Shopping at the Old Arcade

Most people generally know twenties clothing as being tubular with drop waists.  Many also frequently think of the twenties as having beading, sheer fabrics, and fringe, but that was for evening and special occasion.  However, do you know what the turn of the decade, year 1920, actually looked like for everyday wear?  When I started doing research on this I was surprised.  Very high waists, overly exaggerated hips (many with ruffles and ridiculous pockets), slightly awkward long mid-calf length hems, and loose but lovely bust-less blouses.  Yes – this was the year 1920, when women were wearing fashion which was both a carry-over from 1918 – 1919 that was also finding its way for changing up styles in a new decade.  Here is my sewing creation interpreting the year 1920, as a woman in her nice, almost sporty, and nothing-too-fancy clothes to go do some window shopping.
DSC_0262,p,a-comp,w

Actual teens era/1920s hand painted glass buttons (close-up picture here on my Instagram) were included on the blouse I made, as well as several hours of decorative hand stitching on both neck and sleeves.  My hat is a thrift store purchase, which already had straw flowers, but I piled on a wide lace band and silk flowers for an old fashioned style.   I also made the skirt and the purse, as well as some of the authentic lingerie I’m wearing underneath.  This ensemble did not look right (silhouette speaking) until I had the correct undergarments, so I will definitely show you what I wore (and made) in a future post.

DSC_0277a-comp,w

Period authentic doesn’t have to be old-fashioned or un-wearable today.  Because it is all cotton and not body figure conscious, this is really quite comfy to wear.  Sure, it’s different, but yet lovely and tasteful enough for me to only receive kindly smiles from strangers who saw me.  I love the subtle complexity, the understated richness, and the odd femininity to the style of my 1920 pieces.  The ideal of beauty and the popular silhouette for women has changed so much throughout history, and this is just another incarnation that I am glad to have learned to appreciate through sewing it for myself!

THE FACTS:McCall 9412 & Pict.Review Overblouse, both ca. 1920, fm Past Patterns

FABRIC:  100% cotton specialty twill for the skirt, 100% cotton for the blouse, and a tapestry remnant (mystery content) for the purse lined in a burgundy Kona cotton leftover from this project.

PATTERNS:  Past Pattern’s No. 8268, Ladies’ Overblouse, from Pictorial Review circa 1920; a Past Pattern’s No. 9412 “Ladies’ Skirt with Hip Pocket Effect” from McCall Company circa 1920 , and a Vogue 7252 year 2000 patternVogue #7252 from the year 2000 for the purse

NOTIONS:  The notions for this came from everywhere.  The detailed, Art Nouveau-style brass buttons were a Hancock Fabrics’ store brand item, bought when the company was closing, while the old vintage blouse buttons were from our favorite antique store.  Most everything else needed was on hand – I even had the tassel for the purse in my stash!  

TIME TO COMPLETE:  The skirt was made in about 6 hours and finished on October 21, 2016.  The blouse took 8 to 10 hours, with 4 more hours for the hand embroidery, and was finished on February 26, 2017.  The purse was made in about 2 hours on February 28, 2017.

TOTAL COST:  The skirt’s fabric was bought at the now defunct Hancock Fabrics for less than $2 a yard…and I only needed 2 yards here.  I have 2 something extra yards still left for another (upcoming) project.  The blouse’s cotton was bought at JoAnn’s fabric recently for maybe $10.  The brass buttons were expensive even with the Hancock Fabrics closing clearance – maybe $17 – while the old buttons on the blouse were only $5.  The tapestry brocade came from I don’t know where from I don’t know how long ago, thus I’m counting it as free, but the cord handle was bought at JoAnn’s for about $4.  So, my total is about $40 something.

DSC_0232,p,a-comp,wWorking with patterns this old presented plenty of unknowns, but the primary one was in regards to fit.  What kind of body, what kind of peculiarities, and what ease do these patterns account for?  It’s one thing to get something to fit, but historical garments need a particular fit (as well as the right underwear) to be authentically worn.  I did have the assurance that my pattern came from Past Patterns Company…every single garment I have made from what they offer is a wonderful success I am most happy with.  No wonder they’ve been in business almost 40 years!

Let me start by talking about the bodice.  After some figuring, my estimated bust measurement of the blouse pattern as-is (in the size 38 to 40 bust) is 45 inch around.  This led to my figuring the wearing ease to this blouse was about 5 inches over and above the bigger of the two sizes (bust 40).  I can see that the bust is supposed to be bloused and roomy (over a flat chest) so I went down to a generous measurement for myself and ended taking out a total of 4 inches around hoping to end up at what would be the next size smaller for this pattern.  The side seam allowance is 1 whole inch so I figured I had plenty of room to fix a wrong calculation is sizing, but still…it’s easier to  take out some extra than it is to be stuck with a garment which ends up too small.  I totally feel like I nailed the right fit!

DSC_0253a-comp,w

I realized that this is an overblouse that I am not wearing as an overblouse.  This is not the first time I have made an over blouse only to wear it tucked into a skirt – see this 1958 project.  When I received my pattern in the mail Saundra Altman kindly included a tutorial page on how to add in a stay-belt inside the blouse.  As I am just getting the feel for teens and early 20’s dressing, I kept the construction of my blouse simple from the waist downPerry, Dame & Co Catalog, New York styles, fall and winter 1919-1920 because for now I plan on only wearing it as you see it.  At some future point I hope to make a year 1920-style pleated skirt and wear this same top as a proper overblouse, and at that point I might come back and add the welt pockets and a stay-band to the waist.

