“Alley Espionage” – a 1945 Glen Plaid Suit Set

There are many, many old movies that I absolutely love, and then there are others that I like just as much in their own way for being interesting, inspiring, or having actors/actresses I enjoy seeing.  The 1945 noir film “Escape in the Fog” is one of the latter.  Actress Nina Foch plays the part of a mentally battered war nurse who had a frightful dream of a future event while on leave for rest.  She disturbs the hotel guests with her screams, bringing her to meet one of them – the actor William Wright, a mysterious but friendly (and handsome) double espionage agent whose future she had foreseen.  Nina Foch becomes an important part to William Wright’s mission, but later she becomes a desired pawn for those w ho would seek to sabotage his efforts.  I hope I didn’t give away too much of the plot here, but I find the details of this movie enthralling (the conversations, the subjects, etc.), as it was made during war time.  Although it is not as good as Marvel’s “Agent Carter”, I enjoy seeing the lovely Nina Foch take on a significant role for a woman trying to actively aid world events, besides enjoying her alongside William Wright, to me one of the most dashing and little known Hollywood men of WWII times (next to John Hodiak).

What this chatter amounts to for this post is the fact that I made a suit set inspired by the fashion on the “Escape in the Fog” movie.  It all started with finding and buying a $5 vintage beret-style wool hat, really.   Soon after the hat was bought, I watched “Escape in the Fog” for the first time and I saw an almost exact style hat worn on Nina Foch.  A few years back I had also made the skirt half to a 1945 suit set, and seeing all the finely tailored suits and trench coats both Wright and Foch wore in the film inspired me to finish up the coat half of my set.  Now I have the perfect year 1945 outfit to relive “Escape in the Fog” by watching the details of life down darkened city alleys and warily wind my way home in the gathering dusk in a complimentary muted grey Glen plaid.  It’s really the perfect suit for anytime, but a girl can dream, right?!

THE FACTS:

FABRIC:  a rayon and acrylic blend brushed Glen Plaid suiting with a grey cling-free polyester lining the coat blazer.

PATTERNS:  a vintage year 1945 Advance #3964 pattern together with a year 2006 Simplicity #4044 reprint of a 1941 Simplicity #3838

NOTIONS:  The buttons for both the skirt and blazer came from the stash of hubby’s Grandmother.  The bias tapes, interfacing, shoulder pads, and thread I used were already bought years back and on hand.

TIME TO COMPLETE:   The suit jacket was made in about 20 hours and finished on October 25, 2016.  The skirt was made pretty much a year before, whipped up in only a few hours.

THE INSIDES:  The skirt is all bias bound finished and the suit jacket is fully lined.

TOTAL COST:  Well, I sure stretched out only a few yards here!  I only used about 2 ¼ yards for this suit – true 1940’s rationing smarts – which leaves me with about ½ yard leftover for another project!  This suit set probably ended up costing me $10 because the suiting was bought on clearance from the now defunct Hancock fabrics, while everything else was from my stash on hand.

Well, this suit might be vintage but it also happens to be right on trend this cold season.  Suit sets are the new “thing” it seems and popular in all styles and variety (see this recent post from Simplicity)!  There is a suit style out there for every body and every taste – vintage or modern!  Yet, I love how 1940’s suit sets are strong but womanly, simple at first glance with details and fitting that is top rate.  This suit was originally intended to be entirely made from one vintage pattern, but as my old Advance #3964 was missing significant body pieces for the suit jacket, I had to improvise and use a modern Simplicity reprint to supplement.  New pattern and old pattern combined, same wonderful details with a result I love!

Some of the older Simplicity reprints have disappointed me before when it comes to fit so I was wary about Simplicity #4044.  I’ve already made the arch-waisted pants (blogged about here) and the skirt (yet to be blogged), and they turned out great.  Thus, I had high hopes for the jacket, and I was not disappointed!  It was as easy as a suit jacket is going to get, and the fit was spot on…no bad surprises.  I do miss the two piece, true suiting sleeves but the front closing and the general silhouette was strikingly similar to my old original Advance pattern’s jacket so I just had to try it out.

My favorite features to the suit jackets are a combo of the pockets and the bias front shoulder panels.  Look how they really make such a simple design have some character that elevates!  I interfaced both of these pieces in heavy interfacing, while the front facing along the edge of the jacket opening is reinforced in a slightly lighter weight interfacing.  I feel this use of two different interfacing weights is a good idea for this jacket pattern.  The bias shoulder pieces need to be stable to keep the strong shape of the jacket, and stiff pockets on lend a crisp, matching flawless air.  The wide curving front closing edge isn’t quite supposed to be limp, nor like a poker, so something in between seems to be the right body.

