Gold and Grey for Navratri

     The annual Indian festival of Navratri has come once again!  Navaratri, meaning ‘nine nights’, is one of the most popular and widely celebrated Hindu festivals in many parts of India and will commence on October 3.  It will conclude on October 11 for 2024. Whether you celebrate it or not, I am here to treat you with what I made to observe the occasion.  This is not the first time I have celebrated Navratri on my blog.  Back in 2022, I highlighted the theme colors of the last two days for Navratri (peacock green for day 8 and bright pink of day 9) together by sewing an “Angrakha” style robe using a vintage 1970s pattern.  This time, I paired the color grey of day 3 simultaneously with a golden yellow of day 1, all within a brand new sewing project that channels the 1950s.  This festival celebrates the different forms of a main female goddess through the spiritual significance of specific colors, and I love how this manner of approaching its observation carries with it a powerful feminine energy, which is still applicable today.

     I reached for something easy to sew, but no less fancy.  I know I have been posting a good number of such projects, yet this is yet another re-fashion!  The item I started off with came to me from my parent’s house as bags of assorted skirts, many of which I have been re-working since early this summer, as discussed in this post here.  Yet, unlike many items in the bags, the skirt which I used to make this dress was not made by me.  It had been handmade in India nevertheless, and that alone had my heart.  The fine details that I would not have the patience to do myself, such as applied sequins, bugle beads, and three tiers of gathered material, needed to be redeemed into another form.  I had no interest in wearing this skirt as it was since it was too long on me, didn’t fit right, or even match well with any of my wardrobe’s tops.  Therefore, I changed that skirt to become a dress! 

THE FACTS:

FABRIC:  a 100% cotton

PATTERN:  McCall’s #8280, 1950s era design re-issue from 2022

NOTIONS NEEDED:  thread, interfacing, one 22” invisible zipper, and 4 yards of authentic embroidered trimming direct from India through “Fibers to Fabric” on Etsy.

TIME TO COMPLETE:  This dress took me about 8 hours to make and was finished in April 2024.

THE INSIDES:  I left the original serged (overlocked) seams to what I kept of the skirt, but fully lined the bodice in an all-cotton remnant so the bodice is structured and clean finished.

TOTAL COST:  Four yards of the trimming cost $15, the cotton for the inner bodice lining was a $3 remnant from JoAnn Fabrics, and the skirt was free (to me).  This dress cost just under $20!!

     Each color has a beautiful emphasis upon different attributes and representation in the culture of India, but more so for Navratri festival.  Yellow, for the mountain Goddess Shailputri, is synonymous with happiness and positivity.  This color is a favorite for Navratri, being the preliminary color that starts the festival off with its joyful energy.  Yellow represents the festivity of the season, as it is not just the shade for day 1, but also a reference to the marigold flower garlands so often used as home or personal décor.  A very golden yellow is furthermore the color of the golden jewelry of India which gets worn in abundance for festivities such as this one.  Its vibrant tone embodies natural light and enlivening energy, and is supposed to bring out a person’s lively characteristics.  I do enjoy yellow in almost every shade, but here it is relegated to the little details of my outfit such as the gems on my embroidered ethnic trim, the jewels on my earrings, and applied sequins on my skirt.  The vintage silk Gujarati “shisha” (mirror trimmed) sari behind me as my backdrop also adds an overall glowing yellow tone!

     Nevertheless, the main color of my dress is grey.  Far from being an unexciting tone, grey (during Navratri) stands for the special warrior Goddess Chandra-ghanta, and symbolizes stability, tranquility, and resilience.  Being a neutral color, grey nonetheless further denotes a peaceful, consistent strength of spirit since it is understood to be the color of the moon, which is upon this goddess’ center forehead in a crescent shape.  This coincides with the fact that I am an evening person, and I stay awake far past the rising of the moon.  Perhaps this is my personal color?

     Grey is such a wonderfully basic tone in the way that it can go with so many prettier and brighter colors (as I did here for this Agent Carter jumpsuit, a 1960s dress, my dachshund nightgown, or this 1940s era suit set).  I never really like grey on its own, and a monochrome look will only work for me unless there is a textural interest going on (as I did on this old T-shirt refashion and this Gilda inspired nightgown).  Even still, I end up reaching for it time and again in my sewing decisions, as can be seen from the plenitude of grey projects (more than can be mentioned) to found on my blog.  I enjoy it for the complimentary way it cools down other colors…something a stark black can never achieve.  This dress’ grey has a dusty blue undertone that I love, and the touches of brown in the oversized paisley print is an unexpected combination that matches beautifully.  

     According to my preferred style choices, I went for a vintage look to channel my cultural-inspired fashion.  The pattern I used for this post’s dress is not very ethnic to look at by design lines alone.  Yet, as is the case for sewing in general, personal interpretation is the magic ticket to sewing whatever your imagination desires.  This dress is from a vintage re-issue I have not been able to find the original pattern for, but I am estimating it is from circa 1953.  I have seen several vintage original patterns which are similar, particularly the reprint Butterick 4918, or two originals by Simplicity, #4335 or #4353.  If you happen to know or find an image of the original pattern this reprint comes from, please let me know because I do have a beef with the fit of this dress (which I will discuss shortly).  I’d love to compare the two! 

