Working in the Quad-angle

I recently realized a gap in my winter wardrobe.  Amongst all my warm self-made dresses and cozy skirts in lofty wool or tweed, none are from the 1930s decade.  My trip in February to Los Angeles (and Las Vegas) gave me the perfect excuse to amend this discrepancy!  We were to stay at a grand Art Deco era hotel “the Biltmore” – an early home to the Academy Awards ceremony, the Oscars.  You all can tell how much I love an appropriate background setting for my vintage adventures, so I came prepared with a wonderful mid-30’s boucle dress which now fills in the gap in wintertime gear!

This dress completely plays upon my combined love for Art Deco geometrics and the mathematics of sewing.  It is a dress chock full of right angles.  The boucle has darker brown threads in perfectly right angles, and the faux pockets continue the play.  There are gusset panels at the underarms.  My gloves have zig-zagged cuffs and my chest decoration is dashes.  Even the buttons I chose are squares.  This circa 1934 dress is on the very cusp of the shift in the decade’s dresses going from so very angular and Art Deco Influenced to soft, flowing, and feminine after 1935.   Even my hat refers back to the early 30’s with its close-to-the-head fit that pairs with a short hairstyle, much like the late 1920s, and it has very linear velvet trimming wrapping around the crown.

Granted, most of the pictures in this post were taken when back home in our town, because sometimes we’re too busy having fun on a trip to stop for photos.  However, it just goes to show that this dress is much more than just a splurge creation for a special trip.  It is a new favorite!  My accessories – all vintage except for my shoes – are also mostly acquisitions from the same trip, as well.  (Any color in gloves which are older than the 1950s is hard to find in town, but I prefer trying them on before buying, after all.)  It felt like this outfit was just meant to be, and although it has been hard to wait, apparently ‘now’ was finally the perfect time to pick up this project and make it wearable.

THE FACTS:

FABRIC:  an acrylic blend, fuzzy, chenille-like boucle; contrast pieces in a light polyester crepe; bodice and collar lined in crepe poly lining

PATTERN:  Excella pattern #5288, from circa 1934 (no later than 1935)

NOTIONS:  My buttons and my side zipper are true vintage from the 30s or 40’s.  Other than that, all other supplies are new and mostly from on hand – embroidery floss, thread, bias tape, and interfacing scraps.

TIME TO COMPLETE:  This dress was sewn in about 20 hours (yeah, it gave me a bit of trouble) and finished on February 12, 2020.

THE INSIDES:  The bodice is fully lined, but the skirt seams have clean bias bound edges.

TOTAL COST:  This dress cost me under $5!  The buttons, zipper, and floss were my few recent expenses and the only ones I’m counting.  Everything else (all the fabrics) was either scraps or came from on hand in my stash for what seems like forever…so there as good as free!

This dress has subtle (but fantastic and unusual) points to it that set it a bit apart from the run-of-the-mill 1930s design.  The skirt pleats are folded oppositely to the norm – the side panels are folded in knife pleat manner towards the center on top of the middle panel.  I have not yet found another 1930s design which has underarm gussets…combined with the wide, cut-on, kimono sleeves this style of bodice is what is considered traditional for the 1950s!  The collar does not extend all the way around the neck and ends in an angle on either side of the collarbone to leave the front button closure standing alone all the way down the center front bodice.  If I want a slightly different look than an all-buttoned-up neckline, I can open up the top button hole and give the appearance of a collar (thanks to the full lining).  The belt is an extension of the bodice in the way the belt carries on the descending buttons.  A back view is rather plain comparatively, with a basic two piece skirt and a bodice with waistline pleats for a slight pouf above the belt.  The era of the 1930s never ceases to amaze me with its curious variety of fashion, but even still, this is a rare bird of a style, I believe!

Finishing this dress was an old commitment finally fulfilled.  The project idea had been in my sewing queue for several years (and the fabric for at least a decade before that) but I knew my chosen design would require some real pattern work before being usable.  Firstly, I needed to trace it out so as the grade in wider (more modern) seam allowances.  Besides, I’d rather not take the chance of ruining the old original tissue pieces.  Secondly, it was incomplete.  Sometimes I can get a good deal on patterns which would otherwise be pricey by being open to ones which are missing pieces and in danger of being thrown away.  Pattern drafting feels so worthwhile when it can go towards bringing these old pattern gems back to being usable and complete again.  This way it’s also done not for money but driven only from dedication.  Granted, this dress did not have any major pieces gone – only the collar, facings, and decorative corner panels – but just drafting them successfully from scratch feels like a big deal to me now that the dress has come together!