Yes, I did slightly cheat as to the closure and made a fake button hide the snap closing front.  Sometimes when I am undecided when it comes to what button to choose for a project, I am so reluctant to make something as permanent as a buttonhole.  However, I did make this snap closing very nice and use it as an opportunity to try something new!  With a tiny fabric remnant, I covered the exposed half of the snap before stitching it onto the jacket.  It is fun to have such lovely features as this fabric covered snap on my sewing…it makes me feel so proud of what I can accomplish, and gives me what I feel is a small taste of the amazing attention to detail and fine finishing which is on couture garments.

Now my skirt was the necessary half to my finished suit but definitely the most simple and useful.  Without the matching jacket, this skirt can go with many other items in my wardrobe – navy, ivory, green, and brown blouses, tops, and sweaters as well as a true vintage forest green 40s blazer (see this set put together in this post for Emily’s Fall Color Challenge).  In this post I am wearing the whole set with a creamy pastel yellow blouse (not me-made, from a resale store years back) to brighten up the set and contrast with the black accessories.  With the lofty thickness of the suiting and its brushed, cozy finish, this skirt is incredibly warm – like being wrapped in a blanket – yet with a light and manageable weight.  I really don’t know how I made it through the winters before without this skirt!

I love how the pattern simplified the box pleat by having it all-in-one with the skirt.  There is merely a center front seam and center back seam that nicely lines up the center of the folded sections which make the box pleats.  I do find it sort of unusual that there is a center box pleat in back, too. Usually it’s only on the front.  Sitting on a skirt back box pleat rarely ends up other than a mess, but surprisingly this one keeps its shape really well.  Maybe it’s a combo of the fabric and a thorough steaming job from the iron.  Whatever it is, it works!  The fact that the folds of the box pleats are on a slight bias does give them a slight squiggly appearance, however

Making the skirt was a bit frustrating for as simple as it was because it ran so very small!  Most of the time patterns outside of the “Big Four” (Simplicity, Vogue, McCall, Butterick) tend to run on the larger side with a few random ones being true to size.  Not this Advance pattern!  I even graded up so it should have been slightly roomy on me, but no – it turned out mysteriously too snug.  Luckily, I had extra room to give myself by letting out the side seam allowances as far as possible for the perfect fit.  However, I would have preferred not to have to do that because there’s now no leeway if I need more room yet.  I suppose it was a good thing after all that I did not use the suit jacket half of the same pattern because it could’ve run on the smaller side as well.  I do see a good number of these Advance #3964 patterns for sale all over Etsy, Ebay, and various other pattern market sites, so if you pick one up for yourself, you’ve been warned about the sizing.

Sorry, but if you would like to see the “Escape in the Fog” movie for yourself, it is frustratingly hard to find.  I just happened to get lucky and catch it on our local station which shows old classics.  For being a movie from 1945, it is rather like one of the early pioneers of the Film Nor genre which hit its height post WWII.

However foggy and dreary my suit is in color, it is certainly not bland but useful and exciting to me.  Actually, it is only the beginning of a small spell of suits that I have lined up for the next few months, most of them from the 1940’s.  Will you be joining in on this suit trend, too?  For me, it’s pretty much an excuse to make some of what has been languishing in my want-to-do project queue!

Advertisements

“I, However, Am Not Afraid of You…”

On a day that revolves around fear and frights, I can’t help but default to America’s Sweetheart, Peggy Carter, for the self-assurance to have a heroine’s heart!  She was speaking to her nemesis, a woman who almost wiped out all of New York, when Peggy uttered my title’s quote, a perfect mantra for Halloween night.

In those same first five minutes of the Second Season, you can see Agent Carter in a striking suit of the unusual combination of peach blouse and forest green skirt and jacket (see part of that here).  I have interpreted this set into my own wardrobe, and as it has all the colors associated with Halloween, I’ll think of this outfit as a fashionable pumpkin!

There wasn’t a whole lot of sewing needed for me to have this set.  I sewed the blouse, and it is a luxurious everyday basic piece, in a cheery color, which I needed in my wardrobe anyway.  The skirt is something I’ve had in my closet for the past decade, a RTW piece which had been not seeing much wear as of late, so it was time for a simple re-fashion to perk it up.  My optional suit jacket is a true vintage piece that had been given to me by a friend, and fits like it was made for me.  It was that simple – my easiest Agent Carter outfit yet!  Perhaps the style choices of myself and Peggy are naturally on the same page – maybe that’s why I feel the need to have every one of her outfits in my closet as well, he he.  Many of her wardrobe choices have a sensible practicality combined with a panache for a touch of standout details.  Perhaps there is something in your closet, too, that can translate easily into an Agent Carter outfit of your choice?!

