Winter Holiday 2017 Vintage Pattern Releases

For their 90th anniversary, Simplicity Pattern Company is really killing it with a plethora of amazing designs being reprinted from past vintage releases.  This year’s Winter Holiday collection is no exception from their trend of copious, interesting, and variable decade re-issues.  Vogue Patterns has come out with a stellar designer lineup which includes a single, but stunning, vintage “original” design as well.  As much as I am so happy to see patterns like these coming out and available to buy, yet at the risk of sounding like a whining, nit-picking critic, I still have some things to mention about the newest patterns.

 My disclaimer is that I just purchased these patterns and have not sewn with them yet, so with my critique, I am going by the line drawings and viewing the physical details of looking at the tissue pieces.  However, unless the pattern companies want very disgruntled customers, the line drawings should be good enough to go by and match with the actual design of the pieces.  As I could find pictures of the old original envelopes for these re-releases, it is comparatively easy to see any changes or differences in line drawings.  Here goes!

First, I’ll start with the newest vintage Simplicity patterns – a total of 12 actually, when you count the two that are obviously inspired by the past (the #8513 bodysuits and the #8534 dress from Sew Chic)!  That is just about 1/3 of the total 38 patterns this season’s collection.  This in itself is making a statement – Simplicity apparently knows their own strong point, listens to feedback, and recognizes a ready and willing market for vintage.

I’ll begin with the 70’s pattern and go backwards.  Simplicity’s new #8505 is a 1972 re-issue, originally #5315.  This is a wonderful pattern with an appealing cover image and two completely different options to sew.  I am so drawn to the solid dress with the exotic, fancy trimming…wouldn’t this be wonderful in a slinky stretch velvet for the main body!!!  The long caftan is equally appealing though, and someone’s version of it on the wiki page for the original pattern makes me want to whip one up for myself for summer lounging or dream backyard socials.  However, in the old original pattern, the caftan was one large pattern piece with a facing to finish the slit made for the arms.

Now, in the re-issue, the caftan is in two pieces with a seam under the arms at the sides, and simple turned under hem for the sleeve opening (original envelope on left, reprint on right).  I prefer the basic simplicity of how the caftan was originally drafted (less sewing of seams the better, right?), and will be adapting it, taping the two pieces into one, to cut and sew it like the 1972 version.  Nevertheless, this is a nice change from the rather basic 60’s and 70’s designs that they’ve released as of late.

The 50’s decade is well covered with a variety of garments this time around!  First there is the 50’s style “Sew Chic” #8534, which I hope to make into something similar to this vintage original dress so I can use up two smaller cuts of fabric from my stash!  There is a striking apron, Simplicity #8533, originally #2750 from year 1958.  Look at those handy, generous pockets!  However, what is so unusually special here is the way that the bib top can button on or off as desired.  This is all too similar to the convertible 1941 pinafore I just posted not that long back!

Simplicity #8509, originally #8449 from year 1951, is yet another to the long list of 50’s swing coats that they’ve released over the years.  This one luckily has a longer length version, and is indeed a lovely design with killer model photography.  The only change I see between the original and the re-issue is that the new pattern has pre-notched darts at the View C sleeves.

Simplicity #8507 is another pattern originally from year 1951, a “Simple to Make” #3655.  This is another unusual offering!  Sure, it is another pencil skirt, but the back pleating is stunningly tailored.  The stole might not be the most usable or practical item except for certain occasions and weather, but whatever…the way it is mitered with a point down the back and the slanted pockets at the end is such eye candy!  The skirt having bands for the stole to go in is an excellent way to keep it in place on the shoulders, I would think.  Wearing a belt over the straps when not using them for the stole would probably prevent them from becoming a nuisance, which I can see happening.  In my mind, I might make the skirt’s stole straps removable.  I find it funny that the re-issue actually adds a pattern piece for the skirt’s stole straps, whereas the old original merely has you cut a tiny strip so long by so wide.  Modern reprints seem to take nothing for granted and vintage patterns (to me) seem to trust their users’ capabilities a bit more.  Maybe modern patterns are just trying to make things easier and I just don’t see it but I hate keeping track of minutely small pattern pieces…I feel like they want to get lost in or out of the envelope somehow.

Now, for the lone but no less wonderful year 1948 re-issue, Simplicity #8508, originally #2323.  As much as I love this pattern, and I think this is the perfect opportunity to come out with this when women’s’ suits seem to be making a comeback, at the same time I am sorely disappointed by the terribly wrong proportions.  I’m sorry to sound like a vintage pattern purist, or a snob about images, but what was worn in the past has a reason and story behind it.   Fashions of the post WWII times were changing, yes, but the styles of 1948 and 1949 have a very distinctive air of creating the image of long, lean bodies with skinny waists and emphasized hips.  Hemlines were also an awkward longer mid-calf length not seen since the early 1930s – about 4 inches above the ankle.  Every nuance of most garments from 1948 and 1949 are masterfully crafted to achieve the ideal body image through masterful placement of proportions and garment details.  All of this is not Simplicity #8508.

This pattern re-print is not holding true to its heritage and instead appears as if it were an early to mid-1940’s suit with the barely below the knee skirt and higher suit hemline with high, tame hip fullness.  If you really look at the original 1948 cover of Simplicity #2323, the bottom button is at the waistline, and the first hip-lapel flap only begins below the button-waist horizontal line.  This way the mock pocket lapels are a sort of mock-peplum which compliments a longer skirt and defines the hips, therefore complimenting the waist.  At least this is how it should work.