     This does turn out a cute and interesting dress, even if it is not one of the best vintage reissues.  It was the perfect answer to re-fashioning my skirt, nevertheless.  I am glad that I did not have to make all those tiers of skirt panels from scratch, but was able to save time and material by using a garment that already imitated part of the design.  I couldn’t have planned a better way to find a low-pressure and rather fool-proof source to easily try out this pattern.   

     I was limited to how much material (and trim) I had to work with, and so I chose a strapless shoulder-baring design for a different twist to my ‘normal’ more covered-up Indian inspired garments.  Yes, I will admit the single asymmetric shoulder drape is nothing too original for me to do when attempting to make a garment based on the culture or traditions of India.  I have done a similar touch for this 1947 dress for India’s Independence Day as well as this 1951 dress for last year’s Navratri and Diwali festivals.  Whenever I have added some sort of asymmetric sash to my India-inspired creations, I was clearly hinting at wearing a sari or dupatta shawl.  In particular, I have often chose to interpret Gujarati Indian traditions by having my draping go across my right shoulder, from back to front.  I speak more about this in my post here when I wore a friend’s Gujarati sarees in a traditional ethnic manner. 

     Here, however, my dress is more loosely inspired by India than a literal adherence.  The fabric is a lightweight, semi-sheer crinkly cotton and thus the sash looks better wrapped around my body rather than just hanging free to imitate a sari or dupatta.  It also travel front to back this time, and is over my left shoulder!  The sash panel is attached to my bodice at the front neckline corner, so I never have to fear losing or adjusting the drape.  Many modern Navratri or other holiday interpretations of traditional outfits are similarily being “updated” or reinterpreted in India today to have the look of a sari wrap without the actual practice of it.  India’s young people are frequently preferring brands who now make clothing that gives the impression of traditional attire with all the ease of a modern reduction of seams and excess fabric.  This way, even though my dress is a vintage design, I do feel that I am sewing in the spirit of the modern India’s fashion choices. 

This is all that was left from my refashion – an elastic casing, some scraps, extra jewels, and the original hang tags!

     Such a pseudo-sari design accommodated a playful twist and utilitarian approach to the amount of fabric I had given myself to work with.  First off, I chose to cut off what had been the bottom tier of the skirt to have as the material for this re-fashion.  The lowest tier was the widest panel, besides being the easiest to remove and use, with no applied decorative elements to get in the way.  The embellished, fancy lower middle tier became the new “hem” level.  What had been the original waistline was kept (with the elastic casing removed). 

Before I could work with it though, the removed panel needed some ironing to remove the set-in wrinkles.  This had been a 1990s era “broomstick” pleated type of skirt, but steam ironing the material flat brought it up to being 35” inch in width.  This was not foreign for me to see, as 35” is the normal selvedge-to-selvedge measurement I see when working with true vintage fabric from the 1940s or before!  I had just enough room to fit in the strapless bodice pattern pieces.  Some piecing was needed on the lower front bodice (above the waistline) since the French darts made that pattern piece so much bigger than it would have been with different design lines.  The rest of the fabric length leftover from cutting out the bodice was squared off, hemmed, and turned into the asymmetric scarf.  It helps me feel a bit more covered up and is fun to wrap around myself.  

     By the way that the amount of decorative elements accumulate towards the bottom panel, my dress could have the look of being a modern spin on an Indian “Anarkali”, if only it was ankle length and not mid-calf length.  An anarkali has a fitted bodice, often with a decorative neckline and matching dupatta, with a skirt that flares at the hem to a very full width.  They are often adorned with intricate embroidery, sequins, and embellishments.  I can check off all those boxes!  These dresses are reserved for ceremonial occasions and special auspicious celebrations, which is part of the reason they are floor length.  The shorter length here was what had to be done if I was to refashion this skirt, and lets my dress have a true 1950s flair.  I think the shorter length makes it look more like a dress for dancing, which is all too appropriate being that such a garment is named for a legendary Mughal court entertainer.  I do want a proper anarkali in the future.  Yet, I prefer the way this dress presents as evening wear, while having a length that is less formal and more wearable.   

     I did simplify the bodice, which came in handy, because I found it frustrating to fit.  I did not add any boning into the bodice, but merely ironed in heavy interfacing to the back of the lining cotton panels.  A soft and swishy fun dress seemed contrary to stiff boning.  However, I primarily did not feel like dealing with boning at the time.  An easy re-fashion was all I was looking for, and I had low hopes that this project would even turn out.  Investing the effort into adding boning felt like a waste.  As it turned out, the bodice is fine the way I made it.  The shoulder drape helps keep the bodice up and wearing a supportive long line brassiere helps shape the dress from underneath.  Sure, the bodice does droop and wrinkle a bit, but it is a great improvement compared to the skirt I started off with.  The pattern did not have the best sizing, and I am not that impressed with the fit it gave me anyway.  I am blaming the pattern for anything unpleasant the bodice. 

     The bodice ran large even though I followed the envelope chart and I took in the center front and side seams.  This adjustment made the bodice weirdly wonky.  Then, the waistline was found to be really long on me.  I needed to cut two inches off the bottom waistline length for a shorter bodice.  Even then, I had to also trim down the sweetheart neckline shaping.  Its edges were too high up, digging into my armpit, and the center was too dramatic of a dip.  Such a simple little bodice became exhausting when I remembered all of my changes needed to be mirrored on the lining.  The side bust shaping being in French darts was the only benefit to this design that I liked and didn’t adjust.  I do still have some tiny remnants of the skirt’s fabric leftover still, so I may come back to this dress in the future and add tiny spaghetti straps.  This step may solve most of my complaints against the bodice.  Even still, I like the dress how it is for the time being, and feel so glamorous wearing it!