I did use my oldest (1930’s) sewing machine to do all the button holes along the front opening, but I also splurged and used all cotton thread and self-fabric bias tape for the neckline.  After I had made the button holes I decided I really didn’t want to subject the buttons to the wear and tear of pushing them through every time.  So, I still sewed two at a time connected like link buttons but they’re on there permanently for now, and if I want them off I’ll just cut the linking threads.  I did try to make these buttons linked by a metal loop with a connecting chain but I had disaster strike doing that.  The back loop on one broke by cracking right off, but it is a molded part of the rest of the button so it cannot be fixed unless I glue some loop or such on it.  I never guessed these were as fragile as they seem to be.  Until I figure out how to add something to the back of this broken button, I will sadly made-do with one at the top closure.  This is the risk of working with, or even wearing, old original items from many decades back – they are unique and fragile, but deserve to be seen nonetheless, so using them is a risk that also could only garners appreciation.

DSC_0246-comp,w

My decorative hand stitching is I know not the best compared to many others, but this is so much better than I used to be able to do.  Whatever my skill, the stitching does take my blouse to the next level, I think, besides show casing an old time-honored practice that modern garments are so far from.  Hand stitching was very much needed here because of the rather plain color of the blouse’s cotton.  I made my own design, and after several unsuccessful Art Deco drawings I settled on the softer more feminine floral on my blouse.  After all King Tut’s tomb would not yet be discovered for a few years from 1920!

The skirt probably would’ve fit me pretty much as-is, but I did add one extra inch to the waistband only to be on the safe side for fit.  I did not change the rest of the skirt because I wanted the gathers to be a bit looser.  Looking back I wish I had made no gathers across the center front of the skirt – the pockets and the hip panel would look better.  No matter, I like it just the same! DSC_0297a-comp,w

The skirt did not need any special closures for the left side opening – the placket kind of conceals itself because of the side seam pleat overlay.  Only hook-and-eyes keep it together at the waistline.  The waistband is quite neat.  It is a two inch band against my skin on the inside, with a 4 inch waistband gathered horizontally on the outside so it looks like a cummerbund belt.

DSC_0220a-comp,wTrue to the era, the back of the skirt is just a long rectangle for a small taste of the slim and skinny.  What a contrast for the front!  Along the front geometric pocket edge I made my own self-fabric “ribbon” to decorate, finish, and stabilize the edge.  At first I tried a brown velvet ribbon for the edge, but, no – I didn’t look good so I took it off and went with the matching fabric.  This pocket edge needs to be stiff enough to stick out on its own and define the hips so I was tempted to add interfacing.  My skirt’s twill fabric was thick enough that three layers along the edge (1 – the skirt, 2 – the ribbon edging seam allowance inside, 3 – outside of the ribbon edging) was plenty good.

Needless to say, as much as I love pockets, these take the cake! My skirt’s pockets are like mini suitcases.  I can keep everything in them and it doesn’t even make a difference the skirt is so roomy and meant to be billowy.  Yet, the only thing that mystifies me about my 1920 outfit is the pockets, mostly because the purses and hand bags were so tiny!  Pockets and purses were still relatively new items to 1920, and both signifying the independence and progression of women, but to go overboard with such a contrast between the two in interesting to me.  As you can see, I did take a slight shortcut and have the pocket opening close with a snap rather than a real working button and button hole.

DSC_0240a-comp,w

Patterns for both the skirt and the blouse both seemed to run very long.  I made the shorter length of the overblouse, which was just over 10 inches shorter than the full-length option, and it is still falls about mid-thigh on me.  For my skirt, I took out 4 whole inches from the length because as-is the pattern falls to floor length (I’m about 5’ 3” height).  Now, take into account the fact that these two garments are meant to have deep hems, especially the skirt.  My skirt does have a wide 3 inch hem to it which helps to weigh it down properly besides bringing it to the proper just-below-calf length for the year 1920.  Skirt and dress lengths of 1920 seem to be just enough to show the ankles, just enough to move freely in, and a tad shorter than just a year or two before (1919-ish).1916 purses

My purse is something so easy but I’m so tickled at how lovely and cute it turned out.  The pattern I used is a real unknown gem with lovely designs straight out of the teens and 20’s.  I remember my mom and I being so excited when this came out!  Look at this comparison between a 1916 handbag poster for comparison.  In a 1926 catalog, I’ve even seen a strikingly similar version to “View C”!  They are all really quite simple designs but I like the fact they give the tracing designs for all the beading and decoration.  My purse doesn’t hold much but came together so quickly.  Trimmings and de-luxe materials seems like the way to go with this pattern and a remnant was all I needed.  I will definitely be using this again!

In the 1920’s, handbags were often just enough room for a few small essentials (including lipstick and keys) and often geometric in shape, like my own vers ion.  Mine is probably way too stuffed than what a 1920 woman would have carried, yet as it was I didn’t have room for everything I needed!  Also in the 1920’s, handbags weren’t necessarily meant to match with an outfit but carry their own tasteful, individual, and often ostentatious flair…quite different from modern times!

