A Boxy Bouclé Refashion

Let me start off this post by saying I have an explanation for the relative quiet on my blog through February.  My husband and I went on a trip to Colorado!  We both like getaways in January or February, and last year we went to Florida.  Yet, he loves ski areas and picturesque snow, while I…not so much – but I do love a good fashion related exhibit.  Our preferences were combined into one by our visit to Denver and Winter Park.  I had the opportunity to see the much touted (and no longer open) “Dior: From Paris to the World” exhibit at the Downtown Art Museum as well as experience my first visit out west!  The mountains were breathtaking in beauty, the air and water so fresh and invigorating, and my wardrobe was all me-made, cozy, and fun.  Our stay (and photo shoot backdrop) was the best we’ve had at the amazing historic Brown Palace Hotel.  This leads me to the main point of this post!  It is not only to say look out for more posts on my recent travel wardrobe, like this one, but also to muse over the thought of doing an overview of the Dior exhibit as well as make a few inspired pieces.

However, this post’s me-made garment is a simple and out-of-my-ordinary-style refashion which combines a sequin bouclé remnant and a tee now too small for me into one warm and snazzy boxy top.  It was a last minute make before the trip that only took a few hours to whip together yet got rid of two random, unwanted pieces from my scraps pile.  This was my wardrobe option for staying casual yet stylish, warm yet fashionably dressed, and newly handmade all the way!

THE FACTS:

FABRIC:  The bouclé is a wool and acrylic blend with sequins interwoven with the black and true navy blue yarns; my top is a printed 100% cotton knit

PATTERN:  Burda Style no.6983 pattern from March of the year 2013 – I do believe this pattern is both out of print and not available on their website, but the new no. 121 from the March 2019 issue is very similar (without the cowl neckline)

NOTIONS:  I needed only basic stuff to make this – thread and bias tape – all of which was on hand

TIME TO COMPLETE:  It was finished on February 7, 2019 in only 3 awesome hours!!

THE TOTAL COST:  The bouclé remnant cost $5, and the top, being in my wardrobe for over a decade now, is as good as free by now…so this cost as much as a new but basic cheap RTW top but looks oh-so-much better!

As I mentioned above, the knit top has recently become too small on me to be comfortable, primarily in the arms, so I was limited to mostly the body for what I could use.  Thus the middle main body of the top was chosen to be re-cut into wide and comfy sleeves.  The bottom hem was used to be the sleeve hem for a nice finish, which is why I only had room to make ¾ sleeves.  I did still save the original top’s old skinny sleeves, hoping to use them to make cool seam allowance binding on something else in the future.  Hey – every scrap can go towards something in my house!

I did not have enough fabric in the sleeves to add the cowl neckline originally included in the patterns design.  I was sort of considering on fudging something together like it, only without the double layer of fabric.  In the end, I’m still holding onto the top’s old sleeves and wearing my already made Burda Style turtle top as an under layer for both warmth and to get the slouchy neck without the stitched-on commitment.  I can wear this top by itself with an open neck for slightly chilly days or when I just don’t mind showing a flash of skin above my middle.  I also have the option of layering.  I love versatility in garments and most of the time being practical is balanced with high-falutin’ ideas in my brain.

The half yard bouclé remnant was at least 60” wide so I had something more than just a pittance to work with thank goodness.  It was bought because I loved the fabric, but I only went for the discounted remnant because with a regular price of $20 a yard…well, I just don’t spend that on fabric unless I have a really good reason (which is not that often, maybe a few times out of a year).  I have too much of a stash to work on, instead!  Anyway, with both selvedge edges folded into the middle, I had two seamless edges available to cut on.  My neck to waist measurement is 15 inches, so at 18 inches for the half yard I figured it was safe to plan for a cropped length top.  I choose the Burda Style no. 6983 pattern as it was simple, a pattern in my stash I have been wanting to try, and it seemed to have generous sizing perfect to be a pullover.  Crop tops might not be the most ‘on trend’ right now, but then fashion is all over the place currently (in my opinion) so anything really goes.  I suppose it’s better late than never.

The fit was very generous!  I chose my “normal” size and it was still very wide.  Part of this was the intended design, especially since it has the dropped shoulders to accentuate the boxy shape.  For anyone who wishes to make this pattern, I would recommend going down a size…it will still be loose and boxy just not so overwhelming.  Otherwise, I would recommend going with my adaptation.  The size I had cut out only appeared like a garment made for someone bigger than me so my solution to fix what I had was to add a box pleat to the center neckline at both front and back.  This brought the shape in dramatically, but I really love how it gave the top much needed interest.  Also, the pleat nicely shapes the boxiness into more of a waist complimenting flare out on the sides of my body.  This is hard to show in pictures, it only really shows when I move.  This top literally needed those box pleats in more ways than one.