     The dress would not have been remotely as glamorous as it is, if it wasn’t for the fancy edge trimming that I added.  This is perhaps my favorite part of the dress.  Not too often does an added embellishment help a dress look utterly complete the way this trimming has done for my dress.  It is the real deal notion, ordered straight from a small vendor in India, and in a high quality that is not to be found in a conventional fabric store.  There is a base of grey mesh onto which heavy golden thread is intricately embroidered.  Small orange jewels are glued into the center of the grey shell designs.  Some of the jewels came off during my efforts to sew down the trim to my dress.  I am counting on losing more when my dress needs to be washed.  Nevertheless, the trim is just as gorgeous with or without the jewels. 

I definitely recommend buying some of this trim for yourself, even if you don’t know what to do with it just yet, before it is completely sold out on the “Fibers to Fabric” site!  I bought 4 yards of it years back “just in case”, and here the entire cut was precisely just enough to encompass the skirt hem and my bodice neckline.  This pairing of fancy trim to new dress was obviously meant to be.   

     We are still having warm temperatures into October this year and my new Navratri dress is the perfect way to celebrate without breaking a sweat if I let myself express my happy mood by dancing!  This is by far one of my fanciest grey creations yet.  I hope this post gives you a little enjoyment and happiness for Navratri, whether you celebrate or not.  May you find peace, a multitude of blessings, and new outlets for joy this festival season. 

A Septuagenarian Celebration of Patrick Kelly

     If the “American In Paris” fashion designer Patrick Kelly had not passed away at the age of 35 on New Years’ Day in 1990, this September 24, 2024 would have been his 70^th birthday.  From a mathematical perspective, his presence in this world has been missing for nearly the same amount of time that he lived!  Many of those who admire his talent, know of his dedication, appreciate his designs, or have enjoyed his friendship are all celebrating this week as if he was still having a 70^th birthday, even if that is only a “heavenly” birthday.  I would like to be a part of such a commemoration on my blog so as to honor my top favorite designers, Patrick Kelly!  I hope that the achievements and talents of this trailblazer from Mississippi never be forgotten.    

     I usually only post my own sewing projects on here, and I do have so many outfits which have been made with him and his works as my inspiration.  For this special occasion, however, I have a post which lets Patrick Kelly’s own creations speak for him by showcasing his own items which are happily a part of my personal wardrobe.  With such a presentation, I am trying to display his genius, his influence, his endearing character, and his unfulfilled goals, even if I am the one modeling the clothes which will be helping me tell those stories!  Here, you will see a handful of extant original pieces from Patrick Kelly that I can trace to his runway collections.  I believe their fabulous fit, impeccable design, and high-quality details speak for themselves when worn.

     First up, let’s look at an original Fall/Winter 1989-1990 wool knit dress, part of his “Jailhouse Rock” group.  It was important for me to acquire something iconic when I set my heart on finding a runway item from my favorite designer… especially since his pieces are quite an investment!  My patience and waiting paid off earlier last year!!  This is one of Patrick Kelly’s top visibly recognizable pieces.  

Presented on the Parisian runway in March of 1989, this style is from the last collection he would design before his death.  The title of the group it comes from refers to Patrick’s love for the music of Elvis in particular, but also old 1950s era music.  Yet, the severe stripes are also a slightly unsettling reference to incarceration.  This reference is especially telling especially being as he was a black man who grew up during the unsettled Jim Crow era of the Southern states of America.  When he went to Jackson State University, then an all-black school, his best friend hanged himself in jail.  Martin Luther King Jr.’s preaching was everything to Patrick Kelly, who often repeated the Reverend’s words and sported a logo pin with his face upon the overalls which were Patrick’s uniform of choice.

     This dress shows how Patrick Kelly took his title of the “King of Cling”, given to him in derision by the media and his fashion peers, and turned it into a compliment.  Using knits was originally an easy way for him to design clothes with his lack of pattern drafting skills and inability to use a sewing machine.  Yet, within a few years of being in Paris, he made friends with the designer Elizabeth “Ms. Liz” Goodrum and found ways to improve upon his own ideas.  His knits soon became ingeniously cut to flatter the female form.  They fit so well due to his use of the finest fabrics.  This dress has the highest quality wool knit I’ve ever felt.  It is a delight to wear since it is not an itchy woven, only smoothly finished, wonderfully opaque, and just stretchy enough to be forgiving but substantial.  Besides being honored to enjoy one of his designs, I truly feel a sense of the joy that Patrick Kelly radiated when I wear this.  It is fun yet elegant, daring yet decent, and definitely a unique statement piece.

     This dress shows yet another one of the many references that his clothing had for the designer Madame Gres.  She was his icon on a high pedestal of his greatest esteem.  Her finely crafted draped creations were unattainable objects of aspiration for Patrick, who often said he would do anything to be in Gres’ atelier or assist in any way…even if that was just picking up her pins off the floor!  Between her classical Greek inspired garments and the avant-garde clothing of the Japanese designer Kenzo (also located in Paris), Patrick Kelly looked up to his fellow masters to gather ideas for both draping and reimaging different cultures.  Patrick’s concepts, however, were to have a stunning use of both form and function while also maintaining simplicity of design.  My front shoulder scarf is attached at the one side seam to create an illusion of being a wrapped garment reminiscent of Gres’ Grecian inspired gowns or Kenzo’s figure revealing draped silk designs.  The front has plain black wool underneath, as well as from behind, with a high V-neck and an invisible back zipper.  Patrick’s original dress was designed to have matching striped gauntlet-style gloves, as well as specially made heels to match, for a totally matching ensemble. 