THE FACTS:

FABRIC:  The fabric for my blouse is a 100% silk crepe de chine, from “Printed Silk Fabric” on Etsy, with the front lined in a peach poly chiffon from Jo Ann’s Fabric store.  The skirt’s added portions are of a cotton twill suiting, also from Jo Ann’s.

PATTERN:  The blouse was made using Simplicity #8243, a reprint that originally was #2337, year 1948

NOTIONS:  I had the thread needed on hand already, as well as the abalone shell buttons I used, a snap, and a hook-and-eye.

TIME TO COMPLETE:  My silk blouse was cut and finished in 5 hours, on October 29, 2017.  The skirt was refashioned in a few hours the day after Halloween.

THE INSIDES:  A nice blouse deserved nice finishing, the way I figured!  The inside is in French seams.

TOTAL COST:  $20 for the blouse and a few more dollars for the extra fabrics from Jo Ann’s.  How much more reasonable could an outfit like this get?!

The blouse pattern I used is wonderful.  It sews up in a flash and has a decently good fit (with a few tweaks) and lovely details.  This silk version is actually the second time I have used it, so I was confident enough about the fit and details to slightly change it up a bit.  My first blouse version using this Simplicity re-issue was part of another Agent Carter themed outfit, and I will be posting that soon so you can get the full low-down on making the blouse as-is out of the envelope.  For now, my second version will come first on my blog!

My tweaks to the blouse pattern of Simplicity #8243 were small.  First, I took out the downward curve that the collar points have and straightened them out so it could be more like my inspiration Agent Carter blouse.  Her blouse had collar points which are more wing-like, more horizontal, pointing straight out towards her shoulders rather than down to the hips as on the original pattern.  In other words, my current collar is now a true “wing collar”, much like the 1950s “Agent Sousa” shirt I already made for my husband!  Secondly, I made the shoulders about 5/8 inch longer.  The first time I made this pattern, the sleeves ended up more on my shoulder than going over it.  This time I corrected the short shoulder line.  Third, I changed up the sleeves to make them more like an early or mid-1940’s style than post war, as the original pattern is from 1948.  I added pleats in between the trio of darts that shape the sleeve cap, creating more fullness as well as a bit more room for me to move.

The original as-is length of the short sleeves is very long – not so that they can be ¾ length but so that you can have room to cuff the hem, as the original pattern shows.  For this blouse, I cut off the excess length from the sleeve hems to have a facing-like binding strip to easily finish off the hem.  I added small triangular notches at the outer center hems of the sleeves.  I love how this little detail adds just enough subtle class without detracting in complexity from the straightforward simplicity of the styling.  After all, there is a wide shoulder-to-bust dart that smoothly and beautifully shapes the blouse without the “traditional” gathers on so many other 40’s blouses.  On this blouse, there are none of the common 40’s hem-to-waist shaping darts, as well, eliminating the conventional “blousy pouf” and making this blouse just as nice to wear untucked as tucked.

I must say, that my main gripe about the pattern is the weird placement of the buttons if you follow the pattern’s markings.  The bottom button is right at the waistline (does it end up as a lump under my waistband or what?) and the top one makes the neckline restrictively high, almost to the point of chocking.  If you make this pattern, you need to change to your own liking where you put the buttons and button holes.  I lowered my top button placement down 1 ½ inches and raised the lowest one 1 inch, with the middle one naturally in between.  Three inches down from the last third button, I sewed on a snap to keep the lower half of the blouse closed.  Sewing a snap below the waistline is something I see on many 1940s original patterns and it makes total sense.  A snap would not show a bulge through the belly of a skirt or trousers like a button would, and I makes the bottom half of the blouse smooth if I want to wear it untucked.  I wonder why this bit of sensibility which I always see in vintage patterns is somewhat lacking when it comes to the instructed closure of this blouse.

The main body of the blouse seems to run a bit snug for me, so I cut a size bigger for the back than the front, and taper a size up for the hips.  As my silk crepe de chine is a bit sheer, I doubled up on the back bodice, but as I only had two yards of 45 inch wide material, I used the supplementary fabric to line the front.  The all-in-one collar and front facing combo can be a bit fussy and not want to lay down well, but between ironing and some small tacking stitches between the layers, I am able to have my collar behave well!