In order to not waste precious inches off the bottom to do a hem (which would be too bulky anyway), I did the classic Chanel type of frayed hem which has become a trademark of her designer tweed, four pocket boxy jackets.  It is easier to do than it might look.  The main intent is to ‘finish’ the edge to allow a controlled fraying.  For my last Chanel-inspired creation, I used the selvedge to stick out over a finished hem, but this was not going to work here with a different material finish.  I used bias tape to sew on in a double running stitch just above a ½ inches worth width of fraying.  The bias tape underneath acts like a bumper to keep the last loose layers of bouclé sandwiched in place under the tape without appearing like there is anything there.  I’m dying to try this hem again on my next bouclé garment.

There is nothing like a traveling to make me feel like something new, no matter how simple, and the only way to that (for me) is to go with me-made.  My clothes show their worth and have the chance to shine on our travels, becoming linked with special times and memories.  However, it is bigger than that.  The cheap knit top I refashioned isn’t really much, it is up to 15 years old, shrunk and misshapen, so if it had come directly from a resale store I probably would have never considered making a fresh use out of it.  However, that top had been worn on some of my dates with my husband before we were married, when we were just getting to know one another.

Perhaps it is silly of me to remember little details like what I was wearing, but this is just why refashioning is so important.  Clothes are intertwined with our human existence, whether thought about or not, and they carry a story with them.  So – in order to save that story and continue it, to do every possible little action towards ethical fashion for a healthier world, and to stay creative and resourceful is only the beginning of why I made this odd and unassuming top.  The same goes for almost every refashion I do.  On its own, I would probably hate this style on myself, but the way I approached it makes me loves the fresh change about it.  The ability to sew is so beautiful and it takes projects like this to keep me thankful I have the ability for it.

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Mardi Gras Tricolor

The festivities of revelry are never as outgoing and widespread quite like what happens throughout the world before the Lenten season, whether or not one chooses to participate.  Trying to say goodbye to excess and habits by indulging in them seems rather odd to me, but nevertheless I like an opportunity to wear some great colors.  The trademark tones for the popular American “Carne Vale” are as bold in their pairing as the party antics which are carried on.  They are as rich in history as they are saturated in hue.  Yellow gold, dark yet bright purple, and a cheery grass green are quintessentially, visually recognizable of a New Orleans inspired pre-Lent celebration.

Not that this post’s outfit was originally intended to call to mind Mardi Gras…it was just an Art Deco fabric on hand and the inspiration of the 1930s penchant for bold color pairings which led me to make the dress you see.  This had been one of my early 1930s projects I had intended to make back when I started blogging, but I realized both that I was not ready for the challenge and I was perpetually undecided on a fabric choice.  Finally, everything came together and I am so happy with the results!  The geometric print is perfect for a dress from the very early 30’s, the fabric appears much nicer in quality than a modern poly, and the design has such great features I think it is so appealing even for today.

To keep with both the Mardi Gras theme and the 30’s inspiration, I am wearing a modern wool beret.  Mardi Gras is a French word after all, and New Orleans has a rich French heritage, so my beret fits right in!  Do you notice the fancy stylized French Fleur-de-lis on the wall behind me, as well?

Also, look for my special accessories, too.  The necklace is a true vintage gem – a 1920’s glass bead piece that needed my help by doing a restringing and adding a clasp for a whole new life.  My earrings are me-made to match (as best I could) using clip-on blanks.  My gloves are true vintage from the 30’s.  I even broke out my old timey Cuban-heeled stockings!

THE FACTS:

FABRIC:  The main body of the dress is a polyester satin with a sheen on the printed side and a buff finish on the other.  The neckline contrast, sleeve bands, and belt are a burgundy-tinted, rich purple buff polyester satin remnant.  The dress is fully lined in poly scraps…mostly a pebbled satin purple supplemented with a black non-cling variety

PATTERN:  McCall #6957, year 1932 – I used the reprint from Past Patterns which you can buy here

NOTIONS:  The belt buckle is a prized Bakelite vintage item I’ve been holding onto for the perfect project like this!  (Subsequently, the buckle has sadly broken…and is tentatively glued back together for now.) All else that I needed was lots of thread and some scraps of interfacing for the sleeve bands and belt.  It’s a simple needs Depression-era garment!

TIME TO COMPLETE:  This was made in about 20 hours and was finished on April 18, 2018

THE INSIDES:  Left raw…but you can’t really tell because the dress is fully lined

TOTAL COST:  The fabrics for this dress are more of my precious hoard of clearance deals which I bought when Hancock Fabrics was going out of business.  I don’t remember exactly but this dress can’t have cost me more than $15.