Look at old photos of other similar suit sets I’ve found on Instagram, and they all have the same “mock-pocket flaps below the waistline button”, too. The line drawing of the new re-print stays true to the details of placement on the old original, but the model photo and the actual printed pattern inside the envelope has it wrong.  See how the top mock pocket lapel is above the waistline, almost level with the bottom button?  Together with the shorter skirt, what had been a 1948 pattern with a special silhouette has lost its identity.  What is worse to me is that the line drawing of the modern re-issue doesn’t match up with what the actual pattern will have you end up with.  Technically, I have nothing against the fit on the model on the cover of Simplicity #8508, but this design is better suited to different proportional placement, and untruthful examples of what one is buying is never good, leading only to possible confusion and disappointment.

If you like the higher pocket flaps and what you see on the cover of Simplicity #8508, then make this pattern as-is.  If you want a finished suit set which turns out both like the old original and the line drawing to Simplicity #8508, you will need to make a small adaptation.  From what I see on the pattern, you need to lower the horizontal angled cut which marks the beginning of the top pocket by 3/4 inch, and lower the line for placement of the second lapel flap by the same amount.  Please see my picture for guidance – my pencil is pointing to the true waistline.  The skirt also could benefit from about 4 more inches in length to truly become a 1948 style…a 27 inch length is a bit too short for that year.

Some of the same problems which apply to the last patterns also apply to Simplicity #8504. This is bittersweet to me because this is one of the most breathtakingly detailed vintage re-issue, especially from the decade of the 1930s which is not seen of as much as other decades’ fashion.  Originally this pattern was Simplicity #1140, year 1932, but for some strange reason the web page for the re-printed pattern #8504 wrongly labels it as circa 1930.  How do I know?  I’m not meaning to brag, but I currently have an extensive stash of old original patterns, with my oldest dating to 1926.  With an Excel spreadsheet of pattern info that fills in every year up until the 1980’s, I can now have somewhat of a database that helps me date and identify the original years of patterns.  A number Simplicity #1140 is definitely from 1932, not just relying on numbers alone, but also looking at the style…of the original not the modern re-make!  Like the 1948 suit above, the proportions of the model dress on #8504 and its actual pattern are so off, it is now more suited to the mid and late 30’s from the waist and below rather than an entire dress from the early to mid-30’s as originally intended.

You see, this general design is technically called a “girdle waist” (so I believe) and is frequently seen in the early to mid-30’s, especially when it comes to a garment that is designed for these shirred cap sleeves.  I have “preview posted” (something I’ve not yet blogged) on my Instagram – a circa 1935 dress, made from a vintage New York pattern, which has similar sleeves and waist styling to Simplicity’s new re-print.  My dress has its girdle waist added on in the form of a wide waistband, but the sleeves are the same, only my dress has a body fit, two-piece, bias skirt.  You kind of more or less need the body of a garment – especially the waist – to be slimming to compliment such overpowering sleeves. The new Simplicity re-print is dramatically different from the original cover and convoluted in such a way that there is bulk and gathers were it should not be, as I mentioned above.  “Long and lean” was the early and mid-30’s ideal, and all the girdle waists I see from this time period only have trim darts or tucks at the waistline.  Post mid 30’s, after 1937, hemlines were shorter with fuller skirts, with a wider silouette and more of a defined waist – like Simplicity #2527, a later version from ’37.  This latter is the style on the new Simplicity re-print and I think it harshly jars with the earlier puffy sleeves, totally wrong in many ways.

This isn’t even taking into account the fact that the arching, curved bodice seam should come down to the waistline at the side seams and it doesn’t in the reprint.  By having the bodice seam end at the waist, the skirt would skim out over the hips the way the original intended, but with the seam ending a few inch too high, I guess adding in a harshly obvious waistline with gathers was the “solution”.  Nit picking incorrect proportions is needed because small details do make all the difference to end up with a harmonious and complimentary finished garment.  This isn’t just my thought – even this dress from autumn of 1993 by the fashion icon Anna Sui has the same proportions and seam lines as the year 1932 original Simplicity #1140 (and it’s oh-so-stunning in velvet, too)!  Now this is a modern day reference that shows when things are done right, they never really go out of style.

My suggestion, if you want the pattern Simplicity #8504 to actually look like the original shown, is to slash the dress’ bodice horizontally through the bustline and lower the whole thing enough inches to get the side of the arched panel ending at or just above the natural waistline.  Pinch out the gathers of the girdle front waist panel and raise (shorten) the waist line the amount you lowered on the upper bodice.

At least Simplicity reprinted the sleeves the right way!  When I made my similar sleeves from that vintage original New York pattern, there was an under sleeve piece which acted as both the guide for the shirring of the upper sleeve as well as the support to sew the shirring down.  This modern re-issue is happily the same method.  It works out well, I must say, but gathering that many rows of shirring is not without its challenges.

The rest of the 1930s Simplicity patterns are to die for!  Finally, one out of the many “sleeves only” patterns which came out in the decade!  Look at Simplicity #8506.  With the “Year of the Sleeve” wrapping up, a pattern like this just might continue the trend!  Statement sleeves really can do wonders to the right pattern – here is one example of how I switched to an interesting sleeve to better match with the rest of the body design.  Why, oh why, does Simplicity again list this one as “circa 1930” though when it was originally Simplicity #1794, from year 1935?