Excella Pattern Company was a subsidiary of Pictorial Review Patterns, so if it is anything like its parent corporation, I’m assuming this dress is a higher-end style which is either from epicenters such as Paris and New York, or knocked-off of a designer’s creation.  Even though I see that the pattern number points to the probability that this is 1935, the design is so very 1934 (which I played upon with my hat which can be definitively dated to the same year).  This is weird because these patterns were usually ahead of the curve when it came to the newest styles.  Nevertheless, for as simple and “easy” as this might seem upon a general glance (especially when compared to other Excella & Pictorial Review patterns of the time) I could tell it was a high-end design by the way the small details that you don’t see demanded so much extra time.

I didn’t need the missing neckline facing pieces as I went ahead with my own plans and fully lined the bodice.  Yet the contrast collar, faux pockets, and belt were actually part of my never-ending scrap-busting attempts.  You see, I had bought some reproduction 1930s style, high-waisted, wide-legged trousers for my husband a few years back and they needed a very deep hemming job for them to be his length.  The fabric was a lovely, thick, crepe finish material and I had two big 6 by 24 inch-something rectangles leftover which happened to match so very well with this boucle.  I figured so very correctly that those pieces I wanted to be in contrast wouldn’t need much fabric anyway, and the dull crepe is a perfect non-flashy but pleasing material to do the job (a ‘pretty’ brown tone can be so hard to come by).   Yay for making the most of every little bit I bother to save!  My husband finds this use of those scraps amazing in the way I even so much as kept track of those remnant pieces, and then remembered my fabric stash (and planned projects) well enough to figure such a pairing.  As I said above, I feel this project was meant to be!

Perfecting the details took up more time than to bring the basic dress together, but I do believe such attention makes a world of difference from merely handmade to the Parisian chic Excella and Pictorial Review patterns were known for.  Perhaps the most obvious detail is the decorative stitching added onto the front chest faux pockets.  Rows of thread are shown on all the angular panel pieces on the pattern cover, and I was (still am) unsure how much I like the detail, so I kept it only to the chest panels.  No need to bring more attention to the hips, so I heard when I asked for advice.  I used embroidery floss for the job, and stitched it by hand during the car ride across the desert from Las Vegas to Los Angeles.  The instructions seem to indicate the rows of thread are to be tiny, close to one another, and stitched down by the machine, but I wanted something much more decorative than that…something that shows off my time and handiwork.

Additional embroidery floss went towards stitching on arrow points at the opening of the skirt pleats.  The boucle is very loose, and the skirt is unlined, and so the arrow points not only add a bit of couture finery but also make sure the fabric stays together at one of the most stressed seams to the dress.  There are hand stitched thread belt loops all around the waist to keep my self-fabric skinny belt in place over the bulky waist seam.   All hems and the neckline edges, as well as the zipper, were also hand stitched in place for a dress that has very little visible seaming thread showing.  The only semi-shortcuts I took is to make regular stitched buttonholes as well as making the belt front closure not a true workable button – there is a hidden double hook-n-eye.  These are not really shortcuts, I know, but I worked on such fine finishing everywhere else, so I had a silly sense of guilt.

Sometimes I wonder why I bother to go to such lengths.  Maybe it’s for the satisfaction of creating something beautiful to the best of my ability.  Perhaps it’s merely the perfectionist in me.  Maybe I’m trying to fill in for the lack in quality that RTW nowadays does not generally offer.  Deep down I want to make something that will last, something that will be treasured, something alike to what makes vintage garments so appealing and enduring even today.  Every time I doubt myself yet still take the time to construct something well, I see the finished look and love it – it makes it all worthwhile.

Anyway – back to the dress before I wrap up this post!  It might seem a bit out of the traditional season for rust toned ochre.  However, orange isn’t just for fall (I have a whole Pinterest page dedicated to this).  As much as this dress can come across as an autumn season frock, I see it more as an apricot color, or a warm, earth-toned beige.  It’s a lovely, cheerfully muted color for a very early springtime for some pleasant February days.  It’s also a color I most admire in the built environment of our home city, too.  I love decorative terra cotta elements, the fine crafted brick work that our town is known for, and the combination of a glorious sunset blending its colors with the rich architecture.  Now I have a dress that matches well with that!  Even though I probably will not be wearing this dress any more this year until autumn comes so many months away, I have this wonderful 30s dress waiting for those cold days ahead so I can rock the Deco Era no matter what the weather!