Now, I recognize that the Eva Dress Reproduction Pattern Company also sells copies of this McCall pattern, but I have always preferred Past Patterns.  Besides – their sizing is closer to mine which means less dramatic grading for me.  However, if you need a bigger size than Past Patterns’ 36” bust, Eva Dress’ repro is a 38” bust.  Even still, I often find 1930’s patterns from 1936 and before seem to run small and this one was no exception.  You want a slightly baggy fit with this dress because it is a slip-on with no side zipper called for.  Also this design was coming from a time that was still easing away from the 1920s, which is very obvious when I take off my belt!  I graded this pattern down to what was still technically a roomy size for me (with extra for a modern 5/8 inch seam allowance) and I feel it fits perfectly enough to both be comfy and land at the right points on my body.

I am quite impressed with this pattern.  Everything matched together well and it turned out just as the cover drawing portrays.  It was relatively easy to figure out how to sew together despite the fact that there are several tricky spots to take time on.  Many of my other 30s patterns made to date needed tweaking to the fit, or some of the panels were a bit off, or some of the instructions lacking…but not with Past Patterns.  The designs they choose to reprint have so far always turned out happily successful for me so far.

Making the many exact points and precise corners to this dress was quite time consuming and honestly a bit stressful along the way.  My fabric was a very slippery and always shifting material.  It was hard to be precise and avoid any bubbling out at the points, especially since (for the skirt insets) I was trying to connect two opposing grain lines together.  The insets were stitched together like a regular seam, making it harder, but the neckline contrast was invisibly top-stitched on to be exact and clean because it is more easily seen.

All of the pattern pieces were rather odd and almost unrecognizable on paper, but looking at the cover they all made sense.  It’s amazing how sewing works, isn’t it?!  The front is all one enormously long piece (as there is no waist seam) which appears like a giant capitol H, because of the insert panels at the neck and skirt center.  The back is mostly like a squared-off basic bodice, except with two ‘tails’ attached for either side of the middle panel.  The seemingly rectangular middle panels swerve out on the sides like the curve of half of the letter U to provide soft fullness to the skirt below knee.  The sleeves, dramatically opened up because of the numerous pleats, are almost 30” wide.  It’s no wonder that this dress needed a very anti-Depression era fabric amount of 3 ½ yards…and I was using 60” width material!

I have never done tucks quite like what was called for on these fun, poufy sleeves, and it was sure an experience.  You have to make them in a certain direction because they are layered on top of one another.  I have seen this type of mock-pleating on the skirt waist some couture garments (such as Dior).

You start from the side and pleat towards the center then move to do the same for the other side.  Both top and bottom have to be done separately because the center has to be left free.  All the pleats are folded into the skinny cuff band and attached to the dress…suddenly the sleeve looks amazing!  I had planned on an organza ‘filler’ to go inside the sleeve thinking it would need help poufing out, but no it doesn’t, even though my fabric is silky soft.  My printed fabric and the discrepancy of photography does not do these sleeves due justice for their awesome detail.

The neckline was definitely the most ingenious and usual piece of all, and I absolutely love the look of it in the contrast solid!  It reminds of an adapted jabot, but it is merely called “a vestee” according to the pattern.  A project I’ve already made from the next year in history, my 1933 McCall’s reprint set, also has a wrapped front drape at the neckline – a more dramatic and simplistic version of what is on this ’32 dress.  Neckline interest was very popular in the early to mid-30’s and I like all the interesting variety of it, especially neck drapes and ties.

I changed up the instructed making of the “vestee” for what I think is a cleaner and more straightforward construction.  It called for a single layer of fabric drape which connects to another single layer half piece which doesn’t have a drape.  This would have showed the underside of the fabric, been awkward to sew together at the center, besides showing the hemmed edge.  I made two, draped, full “vestee” style neck insets so that they could be sewn together like a facing for a clean edge along the center drape that doesn’t show the other color of the other side to the fabric.  I had to add the trio of pleats to each of the two pieces before sewing them together and on the vest.  Then I hand tacked the pleats together down the center.

The same beautiful, rich purple solid satin as what was used for my 1951 slip dress and the details to my 1955 Redingote jacket went towards the contrast here to break up the busy print and made the most of my remnant stash.  Just you wait, though, I am not yet done using this purple satin…there is one more project I’ve squeezed out of it (to be posted soon)!  I used the darker satin side of the fabric on this dress.