     I have since acquired some patterns for Patrick Kelly’s knit dress designs so I will soon have even more opportunities to show you his skill when working with knits, as well as his awesome ideas for dresses that defy expectations.  This “Jailhouse Rock” dress is a very high bar to look up to for my own sewing, but especially so for any fashion conscious individual, and I am so glad I can take this anniversary celebration to show it to all of you.

     Next, I have a color blocked suit jacket to show you.  This Patrick Kelly design is also from his lifetime’s last runway collection of Fall/Winter 1989-1990.  The exterior is a twill-textured wool, with a dark purple satin acetate interior as the lining.  The cuffs, pleated sleeves, and smaller collar are strongly reminiscent of a blouse even though this is suiting.  The buttons are squares of blue, adding a fun pop of contrast over the black midriff.  

     Patrick Kelly made a deal with the “Streamline” button company in 1989 to enable his designs to be even more customized to his every idea.  Buttons were the notions that defined his fashion ingenuity and first launched him into popularity (discussed here in this post of mine).  Buttons on his Parisian pieces were also subject to a 40 percent duty fee on embellished garments imported into America, though.  In the year before (1988), Patrick Kelly found a way around this inconvenience by offering separately packaged buttons and bows that the consumer (or a tailor) would add on after their purchase.  I suspect this blazer’s amazing buttons were added on in America because the thread is slightly different than what I see on the rest of the garment, and the method of sewing down the buttons is a bit sloppy for a French fashion house.  Either way, the buttons really make this blazer pop.  Patrick Kelly was thoughtful and always insisted on finding a way to keep his offerings affordable (on the lower end of the designer level price range).  Yet he did not compromise on the fine details that made his brand unique, even when he was licensed worldwide through Warnaco Corporation.  I love how I can tell this whole story through one item.

     The entire collection this color blocked blazer was a part of celebrated his “Two Loves”: France and his home country of the United States.  Other items shown alongside of this particular black and cobalt blue suit had been blocked in the colors of yellow, purple, and red combined with black.  Most of these suits had separate bottoms to match in color, whether that be suit slacks or short slim skirts.  A few pieces had black separates.  Since this last option was easier for me to immediately mimic, I first paired the blazer with my black knit designer pants, which were made back in 2017 (see their post here).  Since then, I have also made a dress to match the blue cobalt tone to end up with a full set…but this will be its own post yet to come.  

     Patrick Kelly’s suits show the same masterful handling of creativity, color, and co-ordination of design lines that he had with his dresses.  This piece again employs a trick of the eye to become so flattering.  The black midriff section slims the waistline in more ways than one with no boning and minimal structure.  There are still giant shoulder pads, but they blend in so well with the design.  It is amazing to find it softy structured enough to be so comfortable, which is a very unusual spin on 1980s suiting! 

     Patrick Kelly’s other fashion hero was Yves Saint Laurent, after all.  Patrick did design the window displays at Yves Saint Laurent Rive Gauche Boutique that newly opened in 1974 when he first arrived in Atlanta, Georgia to attend Fashion collage.  Then, he was the fashion show coordinator for a YSL ready-to-wear show in Atlanta in 1976 (where he became friends with the models Iman and Pat Cleveland).  He had always wanted to reach a level of expertise that would rival the tailored suiting of YSL.  When Mary Ann Wheaton became the CEO and president of “Patrick Kelly Inc.” in 1987, he was asked by her to offer career wear for women, particularly office appropriate suits.  No doubt he jumped at the thought, because his forthcoming suit offerings turned into his most popular sellers. 

As his in-house designer, “Ms. Liz” Goodrum had said, “He (Patrick Kelly) wanted to make a statement by taking established designer’s works and re-creating them to show that he was just as good, if not better, than them.  Not only could he do it better and less expensively, but also with a sense of humor.”  Yet, he was always grateful for every opportunity.  Before every before runway’s showtime, Kelly would join hands with everyone for a revival-style prayer, raising his voice to say “Thank God for making us be together.”   

     Finally, I have to show you Patrick Kelly’s wonderful “Music Notes” skirt.  It is from his Spring/Summer 1989 “Lisa-Josephine” group, which was presented in October of 1988.  This skirt was part of his first show as an official member of French couture through the “Chambre Syndicale”.  It was also part of a full suit set, for which there was a suit coat in a print that reversed the black-to-white layout.  The skirt is made using a deluxe black pique cotton, (which material I discussed a length here in this post) fully lined in a rayon satin.  There are generous pockets in the side seams which extend forward to the front panel so as to provide better shaping over the booty. 

     This skirt, and the entire music notes collection, were a tribute to not only Josephine Baker, who he idolized for the quirky and playful ways she dealt with misrecognition and assimilation.  He did have the famous model Pat Cleveland, his personal friend, perform at his Fall/Winter 1986-1987 Parisian runway show in an ensemble that resembled Josephine Baker’s trademark banana skirt bikini.  Mary Ann Wheaton said, “The press loved the idea of an ‘American in Paris’, coming out of the tradition of people like Joséphine Baker… Patrick marketed his designs in a new way.”