“Minted Lime” Midi Flapper Dress

A modern Burda Style pattern has come through again to give me a great 1920’s style for everyday summer fun in the sun!  For some reason, this pattern company seems to have the best modern recreations of the flapper era (this bias cut beauty and this mock wrap dress are just two examples).  They are interesting designs that are practical and modern yet still so very similar to true vintage 1920s style.  I have not seen them popping up as much lately, but there are plenty yet to hit up over the years since I started sewing from Burda back in 2012.  So – let’s dive into a post about this oldie-but-goodie midi dress that I had made several years back but never remembered to post.

This is wonderful modern sundress has such a sneaky vintage twist.  An untrained eye could miss it.  The swirl-appropriate full gores on the side of the skirt makes this fun and easy to move in, contrasting to the straight overall lines which visually deceive the eye into hiding my hourglass figure.  Together with the longer length, here is a strong reference to late 20’s or early 30’s style that makes me feel so much taller and slimmer.  I can sense the carefree freedom and reckless spirit of the pre-Depression era wearing this!  However, better than a true vintage design, this one has pockets!!!

THE FACTS:

FABRIC:  a cotton and rayon blend knit with a gold foil butterfly print

PATTERN:  Burda Style Burda Style “Midi Flapper Dress” #105A, from April 2015 (my ultimate favorite monthly pattern magazine issue ever!)

NOTIONS:  Nothing but thread and a bit of bias tape was needed – so simple!

TIME TO COMPLETE:  This came together pretty quickly – about 3 hours.  It was finished on May 19, 2015.

THE INSIDES:  cleanly bias bound

TOTAL COST:  This did cost a bit because it calls for several yards, but I bought this on a good discount when the now defunct Hancock Fabrics, so I’m guessing $25 or under.

This dress was an interesting mix of opposites.  It seems so simple looking at the design lines yet was still tricky to make.  It was also an unexpected fabric hog for just a few odd shaped pattern pieces, and with most of all the over 3 yards disproportionately below the hips.  As I was using a knit fabric there was no need for closures and using bias tape instead of any facings made this much simpler than it could have been.  I did not have any problems with the construction or instructions, though, and it finished just as pictured, so I am quite pleased.  There is just one caveat to my being fully happy with how this turned out.

According to the Burda size chart, it was not a tall size but it sure seemed to be proportioned for someone with a longer torso.  I noticed the low waistline (compared to my body) and didn’t really think too much of it because of the 1920s influence to the style.  I mean, ‘waistlines’ at hip length were the trend back then.  Only by the time it was sewn up, the hips were not as loose as I expected, and even though I still love to wear my dress no less, I wish I would’ve raised the waistline now.  The front pockets do seem to be at a very handy height, so I don’t know…maybe everything is where it’s supposed to be.  I didn’t bother to let out the side seams to give myself more room because I liked the perfect points I achieved where the gores come in at the sides, and the straight seams in the body of the dress have more points (and pockets) so get this dress right the first time.

I love a good challenge and all the points were enjoyable details for me, yet I could see these being a pain for other people.  Just remember, every point needs good stabilizing before sewing, especially in a knit.  The squared off corners at the bottom of the sleeveless armholes are my favorite.  My runner up is the tricky corner at the bottom of the front pockets where the godets come into the front panel with a pleat.  1920s fashion was all about expert and creative mathematics in design lines, and this modern Burda dress stays true to the Art Deco era.

This dress post continues the series I began 9 months ago in our early fall season, the “Indian Summer of the Sundress”.  In 2018, we had a warm summer that extended longer than normal so took it as a reason to binge on sundress sewing.  Since that first post in the series I have begun showing a sundress from almost every decade of the 20th century (30’s here, 50’s here, and 60’s inspired here).  This modern Burda dress fills in for the 1920s decade plenty well enough.  The 40’s and 70’s are yet to come!

Mother’s Day Mandalas

Every mom can fully appreciate the amazing benefits of having her own special ‘space’ and quality ‘down time’ to refresh.  This is why my Mother’s Day post will be an elegant, flowing, treat-of-a-1930s dress in a lovely Indian mandala print.  Mandalas are a concentric symbol for balance, harmony, and focus in the Indian religions…and goodness knows, every mother needs as much of all that in her busy, hectic, and multi-tasking life!  I know I do!  Just the action of sewing is enough to put me in my “happy zone”.  Combining that with a fabric allusive of serenity sewn into a feminine vintage dress which is as comfy as my best nightgown and bingo – my Mother’s day cannot be any better than this.