Purple normally is the color for royalty, and many Mardi Gras celebrations to have a King (and Queen) that is crowned to preside, but the southern American symbolism for it during the pre-Lent partying is “Justice”.  The green represents “Faith”, gold represents “Power”.  It all relates to both heraldry symbolism as well as the fact both United States and French flags are tri-colored.  My green is the new spring grass, and the rest of the colors I’m wearing.  I don’t always wear the dress accessorized like this – tans, or ivory, or black tones mellow out the bright but rich colors.  Finding vintage accessories in my size, in decent condition, in a reasonable cost, in more unusual colors is a challenge otherwise I would also try out pale yellows, or light purple, and other colors with this dress!

My first sewing project from 1932 has been long in coming but I’m glad I can enjoy it now.  I have been straying at the very strong shouldered and cultural influenced styles of the late 30’s for quite a while recently and this is such a refresher!  This has me thinking about what will fill in my empty spot for the year 1930…hummm.  Look for that this summer!

Red Roses for a Vintage Style Lady

Admittedly, for someone that briefly worked as a florist, I’m not much of a real roses fan.  Don’t misunderstand, I regard them as simply beautiful, and when in quantity add up to a good day’s total at the cash register.  As a customer, though, they just wilt too quickly for their cost.  Even the outdoor bush and plant variety always seem to soon enough become sick or mutated and die in our yard, sadly.  Now I have the kind of roses whose beauty will last and make for a great deal!  Heck with the old song, “Red Roses for a Blue Lady”.  These are roses for a lady who likes vintage styles!

Here is yet another garment where I’ve repeated what I know I love in a project – channeling a feminine ‘Betty’ outfit from the television show Mad Men again (second season this time; other Betty dresses here and here) and also using a true vintage fabric (my most recent one here).  As good fashion never really goes out of style, I do think this dress has the same qualities as the costumes of Mad Men, period-appropriate but also timeless and fashionable even to modern viewers.  I paid attention to details like I had all the time in the world, and did tons of hand stitching, even adding seed beads, for a dress which is my own perfect Valentine’s Day treat!

My fabric choice is a pristine condition, polished, printed cotton from the 1950s (surmised from many recurrent similar extant garments of that era).  I found it as a lonely piece at a steal of a price thrown in the corner of an antique mall shop.  How could I just leave it with its saturated red goodness at that cost?!  So – a good fabric deserved a really great pattern…one that has intimidated me every bit as much as I adore it.  I came upon a find, I saw a perfect project in mind, and I have conquered it!  However, the finished wiggle shaping ends up making my body look like a very shoulder-and-hip-heavy hourglass ‘Joan’ silhouette that I really am not used to but am completely taken by nonetheless!

THE FACTS:

FABRIC:  a true vintage cotton lined and contrasted in a solid black cotton broadcloth

PATTERN:  Simplicity #2727, a ”Slenderette” pattern, year 1958 (I plan on coming back to this and making the jacket, yet!)

NOTIONS:  The basics I needed were on hand – thread, interfacing scraps, a hook and eye – but the zipper (22”) and the beads I bought recently just for this as I realized exactly how I was going to detail it!

TIME TO COMPLETE:  It took me about 10 hours to finish, but I actually spent a handful of hours just on figuring out the pattern piece layout before cutting out…there was no room for error…or the pattern pieces, really…

THE INSIDES:  A fully lined dress means all inner seams are not to be seen…

TOTAL COST:  This vintage fabric was only 8 freaking dollars, people!!!  The cotton lining I received for free, and the beads were only $2.  So this is an under $10 dress!  Such a deal.

Why, oh why is it that the best fabrics I find seem to frequently come in small cuts?  It’s like some sewing Karma wants to test me at every turn and always make sure my projects are a challenge.  This rose fabric was in a ridiculously small 35 inch width (one of the reasons I can estimate the vintage) and was a hairs breath under 2 yards long.  Under the envelope back listing for 35” width fabric, it says I needed 3 yards for this dress.  Yikes!

The only way I could make things work was to piece together a full one side back bodice panel and to add a horizontal waist seam to what had been intended as a smooth center front.  The print is complex I do not think the extra seams are noticeable but I know they are there, nonetheless (well, so do you now).  The center dress panel change especially makes me a bit sad (seen or not) because I loved the streamlined look of it with one-piece, streamlined, princess-style drafting as on the original design.  Not too shabby of a compromise, though, and at least the lining was cut properly without extra seams!  Granted, every piece was butted up against one another when laid out, so it’s a lucky thing I did not have to grade up in size at all.  The skirt had to be shortened by about 5 inches and the kick pleat eliminated to make things work, so I was literally left with nothing but tiny triangles of scraps leftover.  Although stressful, even mind stretching, it feels so good to be super-efficient and determined with a project idea!  If there’s a will, there’s a way, as the saying goes.