     However, this music-themed skirt also stands for the way he showed great support for his fellow black American artists who were trying to find assimilation and success in the music industry.  He never presented any runway show or worked on a collection without having a backdrop of his favorite music from black artists whom he wanted to support so they would succeed in spaces they had not yet been welcome in before.  He saw their voices as amplifying his own experience.  He loved the soul sounds of Aretha Franklin (“Baby I Love You”), the pop tunes of Vanessa Williams (“The Right Stuff”), the messages of Alexander O’Neal (“Fake”), and the disco of Howard Johnson (“So Fine”).  I am holding the old vinyl records of all these artists as well as other black musicians of the 1980s that I enjoy, such as René & Angela as well as Dennis Edwards, who came out of my own hometown.  

     I love the shape of this skirt and how low-key fancy it is while still being so wearable.  The pique fabric is for every season.  The print is fun but not overly obnoxious, and the longer length is tasteful.  This is the ultimate ideal of Patrick Kelly garments.  Patrick Kelly was a master at complimenting the feminine form.  He often repeated throughout his career that he believed all women are beautiful, and deserve clothes that help them feel loved.  Yet that doesn’t mean such clothes can’t be joyous, bold, and assertive, too.  He balanced audaciousness with propriety.  Patrick Kelly could combine all of these elements together with the troubled past behind his American heritage to create niche fashions that appealed to customers who were looking for clothing that made a statement.  An exploration of his own personal identity and experience as a gay black man, which was interwoven through Patrick Kelly’s clothing, spoke to his dedicated customers in many ways and have touched many others after his death, as I myself have found. 

A paper fan distributed to the audience at Patrick Kelly’s Fall-Winter 1988-1989 runway showing.

     It is tempting to reflect over what the fashion industry would look like today if he had survived his battle with AIDS. Would it be a more diverse and equitable for all designers than it is today?  Would it have been more creative and inclusive?  Maybe we might now have high end fashion that is the perfect mix of fun, fancy, and affordable.  Where are the mainstream designers today that defy odds and baffle expectations, as Patrick Kelly did in the 1980s?  Either way, America needs to be more knowledgeable on this designer from Mississippi so that he can be a source of pride, of hope, and an example for empathy.  Patrick Kelly’s legacy can show us the way, but let us not look back at his life in a way that may be sad or unhelpful on such a momentous anniversary.  His own funeral at the American Cathedral in Paris was one big happy celebration of laughter and anecdotes. 

     Patrick Kelly had so much more he wanted to do in his life.  He planned on having an exclusive couture collection starting in 1990.  He wanted to dive into menswear.  He had hoped to show his mother that she was wrong when she said he would never find any fame or recognition except after his death.  However, what he did accomplish in his short 35 years is still impressive, and has made its own impact 70 years later.  I see the influence of Patrick Kelly’s efforts in the recent appointment of the first black creative director for Polo Ralph Lauren, James M. Jeter.  I see Patrick Kelly’s character in any person who shows understanding and consideration towards marginalized or minority communities in face of hate or prejudice.  I see Patrick Kelly in every story I find about a creative heart who worked their way to the success they aimed for after years of dedicated effort, hard work, and hopefulness.  Patrick Kelly’s legacy is one of happiness and love, cherishing family and making friends everywhere you go…and ultimately he is more than just a fashion designer for leaving such a bequest.

“As Time Goes By”

Here are some good memories of when I did fashion modeling in the 1990s!

     There is joy to be found when returning to the mementos which were part of the best experiences of life, such as a long forgotten piece of jewelry, an old piece of art, or a favorite poem.  Coming back to the things that trigger re-living a moment of happiness is an action which is a treasure to our existence.  Transitory items are often easy sources for reminisces, and clothing in particular carries very personal stories within its fibers since it is worn upon our bodies.  Such an understanding is all too real to me as both a seamstress and a fan of wearing secondhand or vintage garments.  However, now that I am older (after sewing for most of my remembered life), I have my own throwback items, as well.  Recently, my dad brought over from their house a bag of items, which I had sewn twenty or more years ago.  I felt emotional from the rush of memories related to the struggle or the ideas behind each project, forgotten for many years until now!  It is amazing how clothing can take you back to a different time or place.  Seeing where I had been in life in relation to where I am today is a powerful teaching experience, and clothing seems to have many such lessons to offer, especially when it is made by my own hands.

“Play it again, Sam, for old times’ sake…”

     As part of my most recent sewing project, my post’s title hints at a very memorable quote from a famous WWII era film.  I am waxing nostalgic by going back to the 1940s, the first decade that helped me fall in love with vintage fashion and one that I have not been sewing from as of late.  The movie scene tied to the quote is closely related to the subject of memories, as well, showing how a place and a tune can also bring back someone’s life history.  Yet, here I am trying to highlight the fact my dress is a re-make of one of my own past creations, proving how worthwhile it is to play around with an old garment so it can shine again.  You see, I do not have to lose those old memories attached to my past projects just because they no longer work for my body or my wardrobe of today.  I can refashion my own sewing and interweave the original provenance into more memories of life that I am forming every day.  This is a very holistic approach to my sewing that feels so right and makes me very happy.  My previous post was also along this same vein of creating something new with what is on hand, which in my case that just so happens to be a “me-made” item! 