DSC_0285a-comp,w

By making my purse (a ‘reticule’ style) from tapestry I am harkening back to a popular type of “daytime” purses of the 1920s – ones made of richly complex fabric carpet bags and delicately flourished needlepoint.  Handbags from these materials seem to either be meant to show the wealth of the one possessing it or the talent of the maker, as many of these types of purses were often handmade by either the woman herself or someone for the company that sold it and some were quite expensive.  By having a decorative tassel at the center bottom point I’m aiming to narrow this to a primarily early 20’s piece.  To read and see more, this “Vintage Dancer” page has a wonderful overview of all the ways 1920’s women carried what they needed.  There is so much history to this littlest part of my ensemble!

All the materials I used for this outfit are just a dream to wear and were wonderful to sew.  The twill for the skirt is a lovely weight and hand – almost as heavy as a denim, slight body, but drapey and soft enough to hang nicely.  The low-key design of the fabric adds interest and keeps the olive and brown tones to it from being too drab.  The cotton of the blouse is so soft it doesn’t really wrinkle all that much and it’s just sheer enough to be pretty.  The tapestry of the purse is so rough, textured, and stiff it provides a nice contrast to the blouse and skirt.

DSC_0215a-comp,b&w

The place of our photo shoot is something quite special.  Not only is it a city landmark and the town’s best example of Gothic Revival architecture, but it is a National Historic Landmark.  I’m talking about the St. Louis Arcade/Wright Building, opened in year 1919 as one of the very first indoor shopping areas of its kind in the country, a very early, but much more elegant version of the modern American suburban, indoor, covered “Mall”.  Just think how extraordinary this is from a historical standpoint – plans for this steel and stone skyscraper was begun in 1913 before World War I and many of the materials needed for this building were rationed.  Federal officials closed and postponed many construction operations during WWI.  It is rumored that the principle contractor apparently had a simultaneous deal with the government at the time, so I suppose he was able to pull a few strings.  The Arcade was the tallest building in the world for a number of years.  Besides, the architect, Tom Barnett, was something quite important nationally.  This multi-story hall was recently renovated (after being vacant for several decades), preserving much original pieces so that the Arcade can still give visitors a taste of what it might have been in its heyday when people came here for high-end purchases such as jewelry and fine china.  Being able to walk through and visit places like this in period authentic clothes makes sewing this outfit a very worthwhile experience.

DSC_0295aa-comp,wP.S. Good news…you don’t necessarily have to sew if you want this ‘look’!  ReVamp vintage has re-made an amazing year 1921 oversized pocket skirt very similar to my own, the “Prudence” with brownish olive twill and lovely details!  Although, there are a few ways to wear a modern take on such a style – “Dress Romantic” on Etsy marketplace has a neat version that’s my favorite!  As for ready-to-wear 1920 style blouses, ReVamp has lovely options but any loose modern blouse with lace and/or feminine details would work – my favorites are this Anthropologie yellow blouse, this J.Crew cream colored pleated neckline blouse, or this sheer smocked neckline top.  There’s always old originals out there, too, (like this one) for a taste of the real thing!  Will you be channeling the early 1920’s for yourself, or have you already?

Save

“On The Sunny Side” – a Casual, Lace-Collared 1920’s Dress and Re-fashioned Cloche Hat

“It will help us every day, it will brighten all the way, if we keep on the sunny side of life.”  So goes the chorus from the song popularized in 1928 by the famous Carter family, but the song is also known for being in the year 2000 movie “O Brother, Where Art Thou?”  This song, the movie, and the general time frame of both have inspired me to make a bright and daily-life type of summer 1920’s dress together with a hat re-worked into a 20’s cloche.  There isn’t anything like a great outfit that you love to be in to help brighten up a disposition and add to a great day.

100_5707a-comp

A vintage tractor show in a small town only a day’s trip away was the catalyst behind my creation.  The occasion was a dusty, farm-centered, old-timey day of laid-back enjoyment which completely reminded me of something out of the depression-era dust bowl, the general setting of the movie, “O Brother, Where Art Thou?”  I don’t know what was brighter that day…my dress or the summer sun.

B6140THE FACTS:

FABRIC:  100% rayon challis in a bright coral with a vintage cotton collar

PATTERN:  Butterick # 6140, year 2004

NOTIONS:  I had all the thread and bias tape needed, but I had to go out and buy the blue ribbon the day before my dress was worn.  The collar is from my stash, as was the hat ribbon and button (which was from hubby’s Grandmother).

100_5735-compTHE INSIDES:  French seamed

TIME TO COMPLETE:  The dress took me about 8 hours, and was finished the day before the event, July 18, 2015.

TOTAL COST:  maybe $15

I had been sitting on the idea for this dress for a while but when we decided at the last minute to go to the vintage tractor show, it gave me the reason to whip this up from off of my sewing table.  I am glad I had a reason to wear it because it seemed harder in the thought process than it was to actually make it.  This is the cutest loose fitting sack dress I could have ever imagined.  My dress being from the 1920’s is (I suppose) the only way to reconcile mentally my wearing something so generous.  My cloche hat doesn’t do much for the sun but is a good match for what I believe is a decently historically accurate 1920’s ensemble.

The-Artist-Costume and drawing by Mark BridgesMy preliminary inspiration was from a Hollywood source –Bérénice Bejo’s character Peppy Miller in the 2011 movie “The Artist”.  Our first sight of her in the movie is when she is wearing a jacket over a dress very similar to the one I made.  The movie dress, however, has long sleeves with a sleeveless vest/jacket, but to make my outfit versatile, my dress is sleeveless and a long sleeve jacket will be sewn later.  I even tracked down a costume sketch so I could see all the original colors which I stuck to as well in my version.  Part of the reason for the use of odd colors on the movie dress was so that things would show up a certain way in grey toned colorless film.  Nevertheless, the early/mid 1920’s into the 30’s are classic for pairing and using bright and unusual colors (reflective of the positive outlook of the times, see this as one example), so as wild as a bright salmon peach and royal blue sound, there is a high probability they were matched.  Honesty, I love the finished look.