I am glad I had put off tackling this sewing project until now when my sewing skills are where they are at.  The overall dress was not hard to make.  It was the detail points that were the challenge, which was a difficult one that I have not had in a while.  Luckily, I had some practice ahead of time to help me out on the trickier spots of this dress.  A few of the projects I have made already have had some of same the details I encountered in making my red roses dress when all of them were in one project.  The underarm bodice panel/kimono sleeve combined into one element reminds me very much of my 1955 Redingote, as does the belt attached in at a front waist dart.  The side paneled bodice shaping is just like on my recent 70’s style Burda jumper.  The pleats which cover up a seam, like the ones at my waist, are call to mind the pockets on my “Spring Green” Easter suit of 1954.  It is good to challenge oneself, but at the same time I want to stress it is beneficial to work up to that scary hard pattern by finding projects ahead of time which prepare your skills for a successful turnout.  A fruitful finished sewing creation makes all the difference in confidence and estimation of worth in time and effort.

The bodice panels turned out the best I’ve ever done yet, happily, thanks to knowing what to expect.  I do love the way such a design element in the garment provides the best ever shaping for ones bodily curves, besides being the most comfortable form of a kimono sleeve…better than one with underarm gussets.  Look for something similar to try for yourself – you will love the way it wears!  Only, I thought the bust for this pattern ran large until I put on the period-appropriate longline bustier.  Then, suddenly I had that curvaceous 50s figure and a perfect fit that put me in awe.  So, a word of warning – in a 50’s pattern, beware that their curving accounts for more than what modern women are used to with the lingerie of today.  Unless you are willing to try a different style of underwear, or unless you find such a design element in a pattern from another decade closer to now, the wonderful shaping which you will find with a bodice panel/kimono sleeve combo might be more than you expect.

Those front waistline pleats where the belt is attached were the toughest part to tackle.  It took me about 4 attempts to figure them out correctly…but just look at them!  They remind me of the interesting pleats which can be found on some 50’s or maybe 60s couture garments.  Two of the pleats that provide the slight hip poufiness are angled out and folded down.  The pleat that encloses the belt and bodice side panel seam is perfectly vertical and folded towards the other two pleats away from the center front…so confusing on paper but awesome finished properly.  The fabric makes it really hard to photograph these details as clearly as I see them.

I’m not complaining about this wonderful fabric one bit, though!  Modern cottons are sadly missing out on the lovely sheen which vintage polished cotton has, not to mention the saturated dying process that makes it almost reversible.  Yet, vintage polished cotton is a bit sheer and stiff on its own, thus another solid opaque layer was needed under my dress for a non-transparent and natural-bodied hand to the fabric.  Besides, I am silly and would rather make a whole second dress as a lining so as to have an impeccable, second skin finish inside…not just to cover all the seams but mostly to eliminate the fussy neck facings.  Having more than enough cotton lining gave me an opportunity to cut the dress out the way it should have been with no adaptations.

Except for the major seams inside, all else to this dress was hand stitched invisibly.  This has been the first garment where I really sense that my hand sewing skills have grown to be similar to my machine skills – accurate, fast, and efficient.  The lining is hand tacked to the zipper (which was also hand installed to the point it is as good as invisible); the neckline, sleeve hems (after a machine added ¼ inch bias binding), and skirt hems (after lace tape added to the under edge) hand finished.  Not that it matters – who else but me really sees inside or even gets close enough to notice the details?  Whatever.  It’s that choked-up, happy emotion I get inside seeing the unnecessary extra particulars so fine as I’m dressing.  It makes you feel special, and reminds me that the beauty inside a person, like a garment’s inside, although unseen, is the best part.

It’s these same sentiments and the urge to try something new that prompted me to add a bit of beading to the neckline.  Not that the neckline is not a statement in itself!  This is one of the best fitting boatnecks I have come across, and the little notched front heightens the neck and shoulder emphasis by centering under the pit between the collarbones.  I merely added some clusters of 4 to 6 seed beads at a rose center which might be near the neckline center top edge, with a few smaller 2 or 3 bead accents on some petal tips as shading.  I was tempted to go and add the whole package of beads so it would show up better, but there is something I love about the understated elegance to not going overboard.  I do not want gaudy or distracting details to subtract from the dress and its fabric, and the more I bead, the more there is pressure to turn it into some sort of defined design…then my beading skills have to be better.  I did attempt to make a simple 3-D flower out of strings of beads to add on the end of the back waistband.  It’s not perfect, but pretty nonetheless, and just the perfect touch if I do say so myself.