I never have enough reasons or places to wear my fancy 1930’s gowns, and so this dress is my first (and happily successful) attempt at ‘normalizing’ that era’s evening wear.  Just by using rayon challis – a nice yet not-so-upscale yet equally flowing fabric as the satin or crepe the pattern called for – I took a special occasion dress into something which can fit more easily in my daily life.  I am in love with the everyday glamor, slimming silhouette, ease of construction, and interesting neckline of this vintage remake.  I definitely do not want to stop at only one of this design.  However, this version is such a keeper!

THE FACTS:

FABRIC:  2 ½ yards of a very soft and drapey printed viscose blend rayon with the bodice partially lined in a poly crepe

PATTERN:  Butterick #6410, a 1999 re-issue (now out-of-print) of a year 1935 pattern

NOTIONS:  nothing but some blue thread was needed…

TIME TO COMPLETE:  This dress was whipped up in about 5 hours and finished on April 18, 2019

TOTAL COST:  As the bodice lining was scraps from on hand, the rayon was the only expense and it was only $15. I bought it off of Etsy during a half-price sale at the shop “Fibers To Fabric”.

I cannot say enough good words about the work principles, the ideals put into practice, and the materials offered at Fibers to Fabric.  This is not sponsored – just my honest opinion as a happy customer and a seamstress trying to buy ethically.   They carry authentic, artisan, fair trade fabrics made with honesty and transparency in India.  Their true woven (not printed) Ikat fabric is to die for (I have one slated for an upcoming project)!  This printed rayon is so much silkier and sturdy than any carried by any big box store.  The viscose blended in makes this the perfect substitute for silk charmeuse, in my opinion.  Besides, ordering fabric directly from India is the right way to start off when making a garment with their cultural meaning or influence, no matter how slight, as I did here.

The pattern carries most of its complexity in the bodice along the neckline, but even still, those details were not enough to keep this dress from being a one evening project!  However, to be honest, I did greatly simplify the dress by leaving out the side zipper.  It is very tricky to keep a zipper from visibly restricting a flowing dress anyway, and even still, one that calls for delicate fabrics.  I went up one full size to make sure this would be able to slip over my head.  It is a bit roomy fitting this way, but it just makes this dress feel like some super fancy nightwear I can wear in public – is that wrong to want to stay that comfortable?!

Now what is important to realize with this dress is the skirt pieces are not cut on the bias so this pattern can be made on less yardage than the normal 30’s evening gown.  Here’s yet another reason I love this dress!  The skirt panel’s length is cut along the grainline and only the front bodice pieces are on the bias grain.  In order to make my dress on only 2 ½ yards of fabric, I opened up the fabric from the way it gets folded on the bolt and folded it a different way to still find the same grainline.  It was still a Tetris game, nonetheless, but I squeezed everything in after all (only by shortening the hem, which still ended up really long for my 5’3″ frame)!

The neckline is first rate.  It reminds me of a scarf or shawl that is tucked into a wide neckline.  Sadly the amazing seaming is rather lost in the print.  The bodice is kimono sleeved, but only on the sides because the neckline portion begins halfway out from the neck.  The the center back panels miter down into to a V.  The center front panels seam princess-style through the bust and plunge down to the empire waist.  Fill that wide neckline in with these long panels that reach from the front waistline to the back point between the shoulder blades, and there is one beautiful design to be had.  I love the way it frames the back of the neck and is more than just your usual V-neck or wrap bodice.

The pattern calls for the whole of the bodice to be fully lined, however my casual aesthetic kept only what was needed, which was just the facings to the draped neckline.  They were much skinnier than the neckline pieces of the fashion fabric, therefore only way to make the neckline fall into folds vertically, besides finishing the edges nicely.  I did not interface the neckline lining because you don’t need to add body there, just keep the gathers in.  Lacking the full lining which would’ve also filled in the side bodice panels, simple bright red ¼ inch bias binding finished off the armholes of my version instead.

Any time I have wearing this 30’s dress is instantly glamorous in a very unassuming, easy manner…the best of the 30’s for today!  Even though this dress’ pattern is out of print, there seem to be a good number still for sale out on internet sites so I heartily recommend picking up one for yourself.  This design would be great for scrap busting because a one yard cut could go towards a contrast bodice with a slightly bigger cut (no more than 2 yards, though) going towards the skirt portion.  I’m sorry my post did not even take into account how fabulous the little Mandarin collar crop jacket is in the pattern, as well.  I seriously need to come back and make the short jacket to match this dress in the future.

Whatever your state or position in life this Mother’s Day, we can all appreciate some relaxation and a calming moment.  I hope my mandalas for the day, and my quick-to-make but elegant to wear sewing creation, remind you that taking time for yourself is time well spent!

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!