100_5710-comp

To start with, I used my easy, two-piece, fall-back basic Butterick for my 20’s shift silhouette.  It has been used with great success already for two other 20’s era creations – a blouse and a satin dress.  This time, I had to do some detailed adjusting of the neckline so it would suit my chosen lace collar.  I also opted for the easy and quick bias facing for the neck and arm hole finishing as the rayon is a bit sheer.  A deep hem was made so as to weigh down the dress a bit. 100_5737a-comp

With the dress done in a jiffy, I figured out how I wanted the center front skirt insert to be pleated and made a draft from plain paper – a box pleat in the middle and plain knife pleats on each side.  Then I made the real version of the pleated skirt insert and top stitched it down before cutting away the dress fabric behind.  This process reminded me of opening up a window.  That was all!  With only some quick hand tacking of the add-ons, my dress was done in the blink of an eye.  Many mid and late 20’s dresses have similar center front skirt interest which adds room to move.

100_5717-comp

My parents (on occasion) pick up vintage items they know I don’t have but are uniquely special, such as collars and unique notions, with the occasional accessory.  Making this dress gave me my first occasion to use my now substantial lace collar collection, all found by my parents.  I believe this particular collar that I used is not too old, but I really don’t have any idea besides I think it’s hand crocheted.  It is so lovely the way it has such detail and I love the pointed dip in the center back.

Adding a lace collar made me rather seriously reluctant for the first time…I felt like I was doing vintage quaintness overload.  Now I mostly sew and wear vintage, and wearing the 20’s styles is obviously from the past so I really shouldn’t care.  However, out of all the trends that have made a resurgence, lace collars have not strongly come back and in my mind I’ve always seen them as too cute to handle on anything other than little girl clothes or a civil war era dress.  However, I did feel like this dress needed that collar, and if ever I was going to try and wear one…this was it.  Somehow, I think the plainness of shape and bright color to the dress saves the collar from becoming what I so feared.  Whatever it is, I do like it and already have plans for my other lace collars.  I’ll be like the anti-trend setter…

100_5712-p-comp

The neckline ribbon is merely pinned in place with a safety pin because I really don’t think modern satin ribbons wash well…and I don’t want to try just to find out.  After having the rest of my dress be vintage appropriate materials (rayon and cotton), I regret having a poly satin ribbon, but I have limited resources and my dream materials might have to stay that way.  The ribbon does have a nice dull shine and it does give my dress the right amount of cheery fun.

100_5720-compMy hat is my first attempt at re-fashioning head wear.  I don’t think it’s too shabby.  My methods were primarily sewing and folding rather than soaking, re-blocking and shaping.  It was a cheap basic shaped hat originally, similar to the hat I used for this re-fashion.  My problems with this hat are purely on account of me – 20’s hats are so darn close fitting and my hair gets so frizzy on hot, humid days that there is no room to hide all my locks!  I can get away with this somewhat with winter cloches because the wool sticks to my hair, but this straw one does not.  Besides, I need my glasses to see and for some reason this hat interferes with my eyewear.  However, my hat is a success and fills in a niche by completing my 20’s wardrobe for summer.

I did not cut into the hat at all but folded in the back brim into the crown.  The sides are folded like tacos and covered up by the ribbon.  Everything is invisibly hand tacked own by clear filament thread.  Eventually, I might like to rip all this apart and do a better job (because I can) but it would be easier (and more fun) to probably just make a new hat.

hat-combo-comp

Technically, I believe the tractors behind me in most of our pictures are not really my dress’ era but probably 40’s or 50’s.  They did have some breathtaking 1910 to 1915 still working steam powered tractors for some historical awesomeness.  Although my hat is breathable straw, standing next to piping hot steam engines running in the height of summer was a bit overwhelming, but without the cloche my outfit suddenly had a 30’s aura.

100_5699-compWatching those old machines still working makes me realize how the times before ‘The Depression’ had such a swaggering confidence.  1920’s ingenuity is often overlooked because it is so far back and different than our modern technological advancements but most of what we take for advantage has its roots in the 20’s – television, synthetic fabrics, traffic signals, sunglasses, refrigerators, washing machines, and frozen food, to name just a handful.

The 1920’s definitely has a sunny side…

“Retro Forward” Burda Style – 1920’s Geometric Bias Dress

In strong simulation of the famous Madeleine Vionnet, this Burda Style dress is perfect for modern day glamour a la 1920’s.  My fabric is a silvery pink satin.  With its frosty sheen and surrealist clock “cog works” print, the fabric reminds me specifically of the cold, hard, mathematical beauty that I love about the Art Deco era.  The dress, in classic Vionnet style, is on the bias for a flowing, body complimentary gown the likes of which are not seen that often in modern patterns anymore.  I love this dress!