Vintage is admired and long lasting because of its understated quality and beautiful ingenuity…these are the details I miss the most in modern ready-to-wear.  So, if I can bring a small part of that back in my own life and be the example, then I am happy.  If I can remind others they are worth feeling good in their skin by a wonderful dress, and that creating is good for the soul, than my garments are beneficial to more than me alone.  Hopefully with the time, attention, and care I put in towards my dress project, this red roses vintage fabric will have a lovely new life for many more years to come!  I know this dress will be seeing more than just a Valentine’s Day wear!

Face Value

Yes, this is a cliché phrase but oh-so-appropriate for this post’s project.  You can’t judge a book by its cover, so the saying goes.  Well, even a line drawing to a garment design, heck – even the finished garment itself – can hide construction secrets…I’m specifically talking about the good and wonderful kind.  This jumper is definitely a case in point!

It’s made of a warm and soft common flannel made to look like a much fancier woolen suiting, with pockets and a front closure that are really not workable, and a back zipper that you can’t tell is really there (that’s why they’re called invisible, duh).  This garment carries a vintage vibe yet is a very modern release.  The pattern itself is called a deceiving “Waistcoat Bodice Dress” to designate that it is a jumper made to look like a dress that has a vest-style top half.  You’d never guess how I finished the inside, either.  Confused much?  All you really need to know is that I love this make!  It came together wonderfully, is freaking cute, and is crazy cozy for chilly weather.  It really brings a jumper to another level, and makes the most of its on-point details.

This was made as my last 2018 “Burda Challenge” make for the month of December.  I know, I’m running late to post it on my blog, but better late than not at all!  I HAD to make this Burda “Jumper Dress” after seeing their version paired up with the vintage 1963 ruffled neck “Beatnik Blouse” which I had made in November.  However, the jumper has such great wardrobe potential for me that it matches up to almost every other winter blouse I have, especially the Burda scrunched neck Turtleneck.  I paired it in these pictures with an older RTW blouse which I felt brings out the 1970s vibes that the jumper has…besides, it is more paisley and it brings out the turquoise in my outfit (one of my favorite colors!).  I am wearing my Grandma’s vintage 70’s drop earrings, and some modern T-strap wedges to match.

THE FACTS:

FABRIC:  a 100% cotton flannel printed with a navy, tweed-like, imitation texture pattern; fully lined in both cotton and polyester…reasons explained down later

PATTERN:  Burda Style #109 “Waistcoat Bodice Dress” from August 2018

NOTIONS:  All I needed to complete this was luckily on hand – thread, a bit of interfacing, cotton and polyester lining remnants, an invisible zipper, and true vintage buttons from the inherited stash of hubby’s Grandmother

TIME TO COMPLETE:  This was whipped up in about 8 hours and finished on January 5, 2019

THE INSIDES:  Full lining means smooth insides with nary a seam showing…I love it!

TOTAL COST:  The flannel was found at JoAnn, and it was on sale on top of a coupon, so with the free scraps I had on hand for the lining, this cost about $15 or less.

Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced from the inserts in the magazine issue, but most other patterns are available online as a downloaded PDF that needs to be printed out and assembled together.  What works best for me is to use a roll of thin, see-through medical paper to trace my pieces out.  It’s at this preliminary step that you pick out your proper size.  Some people add in your choice of seam allowance width directly to the pattern while some as they are cutting out the fabric pieces.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t.

When tracing it out and doing the cutting, I realized the individual pattern pieces themselves seemed quite small and easy to work with.  I was almost doubtful that they would turn out a garment which would actually fit a normal human body.  But, yes – it did turn out beautifully without any confusion or problems.  The sizing was right on, and it came together rather quickly…I actually spent just as much (maybe more) time on the finishing touches.  The fabric appears so dressy and I wanted to keep up the sham by taking the extra time to invisibly hand-stitch all the edges together, even on the pocket flaps, as well as the inner linings.

The only tiny thing that I did change to this was the button placement.  I felt that three buttons down the front mock closure is overkill, while free-flapping pocket flaps are weird without buttons.  The buttons that were in my stash on hand which I did like for the jumper were only four in number anyway.  I wasn’t only justifying what I had on hand, though!  If you’re going to make part of the ‘dress’ look real, do it all the way.

Flannel is one of those “sticky” fabrics (like corduroy) that need a lining to hang gracefully or have the proper body, especially if one plans to wear more winter layers under them.  I find that the more flannel gets washed it loosens up and changes shape, and I didn’t want that to happen to this jumper…at least the top half of the body.  This, I lined the waistband and above in an all-cotton broadcloth which also sticks to the flannel, keeping it in its original shape, besides feeling sturdy and warm.  I did iron a 3 inch width of interfacing to the wrong side of the flannel all around the entire neckline before sewing together to also help keep the flannel in check.  However, for the skirt portion I chose a silky buff finish polyester.  The skirt is slim and cut on the bias so it has a lovely body-hugging shape that is slimming.  Choosing a poly to line the skirt keep it flowing and cling free when I wear tights or even pants under this jumper.  As the skirts (lining and flannel) are cut on the bias, I have left the hems unfinished and raw.  The bias keeps them from fraying so they are good as they are with no hem confining the shape there!