Simplicity #8510 is another very welcome, good kind of different offering – vintage lingerie!  This set is so lovely and basic enough for sewists of any skill, as well as being something that should assimilate well into modern wear for those who do not want to also wear vintage garments over them.  Originally this pattern was Simplicity #2288 from 1937.  The only major updating I see made to this reprint is the practical fact they call for wide elastic across the back closure.  This makes the bra easier to wear and more understandable to construct.  However, my “purist” mind towards vintage pattern releases has me wish they had only shown this as an option because you really don’t need elastic down the back – the original wouldn’t have had it.  I tested this out for myself…I’m not just spouting.

I haven’t posted yet, but I have made myself a similar tap panty and brassiere set from a vintage McCall’s of a few years before, a 1934 #7823 which you can see on my Instagram.  Granted, a non-elastic back requires precise, customized fitting and leaves no room for body variables.  But really, ladies – admit with me that elastic is the first thing to go out and show its wear on your underwear and bras.  A soft all cotton and satin bra with no elastic is actually very, very comfy, anyway, from my experience with my 1934 set!  Making yourself a custom fitting bra is not a bad thing, anyway!  My biggest “problem” with a vintage bra is non-adjustable straps, actually, but modern slide buckles never stay in place anyway (at least for me).  In the 1930’s, ladies bras would often tie closed at the top of the shoulder, that was how they were adjustable.  Single long ties sewn on each side of the front and back would be the old fashioned way of adjustable straps, rather than a one-piece over the shoulder strap.  I really wish Simplicity added more historical info to their primer inside so you can get to know your pattern and understand how it was used by real women of the past (which would help real women of today) rather than just opening it and following instructions.

Now the Vintage Vogue release is ah-mazing, and I plan on making my own micro-suede and animal print version in the next few months!  I’m talking about the new Vogue #9280, originally a Vogue #491, a “Couturier design” dated to 1948.  The week after the pattern came out, McCall’s was really advertising for it on their social accounts, showing how it is a “look-alike” to a Dior design from the year before – in 1947.  Dior was ahead of his time, setting the fashion trends others followed so it makes sense that this pattern is from 1948.  McCall’s keeps blatantly advertising this #9280 pattern as if it is something it’s not – it might be Dior inspired, but it’s not directly labeled as such and neither is it 1947.  Oh well – this is again, me, nit-picking, being the pattern purist.  Mislabeling is still confusing mislabeling, though.

Anyway, the design itself is glorious, with many options for Post WWII drama.  The actress Vera-Ellen in the 1954 movie “White Christmas” wears a coat which looks strikingly similar to the new Vogue reprint…hers is in a buttery yellow with an animal print scarf (see pics of it here).  The only change I see in the reissue is the lack of a lovely little detail – the back neckline collar seam having a triangular point to it.  The new pattern has a straight seam back to the collar seam – so boring, plain, and predictable.  How many patterns have that section in a geometric interesting point?  This little detail Vogue left out is one of the many reasons I like vintage patterns in the first place…but the rest of the dress is enough to excuse this change that I myself will add in on my own.  I have the perfect hat to wear with this dress, so stay tuned on my blog!

I hope the Thanksgiving weekend sales have given many of you opportunities to buy some or all of these patterns.  I also hope many of you even like these patterns enough to have heard me out on my critiquing.  What do you think?

This long winded post brings me to an internal question, “When is a copy no longer a copy?”  My studies with medieval and Renaissance manuscripts and paleography have made me aware of this viewpoint.  What makes a re-issue have the respectability to hold true to its ideal of passing down the details of the original where it came from?  Should a reprint or reissue have these qualities or are small details which are left out, adaptations, or personal changes admitted as a given?  The more vintage style in the hands of those who sew, the better for it in my humble opinion, but fashion is directly associated with history.  Fashion has the power to change behavior and attitudes.  Let’s get it right for a greater good.

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The “Ivory Explorer” Dress

A trip to ancient Egypt with or without James Bond calls for the right dress, wouldn’t you say?  Even if I’m only dreaming, and even if I never really leave town, my newly made “Bond Girl” dress is still a wonderfully chic way to channel the “safari” fashion of the late 60’s and early 70’s.  Following the lines of my inspiration – Barbara Bach from the 1977 film “The Spy Who Loved Me” – my dress pattern was adapted to be more ‘explorer’ oriented while still keeping a pocket-free, clean silhouette to be suited for a warm weather environments other than the land of the Sahara.

The perfect vintage accessories were on hand to make my outfit so very “Bond Girl” matching.  The imitation alligator leather briefcase is vintage from my mom, circa late 60’s early to mid-70’s when she was beginning her professional career.  I love how it compliments my outfit in so many ways, especially in era appropriateness, besides being similar to what was used in the movie.  It really was my purse for the evening, not just a prop, and the nicely divided pockets inside made it very handy!  The earrings and necklace are also 60s or 70s era, from my Grandmother.  My shoes are my longtime standby comfortable wedge heels, Sam & Libby brand, although much more restrained than Barbara Bach’s high heeled Mary Janes.  Not everything is carbon copy to the movie – my buttons are a bit darker and I did wear my hair in an ultra-high, fluffy ponytail just like it was drawn on the pattern envelope cover!