100_3603a-comp

McCall #6560 year 1931 Vionnet style facy gownI am not exaggerating – this is one of the most ingenious designs I have come across in my sewing.  It’s so simple yet so complex and so smart.  Just a few geometric shapes cut in the right grain line makes all the difference.  Vionnet had the foresight and ingenuity to create very similar styles, but Burda made this kind of dress reasonable in price and availability as a great option to going with a pricey hard-to-find old 1930’s/1920’s original patterns (at left)…without compromising authenticity.  Yes, believe it or not the 1920’s was more than just beads and fringe – it was also about bias cuts, freedom to move unconfined, and mathematical glamor.

THE FACTS:102 tango dress line drawing

FABRIC:  A 100% polyester satin bought from a Hancock Fabrics store

PATTERN:  Cowl Neck Dress #102, from 07/2012, on Burda Style’s store online or in the July monthly magazine issue.

NOTIONS:  I had the interfacing and thread I needed, as well as the money coins which went into the fabric weights for the dress’ inside.

THE INSIDES:  As this is on the bias, all seams are left raw and free.

100_3629-compTIME TO COMPLETE:  This was made quickly in about 6 hours, and finished on August 8, 2014.

TOTAL COST:  about $10

This was my first Burda Pattern to make and I’m glad it was a success.  The instructions for the neck/bodice all-in-one facing were quite impossible to understand merely reading but as long as I followed them to the letter in my sewing, as weird as they sounded all worked out great.  I didn’t do any changes to the pattern.  Besides fitting in the sides, I kept the proportions and length as-is.

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 out using a roll of medical paper from the insert sheet of the magazine issue but you can also buy it, download it, and print it out from Burda Style’s online store.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  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 know.

100_3606a-comp

Usually I grade from my “normal” Burda size (usually the smallest one offered) up to the next size for the hips but for this pattern I made the whole dress out of the size for my hips, just to be on the safe side.  However, I ended up taking in each side a few inches.  I don’t know if the bias is making the dress size seem so big or if it’s truly the sizing but either way for more of a body fit, rather than a loose and overall drapey fit, go a size down.  Now that I’ve made a few bias garments I’ve found there is a delicate balance.  A loose fit is needed so the bias does hang a bit on the body (you don’t want the bias stretched over you) but yet too much ease can make bias dresses look bad and frumpy with draping and wrinkles in the wrong places.  100_3614a-comp

The vertical sides of the dress are on the bias, but the side panels take turns with the main body of the dress to change things up.  There is the straight grain on the semi-horizontal downward edges of the panels while those corresponding seams of the dress are on the bias.  I had to be careful of both differing grains to ease in the fullness and yet also not stretch the bias in those spots– slightly tricky.

Bias cut also means no closures, no darts – just simple beauty.  Sweet!!!  While on me, if I pinch the dress and pull it out it could just keep going.  When putting this on, it falls open wide so it seems like a giant dress but then once it comes on over the head it magically falls around my body to fit.  Bias cut is so awesome yet so sadly unknown by the general non-sewing populace (at least from my experience).

My chosen fabric is feather-weight so it really makes the dress flow nicely, but with a slightly heavier fabric (such as a rayon crepe or silk charmeuse) the dress would have more of a correct drape.  Thus, I had to add some strategic weights at certain spots of the dress.  The cowl needed to drape better to keep the neckline down so I added a weight to the inside of the center front.  Then, the dress was lopsided so I had to also add a matching weight to the inside center back neckline.  My weights are merely small rectangular “pockets”, made from the same fabric as the dress, and they hold two quarters each.  So, I guess I ended up putting and extra dollar into my dress just to keep it hanging right on me!  Whatever it takes…

100_3609a-comp

I really don’t know why but the high-low hem didn’t turn out as obvious as in the pattern’s line drawing.  The high-low hem was a trademark of the late 1920’s and very early 30’s, which is why this dress is part of my “Retro Forward” blog series.  Around the time of the stock market crash of 1929, hemlines became more modestly transitional to the mid-calf skirt/dress lengths of the 1930’s by being frequently part short (like the 1920’s) yet getting elongated (mostly visually) by also being partially long.  Thus, during the transition of the 30’s and 20’s all sorts of hemlines became popular such as “high-low” hems, “hankie” hems (see this post), fur trimmed hems – and the variety doesn’t end there!  I find it funny how I still see many of these hemline styles in modern clothes.  Also, this Burda pattern is totally a Tango dress…similar to Folkwear’s version.  Many varied length hemlines were seen on dresses styled with a Spanish influence to be worn swaying to the then “new” music craze of the Tango.  Dancing that required full movement of the body was then not only popular but actually possible, too, for corset-less unconfined women in the late 1920’s, and crazy hemlines with body hugging bias cuts made the dancer seem all the more exotic.

This dress can easily go modern, but I preferred to glam it up ‘a la’ late 20’s style, with my fishnet stockings, bobbed hair, and my handmade long beaded necklace.  My Tango-style shoes are (I think) “1960’s does 1920’s” – they are “Debs” made by the famous Palter DeLiso footwear designer.

Even our background has the same time period and the same geometric shapes as my dress.  The building behind me is one which I have long admired and I happy to be integrating it into a project’s photo shoot.  It was built in 1930 as a power-station for an electric company, it is so awesome for such a mundane use, but that is the Art Deco movement to put glamour in everyday life.  The National Register of Historic Places Inventory for this building (page 16) lists it as “having metal grillwork in an abstract chevron-like pattern fills the rectangular openings” between the terra cotta and marble of the piers on the building.  “Above the openings of the spandrels, between the piers, large stylized ornament, linear, with hard edges, embellishes the parapets.”  Aren’t those details amazing?!  Sorry to go into detail here but I love historic architecture appreciation, and this building is up there on my “favorites” list so I can easily get going!