THE FACTS:

FABRIC:  The floral printed exterior of the dress is a cotton pique, with the inside of the skirt lined in a cling-free polyester and the bodice lined in a cotton broadcloth

PATTERNS:  Originally the skirt was sewn using Simplicity #7227, year 2002 (used previously to cobble together this 1920s inspired dress, posted here), but was remade using Butterick #5209, a year 1947 reprint issued in 2008.

NOTIONS NEEDED:  lots of thread and one zipper

TIME TO COMPLETE:  The skirt had been made by me in the early 2000’s within several hours, but this June 2024, the dress was re-made in about 12 to 15 hours.

THE INSIDES:  I double zig-zag stitched over along the raw edges to imitate overlocking (serging).

TOTAL COST:  At this point, as this dress is a project so far removed from my original purchase of the fabric back in the 90’s, I am counting this dress as free!

     I know that my blog post is coming out after Labor Day weekend and some people never wear white past this holiday…but that doesn’t mean I can’t post about it, right?!  This dress has been my proudest make this summer, so it deserves to be shared sooner than later.  My dress has been long in coming, and the original skirt never really had been worn all that much years back.  Thus, I am thrilled to finally be able to wear such a unique fabric and cute vintage design.  Now that I recently had pictures taken of this project (after enjoying it all this summer), you get to see one of the freshest creations hot off my sewing machine.

     Would you believe I bought this pattern all the way back when it first was released by Butterick in 2008?  There is a personal story behind me buying this pattern, which is important, as it shows the influence behind anyone who sews.  Since I started sewing as a child, I was acquainted with someone who regularly worked at my local fabric store.  She was an expert seamstress who was there to answer my every question.  For her own wardrobe, she primarily sewed with historical or vintage re-issued designs as soon as they started coming out in the late 1990s.  She was my inspiration and benchmark for working fashions from the past into everyday life, as she always made it a point to wear her handmade clothes to work in the fabric store.  She created many appealing and fun versions of 1940s and 1950s era sundress pattern reprints, which easily sold me on buying many of them, such as this Butterick one.  For all these long years, I have been aching to try this particular pattern out based on her experience but never felt that I had found the perfect fabric for the dress…until now! 

     It’s laughable to me that an existing garment (with matching scraps) was the material which seemed to suit my long admired Butterick reprint pattern better than any fabric to have come through my hands over the years.  It is understandable, too.  The pique fabric, not the print or its colors, was what appealed to me in the first place all those years ago, but choosing to sew an A-line skirt didn’t take full advantage of its qualities.  This time, I correctly figured the soft structure, unique texture, breathable quality, and comfy feel of this material would be more suitable to a full-skirted summer sundress.  This weave of material is scarce to find or even see on ready-to-wear as it once was before the 21^st century, and so I liked keeping with a retro reprinted design.  I remember seeing pique stocked in fabric stores.  It is on two vintage designer pieces (a 1980s Patrick Kelly skirt and a 1990s Moschino skirt) in my wardrobe, and it used to be easily recognized by many, even the casual fashionista.  This dress is just a vestige of memories about a fabric I loved, which is now largely forgotten.  I sound old saying this, but I miss the variety of textiles that clothes and fabric stores had to offer 25 (or more) year’s back. 

The center back of the neckline has this beautiful curved notch detail (which my long hair sadly covers up).

     What is pique, after all?  Let’s run through a quick terminology check so as to better appreciate one of the many reasons why I love this dress so much.  ‘Modern pique’ is not an authentic representation of the fabric.  What often is labeled as pique today is found to be a textured, pebbled ‘Cross-Tuck’ knit used for athletic polo shirts worn for either golf or tennis.  This is no longer the heritage form of pique, but more appropriately dubbed “Lacoste fabric” after the brand that revolutionized sportswear.  True pique, also known as “Marcella fabric” or “honeycomb stitch”, is a term that refers to a unique method of weaving cotton, silk, or a blend of fibers.  First developed in 18^th century France for making hand corded Provençal quilts, the English cotton industry soon developed an imitation fabric through a mechanized technique which weaves double cloth with an enclosed cording weft.  This is why “Pique” means “to quilt” in French, since the resulting look of the fabric looks like it has been pricked minutely into raised sections.  Upon close inspection, it has a finish that displays many loose, chunky cords, and waffled threads.  I love it when there is more than meets the eye for any outfit, and a true pique presents an astounding depth of interest and detail to any outfit.  My hot tip is to use a ball point needle normally saved for knits to sew with authentic (non-stretch) pique so that the tip glides between the chunky fabric threads rather than puncturing them or creating runs.

     I thought about how to make to most of my special fabric, and discovered how nifty it is that yardage amounts can overlap for refashions.  I vaguely remember only needing two yards to make my skirt in the first place.  Considering the 1947 pattern reprint calls for about two yards as well, it rather makes sense that I was able to eke this dress from the skirt and its scraps.  Even still, anytime you work with fabric that has already been made into something else, two yards is no longer the same as a plain, uncut length.  Thank goodness for the fact that I have not only kept my leftover cuts from projects over the years, but also meticulously organized them.  As soon as I saw this skirt had come back to me from my parents’ house, I easily and immediately knew where its remnants were to be found.  Call me crazy, but I am proud of myself for this!  I know I am lucky to have the ability to make this possible, as many others (very understandably) cannot keep scraps for various reasons.  Yet, if it hadn’t been for those scraps, this dress would not have been possible, and I probably would not have found a way to turn my skirt into something else to enjoy half as much.  I keep remnants because, time and again, they prove to be an invaluable asset to keeping up my handmade wardrobe.