THE FACTS:

FABRIC:  100% linen – soft, slubbed, off-white, and near handkerchief weight – for the main body of the dress and 100% cotton sateen in a rich ivory color for the belt, collar, and front buttoning placket.

PATTERN:  McCall’s #9585, year 1968

NOTIONS:  Nothing but thread, some interfacing remnants, and a card of vintage wooden buttons from my Grandmother’s stash were all that I needed, and were all on hand.

TIME TO COMPLETE:  This was a two evening dress project – very fast and easy, even with my changes!  I spent maybe 5 or 6 hours in total, divided between two evenings.  It was finished literally as I was getting ready to go out wearing it – October 6, 2017.

THE INSIDES:  So nice!  French seams with the rest covered by the collar and button placket.

TOTAL COST:  My dress’ two fabrics were bought at JoAnn’s a few months back for under $30 (as best I remember).  However, I did not use all of each, I have 2/3 yard of linen left and 1/3 of sateen, both of which will go to other projects.  Thus my total price for this dress should be about $20 or less.  Since when can a woman have a linen dress of this quality and design for such a price?!  Awesome stuff happens when you can sew…

Afar from the dusty regions of the world, the safari style mostly finds its place in the grimy urban jungle.  Hollywood’s choice of subject matter of the times helped popularize this style idealism – Born Free of 1966, The Extraordinary Seaman of 1969, Mississippi Mermaid of 1969, and Hatari of 1962 to name a few examples.  Catherine Deneuve and Faye Dunaway became the poster girls for the style.  The real credit, however, to the fashion icon Yves Saint Laurent for his expedition line of clothing.  It was supposed to bring a powerful sort casual class, that’s comfortable with an air of Amazonian confidence and capability to women.  1967 and ‘68, the year of the McCall’s pattern I used, were when his safari designs were in the limelight, with several famous pictures of both him and two models wearing his creations at the doors to his groundbreaking Rive Gauche prêt-à-porter (ready-to-wear) boutiques (one picture here).  It was his “Saharienne,” or Safari jacket, that was part of his first wave of RTW in September 1967.  However, this branch of culturally influenced clothes branched out into laced up dresses, pocket-laden suits, one-piece rompers, and now this Safari look has many forms and is in perennial popularity.  Visit my “Safari” Pinterest board for more inspiration!

My expedition dress has a gentle nod to the Saint Laurent style with its simpler style.  It seems most safari styles are in hue of tan or khaki, and have a plethora of patch, pleated pockets and fine details.  My own Bond girl dress has details but with more of a flawless sophistication I appreciate, no doubt because I associate myself from the woman who wore it in the movie.  Barbara Bach and I both have brown hair and a darker skin tone, and this is not my first dress from this movie, so forgive me!  Egypt does have sand and heat like Africa, but a slight twist on the style – bringing it to a glowing ivory – seems to put her above the elements (as if Bond girls are angels!), in a deceptive play with perception, rather than an earthy tan like true safari styles.  Ancient Egyptians would have frequently worn clothes in undyed linen, anyway, especially for sacred functions.  For me, the ivory brings it out of the casual side more easily, depending on how I style it.  Not that this dress isn’t comfy as if it were a casual dress, because the relatively wrinkle-free linen and the fit makes this effortless to wear.  I guess you can tell I just really think the costumes are first rate in “The Spy Who Loved Me”.  As this project is my second time around, I also think I definitely have another style icon in Barbara Bach.

For being labeled as a “Quickie” pattern, this dress pattern is top-notch!  Most other “Jiffy” and “Simple” and “Quickie” pattern I have tried have all been alright, but either they were so simple they did not need fitting or were just a plain mess to get tailored to myself…until now!  It totally reminds me of what I normally find with the vintage Vogue patterns and 1940s era McCall’s.  There is nice curving along the side seams and perfectly proportioned darts.  This pattern is another one of those that pretty much fit me directly out of the envelope, too.  I have a handful of these patterns that seem meant for my body, and it is like a seamstress’ security blanket to know you can rely on them to be easy to make and like on yourself.  Once you find a pattern like this, it’s a form of gold!

It really took some math to draft my own placket here because this is the widest one I’ve sewn yet.  It wasn’t really hard through, but I did have to remember to cut the dress front on the fold to eliminate the center seam.  Once the placket was in, then I figured out how much longer to draft the collar so I would reach parallel with the edges of the button placket.  I had the temptation to go all out and attempt to make an all-in-one collar and placket piece, but no…a “Quickie” pattern doesn’t deserve to have something added to it which would blow my brain up trying to figure it.

Both collar and placket strips were stabilized with sturdy interfacing so that they would standout somewhat from the rest of the dress and give it something to body, dimension, and interest.  (Something closer to this Yves Saint Laurent dress from Winter 1967.)  Granted the fact that the collar and placket was in a richly creamy colored sateen with a subtle shine already provided some contrast without clashing with the rest of the linen dress.  With the stiffness of the placket, I was luckily able to get by with only 5 buttons leaving some major spacing in between.  The way the collar opens up and stands on its own away from my face…I’m so in love.  I do also adore the way the changes I added bring out the basic but well-tailored fit of the pattern without any add-on details to detract from it.  As much as I cannot do without pockets, this dress needed to go without.