I had been saving this projects flannel for a vintage winter shirtdress, complete with faux leather accents as I had imagined.  However, a jumper is a more versatile in between the choice of wearing either separates or a dress, and – as I said at the top of this post – this Burda one is so smart!  It really lets the blouse underneath still shine (most jumpers don’t do that) by having an open front bodice that is shaped so well by panels and darts it actually stays in place nicely over one’s curves while being so open in styling.  I’m such a sucker for clothes that are chic enough you forget to realize they are both cozy and comfy at the same time.  Things are not what they seem at first view when you sew…especially when you’re talking about something off of my machine tables!  Tell me about a sewing project of yours that has some great surprises to it!

Hermes Helmet

Hooray!  This is my 300th post!  To celebrate, I’ve dressed up in the 1950s finest.  This will be a bit of a different post in the way that the only thing me-made is a curious hat.  My dress is the true big deal here, though…it is an “Anne Fogarty” label!  Not only is it currently my most prestigious true vintage garment, but it is such a learning experience to examine, as well as a wondrous treat to put on.  This dress gives me a dream figure, and I hope my little handmade hat is the proper extravagant finishing touch to such a formal outfit!  More about that later.

For those of you that do not know who this dress’ label refers to, Anne Fogarty is summarized as “an American fashion designer, active 1940–80, who was noted for her understated, ladylike designs that were accessible to American women on a limited income.”  She was discovered because someone had the open-mindedness to see her potential, and she learned as she worked her way up…a true American story.  Her designs emphasized femininity especially seen in her “famous paper doll dress”, also the reason I am so excited to have found this dress in my size.

The dress I have on is a great example of the “tight bodice, wasp waist, and full, ballet-length skirt supported by layers of stiffened petticoats” which were the trademarks of an Anne Fogarty “paper doll” dress, seen as an American and inexpensive option to the Dior silhouette popular since the late 40’s.  I remotely dated my dress to the early side of the mid-50’s, and the happenstance of finding a similarly designed frock in an advertisement from 1955 has concreted my assumption.  There had to have been yards upon yards of rayon satin finish taffeta needed to make this dress with such a full skirt that is over and above a circle shape, so a ‘reasonable’ price must still have been expensive.  My Grandmother’s brooch even matches the one in the advertisement!

Fogarty seems to receive harsh flack in any write-up nowadays on account of her book, “Wife-Dressing: The Fine Art of Being a Well-Dressed Wife”.  I think this is sadly unfair because it not only overshadows her wonderful, resourceful career but, as a product of her times, it is going to naturally have stereotypes.  However, in my opinion, there is still a lot of good said in her book that can be relevant and followed today, just as her designs have such a lasting beauty and magnificence of craftsmanship that the couture world (or anyone interested in sewing) of today would do good to look and learn from.  We seem to live in a world where the runways have become a place to make a statement, show one’s art, entertain extravagantly, or display an idea, making it less about presenting something truly wearable to any but rich starlets who have somewhere to go in view of the paparazzi.  Goodness, with some of Balmain’s Spring Couture 2019 models going topless and the last few years’ trend of sheer fashions (these have a ridiculous amount of nothing there), even what clothes do come out of high design still make women practically naked!  One cannot put on a dress like this Anne Fogarty creation and – miss in some way – the covered up, but still sexy as all get out, appeal of a body sculpting garment which can craft a tasteful yet enticing figure with superior quality of artistry, yet still be accessible to an everyday fashionista.

Taking pictures of a solid black dress is very challenging, so we didn’t even really try to take many detail shots, but I can tell you about them instead.  The most obvious and perhaps the most confusing is the drop-waist/skirt seam.  The curving is ingenious, especially taking into account the many tiny cartridge pleats that comprise the skirt attaching into that seam.  Yes, it is not plainly gathered…mind blowing!  There is no boning of any kind for this bodice, but from the bust down the inside is double layered of fabric and all the princess seams double stitched and pressed out.  It kind of just molds my body into shape as I zip it on (there is a sturdy metal center back zipper).  Granted, I did follow Anne Fogarty’s advice and wear a petticoat with a vintage, strapless, full body corselet under this for the full and properly 50’s experience, and I actually lose a few inches in my waist!  She seemed to recommend two petticoats under her dresses, but this dress already has one built into it, made from the same material as the dress itself.  The skirt seams are almost all on selvedge seams, while the rest are simply pinked.