     My layout for this refashion was to first take into account where the skirt for the dress would come from, and then to figure all else out after.  Having a knee length to the skirt was my non-negotiable issue, so that came first in the decision making process.  The dress’ skirt thus came from the bottom third of the old skirt, making sure I could keep the already finished hem in the process.  I kept the original poly lining to go with the new skirt and sleeve pieces, which made my cutting time so efficient.  The odd shapes of the halter part of the dress’ bodice fit perfectly into the triangular remnants, a happenstance I sort of expected as it was one of the reasons I chose this pattern for my refashion.  The main bodice panels which sit against my chest and my back (cut from the scraps), therefore had their lining cut something other than a poly – a comfy cotton for breathability.  I kept close to the proper grainlines for the pattern pieces, and the waffled angular texture of the fabric helped me achieve that goal.  I hope this attempt at an explanation helps someone reading this feel more comfortable with the idea of refashioning.  If my project can help you gain confidence to re-work something from your wardrobe, then I have done a good job here.

Fully lined, clean insides make me so happy!

     I did find the sizing to the pattern ran large.  I never figured out if the issue was a significant ease or an anomaly with the design, but I went down a whole size from what the chart showed I needed.  Not too often do base my choice of sizing off of the finished garment measurements printed on the pattern pieces themselves.  However, I know what finished garment measurements I generally need and this time the numbers were really off.  I didn’t have much a choice for size, anyways.  As I was working with a pre-made skirt and scraps, I could only fit the smaller size on my available materials.  I compensated for my rationing (just in case) by doing ½ inch seam allowance to the entire dress, as compared to the 5/8 inch given in the pattern.  This trick worked out great for me with this dress.

     The large sizing was not the only ‘flaw’ discovered with this pattern.  I also found the waist to be very long, as if proportioned for tall ladies.  I had to trim two inches off the waistline.  Otherwise, the dress’ waist would have been riding down at my high hip length.  I do have a shorter torso than the measurements of the “average” woman.  Yet, this was still a pattern which had an extended torso, which I often only see on 1950s designs, and so I am chalking this up to the fact it is a reprint.  Then, the pattern’s V neckline was cut very low, as was the recurring complaint in nearly every blog post or internet review of the pattern.  However, I guessed it will ruin the ability to slip this over the head by making the neckline too high, so mine was only raised by two inches.  There isn’t a prevailing cleavage in this neckline now, yet I am still staying with having it low enough to be both fun and able to pop over my head with my hair fixed.  Other than a few of the construction steps being a little convoluted, every gripe I had over this pattern has now been addressed.  I hope these complaints do not scare you off, but only enable you to try this pattern out for yourself, because it does make for a dress that garners me compliments everywhere I go.

     The decade of the 1940s can look modern or it can be old-timey depending on how you wear, style, or make it.  This decade’s fashion can look both so classic and outdated, economical yet creative, but I think this dress is still modernly stylish no matter what its date.  Nevertheless, the 1940s is often tied up in nostalgia (for the United States, especially).  People see it as the fashion from old photographs of family or the clothing of a certain way of life.  It is associated with history in our children’s textbooks. Veterans who are 100 years old have tearfully told me at WWII re-enactments that I remind them of the way an aunt, a sister, or a deceased wife used to dress.  Looking back at times past through the focus of the future can become either a mixed bag emotions to rummage through or a way to find an association with the past.  Time may go by, but the beauty in transitory things that tie us with bygone days, like clothing, can continue to have the most powerful stories to hold…and those narratives need to be told.

     This dress may not be as obviously 1940s as many of my past vintage era creations, and that is no doubt part of the way I have changed in regards to both wearing and making my wardrobe.  However, the way I approached this dress is still integrally tied to both vintage and nostalgia from my own lived experience.  The 1990s had very life changing events and dramatic decisions that are part of who I am today.  I also associate a pique fabric with my childhood of the 80s and 90s.  The 1940s (as I have said) were the first decade which converted me the vintage dressing.  The 1940s had bold, sketched-style floral prints much like the one on my chosen fabric.  Thus, to blend two seemingly contrasting elements had become natural for me based off of my personal story.  For me be able to combine all of such influences into one new creation is a gift which is helping me find gratitude, clarity, happiness, and some lost sewing mojo at a time I needed this most.

Once Around Is Not Enough

     After so many years of sewing for myself, I am proud at how my wardrobe is almost entirely me-made.  Yet, as with any wardrobe, there is still the occasional piece which is no longer my style, my size, or my taste and does not find itself being worn.  Yet, I take a mindful, thrifty, inventive approach to fashion, though, and do not see such setbacks as the end for an item of clothing.  One incarnation for any existing clothing is not enough in a world that has plenty fast fashion to go around!  My own estimation for the time I already invested in every item and my knowledge of its construction leads me to now source my refashions from more than ready-to-wear (store bought), as had been done early on in my blogging adventures over a decade ago.  I now re-work my own work!

     Today’s post showcases one such me-made item that has now seen several different iterations.  Please go look at the full story for the original scrap-busting garment from 2015 (posted here) to acquaint yourself with what it was I refashioned nine years later.  The denim bodice I started with was leftover from sewing my first pair of jeans (post here) which I still continue to repair and wear today.  As you can see, the consistent base is the high-waisted denim bodice with tie straps for both the original dress as well as the newest one.  Each time, the denim bodice has only become a dress due to making use of whatever unused supplies I have at hand.  This way I can more or less make something from nothing since it is a project which needs no shopping or money to create.  