Small details unnoticed at first glance really do make all the difference here.  Lovely French darts were used for the bust and waist shaping while shoulder darts (which actually end at the top of the shoulder blade) offer superior freedom of movement.  For some reason I even found the sleeves and armholes to be much more generous and comfortable than most other 60’s and 70’s patterns I’ve used.  I even cut to the pattern’s original hem length too, and it ends at a nicely demure mid-knee length which comes up to a more risqué mid-thigh when I sit – yay for a sneaky hot little number!  The skirt rides up only because of the slight pencil skirt shaping from the hips down.  This is not an A-line dress but more of a straight cut with subtle curving.  My 1967 plastron jumper had the same kind of skirt, too.  I often assume that most 60’s dresses are A-line so I wanted to point out that this one is a good kind of different from the era’s ‘norm’.  I cannot wait to make another version of this dress for the winter in a long sleeve, perhaps slightly shorter version.

Going back to my title, it is regrettable that the thing which my Egyptian explorer dress shares in common with any kind of Yves Saint Laurent African safari dress is ivory.  This time I’m not just talking about the color of my dress.  Sadly, modern Egypt harbors one of Africa’s largest domestic animal ivory markets.  Hippos are (surprising to many) very lethal and kill about 3,000 every year and elephants can be equally dangerous – quite a different story from the cute nursery drawings of them we grow up seeing.  Many do get killed because of the encroaching of civilization upon the animals’ territory. With bone and man-made imitation being attractive and suitable substitutes, using animal ivory for inlays and carved accessories and artwork at the cost of endangering nature’s most fascinating creatures is even more irresponsible.  Yet, this practice is still going on.  In Africa and elsewhere, it is the elephant and the boar that are targeted.  In Egypt, it is the hippopotamus’ ivory, together with imported elephant tusks which are popular.  The Egyptian government has apparently been working to reduce the trade, but the illegal black market still works to both supply and demand.  Sorry to include a small soap box preaching here, but facts are facts and sadly this doesn’t seem to be recognized as a world problem.

“Bond girl” or ivory trade subjects aside, I now have a great new dress to explore my own urban jungle and take on the errands and duties of my city living in a new vintage style.  Maybe that’s the deeply set attraction of Safari styles – we all have some degree of desire for an expeditionary adventure of some sort which teaches us new things and enlivens the spirit.  Even if it’s just an article of clothing or a book or a piece of art, a tactile thing can still give a small taste of that.  Are you an “explorer” soul – in your own city or abroad?

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…Sewing for My Little Motor Boy

My son sees what I do when it comes to creating and sewing.  Happily for me, he seems to pretty well understand and appreciate it…especially when he becomes the recipient!  He is enthralled and absolutely fascinated by anything that “goes” – planes, trains, and automobiles – so that it gets naturally chosen for him, as if on default.  But not any old print will do.  He likes emergency vehicles especially well and fast sports cars…this second one makes him more like a mini me!  Thus, every so often we come across a printed fabric that makes him particularly happy.  Sometimes he finds the fabrics and sometimes I find them…he does enjoy fabric stores!  Then, it is fun to pair me and my 5 year old up to find what to make with it!  Here’s some of what I have made from the most recent fabric finds which have tickled my son’s fancy.

Now that he is a bit older and no longer a baby, life with him includes more customizing to his age and paying attention to his individuality.  This includes updating his room, too!  So I’ve made him some novelty print ‘race car pets’ curtains that make him giggle and a Disney “Cars” movie flannel pillow cover which he uses every night.  Lastly, I’ve sewed a “Things that go” print shirt which he just loves wearing.  I am mostly proud of the shirt, for several reasons I’ll expound on later, although I did find the curtains to be an interesting learning experience, as I have not made any real home decorating items before.  The best part?  I think I get ‘awesome mama points’ from him for making this stuff – score!

THE FACTS:

FABRIC:  all are 100% cotton – the curtains and his shirt are quilting prints and the pillow cover is a brushed flannel.

PATTERNS:  The pillow cover and the curtains were self-drafted, but the shirt comes from a year 1975 McCall’s #4741

NOTIONS:  I needed lots of thread for all of this (of course), but I also used scraps of interfacing from on hand and some specialty buttons.

TIME TO COMPLETE:  The curtains and the pillow cover was made in several hours’ time awhile back for my son’s previous birthday.  The shirt was made in 4 hours and finished on July 27, 2017.

THE INSIDES:  The little guy’s shirt has fun, random colors of bias tape finishing the inside.  A few seams are merely edge stitched, but the grown-up style facing makes this a very nice shirt.

TOTAL COST:  The curtain Fabric is a M’Liss brand “Traveling with Pets” series, bought from the now defunct Hancock Fabrics back in 2015.  I think I paid no more than $25 for the curtain fabrics, including the contrast remnant.  The pillow cover fabric was bought at Jo Ann’s fabric for a few dollars.  The shirt fabric was a recent ¾ of a yard remnant bought from Jo Ann’s, too, for about $5 and the buttons were on clearance for only 94 cents.

The mathematics I used to draft the curtains became a bit more challenging than drafting garments or purses and belts because it was on such a big scale, but also because I barely had enough fabric to make work.  The same “close call” happened for my son’s shirt – I was literally cutting the front, back, and sleeve with the pieces butting up against one another.  I don’t know why that always seems to happen – every time hubby or our son find a fabric that they really like, there is such a discrepancy of amount left for me to work with it makes my efforts at making something of it a bit more challenging.  The way this happens almost every time I’ve made a project for a family member is so odd!  Anyway, at least I’m putting to good use the last of what is left of these fabrics.