100_3623a-comp

I hope you like Art Deco like I do and hopefully this post can inspire you look for this era’s buildings in your town or even to work a little of this era into your sewing.  Have you tried bias garments, especially these geometric 20’s and 30’s ones with beautiful simple design like this dress?  If you have, they’re special aren’t they?!  If not, you need to go ahead and make one…let me know about it…I’d like to see it!

Vintage-Style Red Velvet

Yes, red velvet is definitely lovely, and it’s a sweet treat whether it’s a cake for consumption or a fabric for wearing. In this post, it’s a 1927 blouse!

100_7054a-comp

Shirts and blouses are a staple to the human wardrobe for ages, so there’s much to change while still staying the same through the past decades of the 20th century. Totally un-like a red velvet cake, this blouse is no-calorie and very appropriate for a party. It’s also made from a lovely, basic, vintage pattern which lets the fabric shine! In this case, I chose a fancy, deep burgundy burnout velvet to make an outfit for a St. Valentine’s weekend wedding we were attending.

THE FACTS:

FABRIC: A 97% polyester lycra stretch panne velvet, with a floral burnout design in deep burgundy red showing a black netting underneath. This fabric was bought from Fashion Fabrics Club.McCall's 7250, year 1927 re-release-comp

NOTIONS: Everything I needed for the blouse was on hand already – the interfacing, the thread, the hem tape, and the buttons. I did buy the beaded ribbon for the belt from a Hancock Fabrics store just a few days before wearing it, but what I used to finish that was also on hand.

PATTERN: McCall’s #7250, a circa 1927 modern re-issue

TIME TO COMPLETE: This blouse took me about 8 hours to make and it was finished on February 11, 2016.

THE INSIDES: All the inner seams are in French seams, except for the armscye which is left loose and raw. Oh, and the drop shoulder seam is covered in hem tape.

TOTAL COST: The ribbon belt cost about $5.00, and the burnout velvet cost about $19.00 for just over 2 yards, so $24 in total cost.

100_7072a-comp

I am very pleased with this blouse and its pattern. The pattern is some modern re-print or re-issue from based on the McCall archive drawings from 1927, and I found it is easy to sew, simple to understand, and fitting true to size. I was technically in between sizes, so, looking at the generous finished garment measurements, I decided to go down to the sizeSears 1927 catalog broadcloth shirt smaller. Perfect! The blouse is loose enough to have the proper 20’s style bagginess, but yet somehow it seems to me to be just fitting enough to also be my size. There is a slight curving shaping in the side seams, which further impresses me as well as the lovely gathering at the dropped shoulder seams in the front. My fabric is a non-authentic polyester, I know, but rather proper-looking, and much easier to sew as a ‘burnout’ than as a regular panne velvet. My velvet also has a wonderful weight and droopiness which makes the sleeves so very elegant. However, I can also see this blouse being wonderful sewn up out of a soft handkerchief-weight cotton or linen (see the 1927 Sears ad at right from here) as basic starting point for an ‘everyday’ 1920’s wardrobe piece, going with a suit set, a jumper, or a skirt.

Even though I was working with a burnout stretchy velvet panne, I still sewed it like it was a woven in the way I did not let any of the seams stretch. The seams are stabilized with hem tape and/or multi-layers of tight straight stitching. The velvet blouse is slightly heavy because – of course – it’s a long sleeved tunic with a lot of fabric and it needed to hold its shape. Everywhere else there is room for the fabric to give, just not at the seams and I believe it really works best this way when using a fabric with stretch for this pattern.100_7058-comp

A special interfacing went into my blouse. Being a burnout and slightly see-through, I used a black interfacing. However, the interfacing was also a lightweight, 100% cotton fiber content, iron-on style. I thought this was an odd combination and picked up just enough for the sleeve cuffs, the collar, and neckline facings of my blouse. I really liked how this cotton interfacing stuck nicely to the back of the velvet as well as being especially stable (being a cotton) to keep things in their proper shape. Yet, it doesn’t seem to turn out as stiff as other interfacings. I wish so much I’d bought more because I haven’t seen it again in my local fabric stores, but I know now that it is nice stuff to work with, so I’ll keep my eyes peeled…or just break down and order some online.

The sole fault which I have noticed to this blouse has to do with another one of its best features…double-cuffed sleeves. They are very nice but somehow travel around my wrists as I am wearing my blouse, strangling the sleeve around the rest of my arm. This uncomfortable situation is especially apparent when I wear a coat, for some reason. I have a suspicion that this twisting habit of the sleeve cuffs is mostly due in part to the fabric, but not all blame goes to this factor. The sleeve cuffs are nice, I will admit, but sort of a bottom-heavy weight compared to the rest of the blouse. When it’s hanging up, I have to pick up the sleeves and drape the cuffs on the cross-bar of the hangar so the blouse doesn’t get its shoulders pulled down. Once being worn, the heavy cuffs aren’t noticeable but I still think not closing them tight enough around my wrists, combined with their weight, makes the sleeves twist around my arm. This isn’t something that makes me like this lovely blouse any less, it’s just a tendency that I thought it might be good to mention in case others who make this pattern find the same issue.

