at home and outdoors more frequently, whether for work, play, or eating.  Crafting your own ‘unmentionables’ for your own personal comfort and enjoyment might just become as much of a thing as the “Nap dress” or food canning.  I love to be on trend using old trends.  Drive-in movie entertainment is coming back, so hey – anything is possible!

Handmade lingerie is really not as impossible a task as it might seem at first, and it is a fantastic way to use up small fabric scraps and bust that stash you’ve been holding onto, as well as be as sensible, sustainable, and thrifty as possible.  Besides, the holidays are coming and a handmade intimate garment would be an easy and cute little gift – just saying!  The world will never know how handmade your outfit really is when you make your own underwear…it’s merely a little undercover secret about your modern day superpower.