I have no idea if there is a “proper” way to make curtains, but the wide tabs to hang from the rod were relatively easy to make and have a bold yet relaxed, fun look to us.  The tabs and the curtain pulls might look like they are a basic yellow but they have a sneaky fun star print on them!  Nothing, however, can beat the hilarious cuteness of the print to the curtains themselves.  The “newness” of the curtains have worn off on our son by now, but for the first several weeks they were up he could be “caught” staring at them with a look that belies the proof of an inspired imagination and a smile which is between laughing and just plain happy.  After all, we are a family that loves animals, especially dachshunds (look at the giant stuffed “Gertie the dachsie” on the sill), as well as fast cars, so even if I didn’t want to sew this fabric into curtains, I pretty much had to because these are perfectly catered to us!

For my son’s pillow cover, I made it very basic, practically because it was whipped overnight for my son’s birthday.  I probably should have, or at least could have put a zipper into one end, but the pillow cover ended up fitting so snugly over the pillow itself that I didn’t want to take it off so I just hand stitched the opening closed.  I figured correctly that the cover wouldn’t need to come off for it to survive a trip through the washer and dryer.  He sleeps either with this pillow or on it every night (so excuse the worn appearance), and even likes it enough to want to bring it sometimes for sleepovers at the grandparents. Many people asked him what Mommy gave him for his birthday, and many of those who do not sew had a weirdly disappointed reaction when he would excitedly tell them I made something, as if I didn’t give him anything at all.  It’s a shame to see this misunderstanding.  A handmade personally-catered gift can mean so much between the recipient and the maker!

Now to get on to the best part – the shirt!  This is very special for me to sew for him mostly because of the family connections which bring things full circle.  The pattern I used is one that I had given to me by my mother-in law when we were first married.  It is one that she had from her stash.  She herself used this very pattern to make my husband a shirt when he was 5 years old, just like our son is now.  She even had the body measurements written on the pattern for when my hubby was our son’s age, and amazingly the body measurements are all too similar.  Thus, I happily knew it was finally high time to whip up a second generation version of this family pattern.  We explained the connection to our son, but he seems to rather focus on the fun print and details.  Like father, like son…they are both very engineering, detailed oriented persons – our little tyke now has his own version of his dad’s McCall #4741 shirt.

I know the pattern is for nightwear.  However, this pattern deserved to be used (because of the family ties), it was going to fit him without any alterations, and it was dated to a year I’ve never sewn anything from before.  Besides all this, a shirt is relatively classic for a boy of any age.  Even a nightshirt, in vintage terms, can pass as street wear easily and a novelty print can make it too fun to just restrain it to indoor-only wear.

One of the most entertaining aspects to a fabric store is definitely the button section.  My son certainly agrees!  He frequently wants to pick out buttons, and although I have such a generous stash of vintage notions, every so often the need for a store bought item arises and our son happily rises to the occasion.  I will say he does do very, very well for a 5 year old when it comes to finding the perfect button for both some of my own projects as well as his own.  In other words, yes…he picked out his own buttons for this shirt.  They are large planes in his favorite color red.  They don’t exactly match with the ‘theme’ of the shirt, but those buttons give him a special sense of personal pride in the making of this shirt.  He himself had a part in it, and he hovered over my shoulder watching me sew the shirt, so yes he did have a big part in making this.  He likes to brag about this fact, too.  No store bought shirt could have such a bonding, empowering influence!

My title is partly borrowed from a series of 1910 to 1920’s era books which were popular with the youth back when motor vehicles were the newest and most exciting ‘thing’.  There was the earliest and most popular “Motor Boy” series, as well as the “Motor Rangers” and (for the young ladies) the “Motor Maids” which came a bit later.  These are two books currently in our collection and date to 1911.  I cannot think of a better attribute for my son at this point in his life than calling him a “motor boy”, too.  Even in our modern age, the fascination with things that carry us, transport us, and help us travel faster than our basic human capabilities still never fails to captivate.

I do have plans for some fabric on hand to make our son the matching robe, as well as those amazingly dated bell bottom pants which are also part of the pattern for his shirt.  Between his growing so fast, the amount of clothing for him we receive from the grandparents, and the low cost of many kids’ clothes, the greater percentage of his closet is store bought, unlike my own wardrobe I must admit.  I can only sew so much!!! However, the handful of items I do sew for our little man gives me a reason to make sure and keep up sewing items for him and getting him involved with what I do in a large part of my life.  Sewing for the younger crowd is its own wonderful inspiration.  We need the next generation to continue stitching, creating, and imaging in terms of fabric!