100_7076-comp

I did slightly alter a few minor points from how the pattern instructions show to do things. My changes have to do with finishing, not design and fitting. Firstly, I left out stitching in buttonholes through the cuffs. Stitching through four layers of fabric (with interfacing sandwiched in, too) did not sound like anything other than a headache, possibly ruining my fabric or machine and therefore making my project seem less than classy. Besides, I wasn’t totally convinced on the given method of folding the cuffs. As my hubby pointed out, why go to the effort of making double cuffs only to fold each cuff out in half (even with the edge where it comes into the sleeve)? Doing so creates the look of a single cuff, albeit one that is very thick, and your effort and the design seems wasted. Thus, I staggered the double-fold of the cuff at about ½ inch down (out towards one’s hand) from the edge of the cuff meeting the sleeve for a more obviously layered appearance. Then I merely took my chosen buttons and sewed them through all the layers where cuff-links would normally go. Now I am not irrevocably committed to the cuffs being one way or another. I know this method might sound cheap or sort of like cheating but the cuffs don’t feel 100% right just yet and my being happy with my own garment is one of the highest priorities in my personal sewing. The cuffs look no less elegant, so I think, for their lacking buttonholes and a little change in cuff folding. They are actually quite nicely fuss-free this way.

100_7069-compSelf-fabric belt loops are the only other item I left out in the original design. I wasn’t entirely sure I always wanted to wear a belt, or even that I wanted to always wear a belt at that same one exact spot every time. So they were left off of the side seams. I figure I can always sew in thread loops, which I think I would like better anyway as they are more low-key compared to self-fabric loops. For now, I merely use and existing belt in my collection or, as with the fancy beaded ribbon I used as belt in our pictures, use a safety pin inside to tack the belt in place at the side seams. This is another non-committal answer, I know, but one that makes me happier with the versatility and non-complexity of the blouse in the end.

My beaded belt was a last minute improvisation a few days before the wedding event we were to attend. I felt the blouse need a little extra oomph to snazz up the look while still being subtle. A matching belt in the same burnout velvet seemed like overkill and would not be seen, but a basic belt or even a modern one didn’t feel right – this beaded sheer ribbon did! I used basic black satin scraps leftover from making my Christmas Burda Style draped front skirt to make fabric “caps” to cover and support the ends of the ribbon. Between the beads and the fineness of the ribbon I sewed the satin caps in place by hand. One end cap in twice as long as the other so as to close in the center with a loop and button. The button is something I picked up a while back at an antique store, and even though I do not think it is authentically vintage is darn sure looks the part of a 1920’s piece. It has the words “Costume Makers” imprinted on the back.

I feel McCall’s 7250 is an excellent pattern in my opinion all around, but especially for100_7064a-comp those who are just getting started into vintage or even those who are acclimating themselves to the styles of the 1920 era. It can pass as completely modern, or completely vintage, and even somewhere in between depending on how the blouse gets worn and styled with hair, fabric, accessories, and bottoms. I stayed as true to the late 1920’s as I could, with my long strand of black trumpet beads, my two-tone t-strap shoes, and my high-low hemmed, double layered under dress (a high-low hem was something which was a transition fashion easing the 1920’s into the 1930’s). However, I was also nodding to the popular Spanish-influenced or Tango fashions of the late 1920’s with my authentic 20’s era large jeweled hair comb.

My outfit was just enough to be authentically vintage but not too much to look like a costume. This says, to me, that I found a winning piece with McCall’s 1927 blouse. Almost everyone likes a tunic top, and with this pattern there’s no more of that common “I can’t do the 1920’s” excuse anymore. You can rock the 20’s!

Leaf Piling in Plaid

Leaves can be the curse or the joy of the season of fall.  So also, plaid prints can be the bane or the delight of those who sew and work with fabric.  Either way, if you want to move on to other things, both have to dealt with at some point.  So why not enjoy leaves and plaid at the same time?

I chose a simple shaped year 1928 Past Patterns reprint to make an earth-toned plaid dress perfect for fall’s transitional weather.  The straight lines and simple shaping of a late 20’s dress was also perfect to take the stress out of plaid matching.  A giant sycamore tree supplied the leaves to enjoy and an old Art Deco vitrolite decorated building provided the time-rewind backdrop.

100_4117THE FACTS:

FABRIC:  My plaid dress fabric is an incredibly lightweight, semi-sheer 100% cotton.  The plaid pattern is woven as part of the fabric, which I suppose, combined with the natural cotton content, technically makes it a textile and therefore quite historical.  Then, I go and ruin the historical bragging rights of my dress by lining my plaid fabric in a modern 100% cotton broadcloth (although broadcloth isn’t too UN-historical).  As you can see, the brown cotton broadcloth also went towards making the side godet/gusset inserts and the necktie.  Both fabrics were bought from Hancock Fabrics store.  100_4129

NOTIONS:  I only needed thread, but later on, when I also needed a zipper, that was in my stash too.

PATTERN:  A Past Patterns reprint #2792, Ladies’ and Misses Dress with Kimono Sleeves: Circa 1928-1929″.  Simplicity 4365, year 2005, was used for the godets added into the side seams.

TIME TO COMPLETE:  My dress was completed on October 13, 2014.  I spent maybe 15 hours to finish this project, not too fast but not over long of a time either.

TOTAL COST:  The plaid cotton was super cheap on their ‘spot the bolt’ discount – I got everything on the bolt (only 1 yard and 28 inches) at only $2.00 a yard.  The brown broadcloth was on sale for $1.99 a yard.  Altogether, my total for everything comes to about $10 or less.