The upper bodice is very classic 50’s – kimono sleeves with a parallelogram underarm gusset so I have full arm movement (amazing for a fancy dress).  The neckline has a rolled edge which ends up looking like a collar.  There is a plunging back which more than accounts for the high covered front.  The bodice also has the very tiniest of flaws in this otherwise amazingly excellent condition vintage piece.  There two are pinhead size holes at the left front chest which I really wonder if they aren’t from a brooch, making me kind of feel badly for adding one myself.  However, I am careful to not poke roughly through the fabric.  The nature of this dress’ fabric is so stiff, tightly woven, and structured it is perfect for a design like Fogarty’s but it keeps frays in check.  I think I’ll leave those little spots be as they are.

Now, to talk about the hat I made since you get to finally see it best from behind!

THE FACTS:

FABRIC:  a thick vinyl faux crocodile skin, ivory with gold foiled accents

PATTERN:  McCall’s #1571, year 1950

NOTIONS:  all I needed was thread, some cotton and interfacing scraps, and some wire for the “headband” that is part of the lining…

TIME TO COMPLETE:  this was made in about 4 or 5 hours

TOTAL COST:  I spent $5 for a half yard of the vinyl, and only used half of what I bought, so I suppose this hat only cost me $2.50!  I should just be able to squeeze in a little fancy purse out of what’s leftover, to be made in the future (but I will probably choose a view from an OOP Vogue #7354).

This hat ended up in a whole different direction than I originally intended, but that’s okay – I love it just how it is better than I had imagined.  The pattern I used actually came from my mom’s pattern stash.  I doubt it came from her mom or has a story behind it or I probably would have heard about it by now, but I’m now thinking I should ask her just in case there is a tale that just hasn’t come out yet.  Even with my small changes to the pattern it still is classic 50’s style of full crown coverage.  Only, here it received what I see as an avant-garde upgrade, too.

At first I sewed the hat up just like the pattern designed (sans lining) and it turned out mimicking something between a religious bonnet and a swimmers cap.  It completely covered my ears and hair.  Bummer!  Although difficult to sew on my machine, I was super excited because the three layers came together quickly.  It did fit my head quite well once I top-stitched the seams down (by hand).  The front needed to be pruned down and given interest to be made fashionable.

My solution was to work with what I already had.  The side curves had “wings” cut out of them.  The “wings” are still attached to the hat at the inner corners at the top of the head, and were left free of the lining when I stitched it around the edge.  The wings are tacked down on the sides of the head further back and decorated as you see them with vintage metal shoe clips.  This way, without adding anything new or doing drastic changes, there is room to show my ears and hair as well as have a sort of interesting underlying theme…my post’s title gives that away.

You see, Petasos is the closest thing that my hat reminds me of.  An ancient petasos was a metal helmet worn by a member of the Athenian cavalry, and it later became associated with the god Hermes (also later known as Mercury to the Romans) when it had the side “wings” on it.  Hermes was the messenger god as well as “moving freely between the worlds of mortal and divine”, and to accommodate his quickness, his petasos became more streamlined to the head, too, besides losing its wide traditional brim.  He was also the god of commerce, his very name under the Romans is related to the Latin word for “merchandise”, so anything of monetary value, especially precious metal and coinage has been associated with him.  My 50’s hat oddly aligns with all of this.  Its construction is plated, in a mock form of those crescent-shaped overlapping pieces which can be found on the back of an armadillo or on a knuckle in medieval armor.  I never really meant for such an association…the wings I added to my hat do add a lot to the original frumpy design and seemed like a natural adaptation.

Sometimes I do believe there is a lot of either subconscious planning going on or projects just make themselves what they are supposed to be.  Whatever the case, and whatever connotation my hat has, I always like what I make best when I don’t try too hard…thinking that is!  I just make beautiful and creative stuff that I do need more often than not and always do enjoy even when it’s made for others.  Makers gotta make, as the popular saying goes.

There are some designers that I can associate myself more easily than many others, and this is so with Anne Fogarty’s story and beautiful creations.  I don’t ever really go out for the purpose of buying vintage (I like to do controlled browsing), and goodness knows I don’t have enough fancy occasions to wear nice stuff to, but this was in my size by an well-known designer and it was too good of a deal to pass up.  As I have said in past posts (here and here) where I addressed the care for, benefits, and details to true vintage, this dress is worthwhile alone by being something I can learn from and aspire to.  Let me know if you have a garment that has a quality or story that has taught you something, or at least inspires you to create!

I am so happy to be writing my 300th post to all of you.  Thank you for all the comments and support you have shared with me along the way.  I pulled out the good stuff for you this time and hope you enjoyed this slight change of pace.  Here’s to many more blog posts yet to come!