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My “Naomi” Dress

Many times when I want to try something experimental in my fashion, I like to start with something I’m not as completely invested in as a sewn ‘from-scratch’ garment.  Therefore, if I don’t find something unwanted from my existing wardrobe, I often resort to re-sale and thrift store offerings.  They are low-cost, there are a plethora to choose from, and I feel like I need to do my part in making a dent with the unwanted and uninteresting leftovers from our modern fast fashion industry.  Here is my latest re-fashion attempt, made for a special family occasion.  As a frequent vintage wearer, I am rather surprised how taken I am by this…it makes me feel so on trend with all the latest off-the-shoulder looks this summer!DSC_0923a-comp,wMy husband actually thinks it reminds him of the character Naomi from the television series “Mama’s Family”, although my dress is green and not her favorite shade of yellow.  For some reason, this attribution to Naomi makes me sigh, half-smile, and feel ever so slighted even though I know she was a great character in her own right.  Hubby is right, though, this is something she would totally wear!  I mean, she even wore an off-the-shoulder dress for her wedding to Vint!  Yet, do I think this dress reminds me of the peasant and hippie styles of the 1970s and 80’s especially with the hem ruffle, but maybe it’s the vintage lover in me which only wants to find a past decade to associate with.  I have a whole Pinterest board dedicated to peek-a-boo shouldered garments, starting from the late 20’s ‘til now, as well as a board for the Peasant look, if you’re interested in looking at more past twists on this modern trend.

THE FACTS:

FABRIC:  a rayon knit big-box store sundress 

NOTIONS:  nothing but some thread…

PATTERN:  none – this was all my own inspiration!

TIME TO COMPLETE:  Making this dress took me about 2 or 3 hours and it was finished on July 5, 2017.

THE INSIDES:  cleanly overlocked (serged)…more on this below.

TOTAL COST:  I only paid $2 for this dress about 2 or 3 years ago

I have been waiting for the perfect re-fashion idea to hit my mind for the few years since I bought this dress.  After simmering on the back burner of my projects list, it was only recently that I suddenly came up with this idea which felt ‘right’.  I went with it (as you can see), and was so pumped to dive in that a picture of the original sundress was forgotten before it became re-fashioned.  Oh well – it was very boring and basic after all.  The original dress was just an empire, under bust sundress with spaghetti straps and very long skirt which had two ruffles at the bottom hem.  There were inseam pockets – one on each side – at a very awkward, low hip spot.  It was pretty much shapeless and uncomplimentary, but the fabric is a wonderful rayon knit with a nice color and print, so I figured it was worth saving.

My first step was to cut off the bottom of the two large hem ruffles.  Most of this became the shoulder ruffle.  I couldn’t have asked for an easier refashion here – I kept the gathers at the top of the ruffle when I cut it off, so all I had to do was hand tack it to the spaghetti straps and the neckline front and back centers.

There was just enough left over from the shoulder ruffle to make a new, wide, middle body waist band so I could have more shaping than just the high empire seam (which gets covered by the ruffle anyway).  The skirt was cut off at the empire seam and my new middle waist panel was sewn in there instead.  It extends down to my natural waistline so the skirt could be re-sewn on at that point.  I did cut off an extra several inches from the top of the skirt portion, just so the inseam side pockets could be at a natural height for my hands at mid-hip.  Next, this was stretched while sewn onto the bottom waist seam of the middle body panel, giving the dress a nicely controlled and loosely gathered skirt.

As this is a ready-to-wear item originally, I departed from my normal dislike of serging (overlocking) seams and thought I would give it a go again just to match with the rest of the finishing inside the dress.  This is a knit so I figured I probably would not need to really change, adjust, or otherwise tailor this too much in the future…but hey, this was cheap enough to buy and no skin off my back if it didn’t turn out.

Since I do not have a serger, I made a visit to my wonderful neighborhood sewing room.  It’s a place equipped with every sort of machine, notion, fabric, pattern or necessary supply I could ever want sewing-wise and the best creative, happy, and friendly atmosphere one could ask for…with a kitchen and wash room to boot.  I pay a ‘per hour’ rate and get sewing done while relaxing and enjoying the company of interesting, fellow sewing enthusiasts.  There are many such places popping up all over – I suggest you search and see if there is something like this in your town…if there is, please support it; if not at least do what you can to connect with other sewing friends!  Apart from my diversion in topic, I now had the perfect reason to spend more time at my local city sewing room, and used the sergers and large cutting tables there to make and finish my dress.  I totally had much more fun making this dress than it is to wear it.

Don’t get me wrong.  My dress is great, and I do like it, but I am not just 100% won over by this off-the-shoulder trend.  I plan to try some more versions yet, to find one I like the best.  As elegant and airy as it is, I feel like I’m always loosing something down the sides of my arms…apparently I’m not used to it.  For those of you that do wear these off-the-shoulder fashions, I need to ask you some questions.  Do your ruffles ever happen to have their hems roll up on you when you lift your arms up?  (This is a “problem” with my dress.)  What do you do if you are chilly – do you like sweaters, loose shawls, or jackets over your off-the-shoulder ruffle fashions?  (I haven’t yet found something I like to cover my arms against some air conditioning which is cranked up like the inside of a refrigerator.)  Also, to get technical, does anyone know whether an off-the-shoulder ruffle is really a sleeve or not?  Just wondering.  If anyone can let me know what they think or know, it would be much appreciated.P.S. – Does anyone else (like me) get the biggest kick out of the character of Naomi from “Mama’s Family”?  I just couldn’t achieve her second season massively fluffy hair the day of our pictures, unfortunately…

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Courage, Compassion, and a One-Shouldered Jumpsuit

Inspiration for my sewing comes to me from some unexpected places, sometimes.  For this outfit, it’s mostly coming from the new Wonder Woman movie but also (on a practical level) this month’s Wardrobe Builder Challenge of “Vests, Shorts, Playsuits”.  Both inspiration sources have inspired me to get my courage on and try something I’ve formerly avoided – a jumpsuit.  I went all out with my first jumpsuit and chose to make a real statement piece, using a pattern from one of Burda’s designer features, and even sneakily dividing it up so both top and pants can be worn separately to maximize my options.  I am quite taken by this outfit!  I really get the good and interested looks around me when I wear it.