The sizing for this pattern showed measurement which were way too large for my size.  Naturally, I thought, “o.k, it needs to be graded down”.  I was technically right, but boy was I wrong.  However, this dress is another happy case of a mistake turning into a ‘design opportunity’, making my project even better than originally imagined.

100_4125     It seems that 20’s patterns have their own funny way of fitting…like, not at all!  No, really, they are based on straight rectangles, with no accounting for the reality of womanly bust/waist curves.  This fitting coincides with the ideal shape for the 20’s: a flattened bust and an elongated waist-less silhouette which focuses only on the hips.  Fitting was tailored in a unusual, unique, and subtle way that I myself have a hard time attaining in my 20’s projects, especially for my tango knickers.  From my experience, a 20’s pattern technically needs to be a size or two too large for you to fit…I am not joking.  I have a few late 20’s original McCall patterns, and they fit the same way – if you make sure the bust fits, then the rest of the dress (outfit) won’t fit, and it’s not just because of my hips.  Women are naturally hip dominant.  That being said, 1920’s patterns run tight in the hips, large in the bust, so you naturally have to go up in the era’s sizing.  Then, it might just lay on the body the way it should for the era, as long as you provide the proper 20’s shape underneath.  For example, the bust of my finished dress originally did not fit (it was too tight) when worn with a modern brassiere.  You have to wear something that flattens or at least offers low support to get the proper 20’s look and fit when you’re lacking period authentic foundation garments.

100_4019     Even though it was not completely the right move, I am proud at how well I figured the down grading of this 20’s pattern.  I divided the amount to take out in two (actually four) increments vertically between the aches of the dropped waist.  My picture shows grading for one of the bodice pieces.  Look how perfectly rectangular the piece is shaped, like I mentioned above.  Actually, grading down gave me just enough room to squeeze in all four pattern pieces into my small cut of plaid fabric.  Remember…I was only working with 1 yard and 28 inches of a 45 inch width fabric – yikes!  I folded the selvedge edges into the center and was thus able to place all four pieces (a front and back bodice, a front and back skirt) on a fold edge.  I would never have thought something like my finished dress could be made from so little fabric.

Here is a pattern which practically had no thorough assembly clarification as do modern instruction sheets.  There is merely a short paragraph and a picture or two to guide you, even less than the little that was given for my last Past Pattern, my 1931 dress.  As long as you know sewing and construction methods comfortably well, Past Patterns’ 1928 dress pattern should be rather self-explanatory coming together.  My method was to prepare both the skirt front and skirt back, as well as the bodice front and bodice back.  Next the bodice front was lapped seamed on the skirt front, and the same for the back sections.  Next the full front and full back were joined at the shoulder seams so I could do the neckline facing slash and necktie.  Finally the side seams were completed last…this was when I tried the dress on myself and realized (oh no) it was way too snug of a fit to be a proper 20’s silhouette.

100_4122100_3997     Ah ha!  No sweat – I had the ideal happy solution for the snug fit in my head!  Many skirts and dresses between the years 1910 to 1930 used godet inserts, a triangular piece of fabric usually set vertically into the hem of a garment to add fullness.  Their use faded somewhat in the 40’s and 50’s, and were mostly forgotten thereafter.  See the 1910 ladies walking skirt, this “Stylish Woman of 1928 in Day Dress”, or Eva Dress’ 1930 Dinner Gown, and also my own “The Artist” movie look-alike dress to see uses of godets through the 1910’s to 1930’s.  Thus, a godet was the perfect solution in more ways than one to fix the fitting issues of this 1928 dress of mine.  The use of the side godets being in the contrast on my dress also lends my dress a sort of “tabard” appearance, another fashion style used intermittently all the way from the Middle Ages into the 50’s and 60’s.  (See this 20’s style tabard dress and this 1963 dress for two examples)  Beyond all my historical proof, I love the way the brown godets were the model fix for a perfect fit, giving me a graded amount of extra room.  I personally think my dress looks better with the contrast godets than if it was without.  Between you and I, however, I did opt to add a zipper in the left side for ease of dressing.  The zipper is pretty invisible (I think) sandwiched in between the dress and the godet fabric under my arm.

I want to make a point that I found the dress length to be very, very long.  I had to make a 5 inch hem to bring it up to a decent 20’s style length.  The arched hip/skirt seam seems to fall in the right spot on my body so I really don’t think the dress needs to be shortened from out of the bodice area, just from out of the skirt section itself.  There is a blind hem done at the bottom of the skirt to make the large 5 inch turn up invisible.

100_4109     Using plaid for this Past Pattern makes sewing the dress extremely fun and easy.  Folding in the box pleats was merely a matter of matching up lines of the plaid.  This minimized the necessity of full chalk markings, which, in the end, saved some time.  Now you can see how the dress was quite easy and not too challenging to make, but a tad time consuming at the same time. 1926 vertical jabot dress pattern ad-cropped

My plaid 1928 dress is ridiculously fun and extremely comfy to wear – totally an easy play, shop, work, and general do-it-all in vintage style type of garment.  The only thing that stumps me is the decision to tie or not to tie the long neckband.  It looks so cute both ways!  According to this vintage 1926 magazine ad for a pattern, it looks like ladies wore it both ways.  Which way do you like?

There are plenty more pictures, especially some extra detail shots, on my Flickr Seam Racer page.  Also, if you’re interested (like me) in some amazing history tidbits, pop on over to ‘History Orb.com’ (link here) to get some ‘wow’ moments as you run through the info.