     Not to let anything go to waste, the bottom half of the old original dress has now become a very useful skirt, which is being greatly enjoyed.  I always appreciate me-made separate pieces, so this skirt is already seeing far more usage than it ever had before as part of my dress.  The variety of colors in the print match with so many fun sweaters, tops, or blouses.  I am glad to have the opportunity to never wear the skirt the same way twice…unlike when it was on the dress.  For these pictures, I chose an overly safe pairing of an old Land’s End rib knit top.  The original project that my skirt’s fabric was scrapped from (posted here) is a dramatic Mid-Century party dress.  It is satisfying to feel that I have a very wearable and sensible part of that gloriously fun vintage dress which I can wear as part of my everyday life.

     I considered adapting the old dress in the first place mostly because it no longer fit me properly within the last several years.  As the bodice and midsection were fully lined separately, the dress was not worth the trouble of refitting.  To be honest, I sadly never found the dress as versatile or as suited to my life as I had wanted.  The design lines of the skirt were still first rate, and I found the bodice section adorable, though.  This dress was definitely worth saving, just as long as that was done with a fresh approach.  I did not use a pattern to re-fashion my dress into its newest iterations, so there is no need for my standby “Facts” list of sewing information here.  Most of the patterning had been done for me when I had sewn the original dress.  I was not changing much at all…merely separating the old dress from its white midsection.

     For the skirt, I only had to fit the waist more closely to myself while fashioning a waistband out of what was left of the middle part to the dress.  It was trickier than I thought it would be, but (as you can see) I figured out a way to make things work.  I marked the natural waistline, then folded over the fabric to double up the material so it would appear as a mock belt.  Next, a few darts were added vertically across the front to shape the waistline.  The waistline from behind, with its amazing diagonally flared booty darts, already fit over my swayed back end perfectly.  Finally, a small zipper was added into the center back.  This was one really easy way to have a new skirt added to my wardrobe.

     My denim bodice simply received the addition of a retro skirt from on hand to have a fresh face.  Years back, my mom had found a (still with tags) 1990s era Liz Claiborne brand skirt and had passed it onto me.  I appreciated its quality, uniqueness, and brand label, but never liked how it looked on me as a skirt.  All this time, I’ve kept it in my container of items to refashion.  The denim bodice somehow recalled this retro designer skirt to mind.  I had found myself inspired by the empire waist trend of “boho” styles from the early 1970s era when trying to find inspiration for my bodice’s refashion.  Such styles called for a full skirt that was eclectic, fun, flowing.  The 90s era “LizWear” skirt seemed to be perfect match, while still being an incredibly quick addition as well as an opportunity to employ an item on hand. 

Just look at those glorious hand-stitched details to the skirt! Also, check out the price on the original tag…about $300 today!

All I had to do was remove the skirt’s gathered elastic waist casing, and re-gather that circumference onto the bodice bottom.  It felt wrong, but it was appreciated to not sew a hem or make most of the dress myself.  This was such a simple refashion, I can easily take both the skirt and the bodice apart again in the future, if need be.  Even still, I wanted to transform my bodice into another dress to enjoy for many more years than the dress I started off with before.  I think this iteration is a real winner!

While I was at it, I took extra steps to update the comfort and practicality of the bodice.  First, the shoulder straps were sewn together.  They now have a mock knot above the stitched seam, and then the tabs are tacked down.  I found the denim knot on the old straps uncomfortable, and never actually needed the adaptability it offered.  Stitching the straps together also gives them greater shoulder coverage so I can now wear my normal lingerie.  Secondly, this dress is practically a pop-over dress.  It is easier to get dressed in now.  I did keep the center back zipper that had originally been installed in the old dress.  Yet, with the full skirt, the zipper stops at the waistline because it is only needed to close the bodice up behind my shoulders.  This dress is joy embodied.

     Letting myself move on from one of my old project in a very constructive way bestows so many benefits. It gives my wardrobe a little refresh, which in turn helps me re-define my style.  Sewing for myself aids me in uniquely expressing my fashion choices.  It is freeing to feel I don’t have to either donate my older makes, if they no longer work for me, or start from scratch in order to have something newly handmade.  Such a challenge further helps me to go through items I have accumulated.  My wardrobe can be fully useful with such an approach and my storage tubs can be lighter for every time I work from my stash.  Too often it can be hard to see anything else out of garment than the version which is already seen.  I really didn’t want to ruin my old dress and was at times worried over the possibility of making my old dress worse off than before.  Yet, I am amazed I was able to find a greater level of success the second time around!  

I recently made my son a custom art supply bag using my hubby’s worn out pants!

     My dedication to my desire to re-interpret a dress, which no longer worked out for me, shows though in the fact that I am someone who utterly despises unpicking seams.  I hope this post leaves you with some good ideas for how you too can easily change and adapt your wardrobe.  A dress can be made into a skirt.  A skirt can be made from a dress or used to create a different garment when combined with a whole different piece, like a bodice or top.  What you have already on hand is more useful than you may think when you look at it with a mindset of accountability and sustainability.  Albert Einstein has said, “Creativity is seeing what others see and yet thinking what no one else has thought.  Creativity is our intelligence having fun.”