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About my main inspiration, there literally hasn’t been anything since the Marvel television show Agent Carter that has had me so excited, inspired, and willing to become entrenched in the culture like the new Wonder Woman movie.  If you follow me on Instagram, you might have seen how I went all out when I saw the movie on opening night!  What I most admire about Wonder Woman is that her compassion for others only makes her more powerful – and her strength adds to her beauty in a way that has depth and character.  Her courage is innate, as is her compassion, so she breaks boundaries and expectations – it’s part or who she is and what she feels she has to do!  Her care and concern for others is her driving force, sadly at the expense of herself…much like Agent Carter.

Wonder Woman amazon logoThat said, a full-out Wonder Woman outfit will be reserved for this Halloween.  Until then, I wanted sew something “everyday wearable” to channel the Grecian/Ancient Italian-influenced look Diana had on her Amazon island paradise.  What better way to do that than to choose a design from Dimitri Panagiotopoulos, a half Greek and half Italian designer who founded his label in 2007, featured in the Burda Style April 2017 magazine.  He lets the heritage of his culture influence his lovely designs, and his styles are meant to evoke strength and confidence in a feminine way.  I love how this jumpsuit is so glamorous, bold, yet relaxed all at the same time.  This jumpsuit does take a certain courage and self-assurance to wear, I’ll admit, which can be kind of hard but is also empowering.  What a perfect design and designer to sew a modern day ‘Diana’ outfit!

All it needed was my Wonder Woman armband and head crown to complete the Grecian and DC influence!  I will revert to the fact my son wanted me to buckle and buy the armband and headband set because he now sometimes calls me Wonder Woman…what can I say, I’m soft.  Not to brag but I do think I somewhat look like her put together like this!

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I wanted to slightly call to mind the 1970s jumpsuits as well by wearing my Grandmother’s nice Trifari brand vintage jewelry (jet cabochon necklace and palm leaf earrings) with my sling back, peep toe, gold Chelsea Crew heels.  I’d like to think of my vintage gold belt as an adapted Wonder Woman “truth rope”.

THE FACTS:

FABRIC:  a semi-thick and tightly stable poly-cotton-spandex blend Ponte knit.

PATTERN:  Burda Style pattern No. 121, only in the Burda Style April 2017 issueBurda121 line drawing & pic of Dimitri

NOTIONS:  I had to buy the invisible zipper, but everything else (the thread, interfacing, and hook-and-eye) needed was on hand.

TIME TO COMPLETE:  This was finished on June 12, 2017 after about 10 hours

THE INSIDES:  left raw as the knit is so stable it doesn’t fray in the least

TOTAL COST:  The fabric came from JoAnn’s Sportswear section, and with the zipper this jumpsuit cost about $30 dollars

As to the sewing part, it was really pretty easy to put together, the biggest challenge came from the pattern running so generously large.  I had to take out about 2 inches overall from the side seams of both the top and pants.  I drafted out the size that I always use in Burda Style patterns so it must have been the pattern.  I remember this problem with the other Burda designer patterns, so I’ll make the assumption that these generally run large and go down a size from now on.

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My changes were small.  First off, I added an extra 5/8 inch to the top bottom hem as I was not going to sew it into the pants but keep it as a separate top.  I did also have to add a small ¼ inch bust dart coming off of the neckline on the right side to shape the sleeveless side.  I made my own bias banding to finish off the neckline edge with a small rolled decorative edge, but merely turned under and double stitched the single armscye’s seam allowance to keep that low key.  I also was able to eliminate the need for a zipper in the top since I was using a knit and making a separate top.

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The pants have very full pleats together with handy pockets, making these comfy but something that makes me self-conscious.  Pleated pants are somewhat hard to like looking down at myself, I feel fat even though they are in a slimming black and do look good when I look at them in a mirror or picture.  Oh well!  At least I am proud of another well done, truly-invisible invisible zipper in the side!

Even though a knit-friendly interfacing seems to be recommended for the pants waistband, I went with a thick and stiff interfacing to support the heavy pants and stay the pleats.  I thought a gathered back to the pants like the design calls for was a bad idea, both for my taste and for the rest of the outfit.  So I merely made a duo of pleats to the back fullness, instead.  I figure I can always turn the pleats into darts if I want in the future.

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Please forgive the folds and creases in the fabric of my jumpsuit.  I cannot use a high heat on this fabric and the on-the-bolt fold seems like it is set on permanent press.  The fabric is so supple and flowing, those unwanted fold lines are just something I have to DSC_0768a-comp,wlive with for now, just wanted to let you know it’s not like I didn’t try.

I see a lot of possibilities with this outfit.  After all, a pair of black pants goes with anything!  The one-shouldered top half (whether worn with or without the matching jumpsuit bottoms) pairs well with the other one-shouldered Burda shirts (post here) that I made a few years back now.

Find the courage to try that new kind of garment to wear, as well as finding the Wonder Woman type of courage to do what is right.  Be strong.  Have compassion on yourself and others – we all need to feel awesome and cared for.  Let some of this carry over to your life and even sewing (why not?) for a truly wonder-ful result!

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