For my skirt, I really didn’t do anything to change the fit – I just added a few things to mostly change where it fit!  The main addition was to give my skirt a true waistband.  This was a skirt meant to sit on hips, with a wide waistband which ends just below the waist.  My waistband was sewn ¼ inch onto the edge, so it makes no real impact to the original skirt, ends just above the invisible back zipper, and I can easily take it off if I ever want to in the future.  The back of the skirt had a high kick pleat-style slit for freedom of movement.  I am not used to showing this much thigh, even if the slit doesn’t open up unless I do some true Agent Carter kick-but moves!  Nevertheless, I unpicked both the fashion fabric and the lining around the back opening to stitch it down like a slit.  Then, I filled in the slit with a small rectangle of fabric I had left over from the waistband to make a box-pleated fill-in piece.  This way the slit closes nicely on its own, but when it opens up as I need it, the fill-in piece unfolds to keep my thighs covered without restricting movement.

Somehow, it seems as if there is always some small ‘something’ I would like to have which is lacking when it comes to RTW off the rack clothes.  Whether it’s a detail (such as “…if only the neckline was different”), or the fit (who hasn’t had “…it fits except for here!”), or even availability (why is it so hard to find nice, solid colored blouses or non-knit bottoms?), relying on off-the-rack can be so frustrating.  If you don’t have the time for sewing every dream item (who really does?!), combining sewing skills with RTW can be a match made in heaven for making your clothes truly speak for you!

Although this is a sort of an after-Halloween post, and an outfit from a “fantasy” character, this is not a costume.  To me, this is something I am bringing into my own persona from a screen heroine that I can closely associate myself with.  That is one of the many amazing things about Agent Carter.  What she wears on screen can easily be worn by anyone today, yet is still very 1940’s chic, and not in the least a costume.  I really do think that is one of the major attractions of Agent Carter – she’s so very realistic yet still as capable as any superhero, and she’s oh-so-empowering.  That’s not even taking into account the fact that she started a whole new interest renewal in the fashions of the 1940’s…yay!  I so want to see more of her story on screen…until then I’ll keep making her wardrobe for myself!

Right now, there’s a petition out there to “Save Agent Carter”, and it’s in need of more people to sign and join in the plea for Marvel to continue Peggy Carter’s story in some form or fashion.  I’ve already signed up…will you consider signing, too?  Let’s let Hollywood know the world is better with the inspiration and bravery of Agent Carter. Spread #SaveAgentCarter!

Pretty Blue Pinafore…

After my success with my last “Shabby Chic”, fully convertible pinafore, this next one is in the real deal vintage 40’s style as a one piece dress.  This pinafore dress has an amazing attention to detail and the way it was designed includes a new-to-me shoulder seam method.  This is also my first time making an Anne Adams brand pattern…and I love the fit, style lines and proportions.  It might not receive as much out-and-about wear as my last pinafore, but I think this was the most perfect use for a longtime orphan (material not yet matched to a pattern) in my fabric collection, a quaint feedsack printed seersucker I’d been holding onto for years.  Yay – one more bolt of fabric is out from my stash and able to be enjoyed.

If you’re confused about what a pinafore is, please see my preceding introductory blog post on “The Summer of the Pinafore”, the inspiration behind my recent sewing.  This post’s pinafore is not like the multi-use floral one with a modern flair that I blogged about last, so here I will further explore the colors, fabrics, and prints used in the history of pinafores.  It’s weird to see how pinafores seem to reflect deeply subtle societal changes in the times around them.  A garment for the basic needs of women and children has a surprisingly very rich history.

THE FACTS:

FABRIC:  a 100% cotton print with a slight seersucker texture

PATTERN:  Anne Adams #4988, circa 1943

NOTIONS:  I used everything from on hand in myexisting stash – thread, bias tape, interfacing scraps, a card of vintage baby rick-rack, a vintage metal zipper, and three vintage buttons from hubby’s Grandmother.

TIME TO COMPLETE:  Making this pinafore took me about 15 to 20 hours and it was finished on July 22, 2017.

THE INSIDES:  All clean, as they are all bias bound.  The waistband is smoothly finished by an extra facing piece I added

TOTAL COST:  This unusual vintage specialty fabric was bought at Wal-Mart…of all places…as a “value print calico”.  I still had the receipt with the fabric.  2 ½ yards was bought back in March 2013 for $6.88.  What a stinkin’ great deal!

This is one of the very few patterns in my stash that had a very deep set personal, self-imposed “duty” to sew myself a version.  Why?  On a practical level, the pattern and its instruction sheet are absolutely crumbling to dust so I felt an urgency to make a dress from this design before the condition of the paper turned dire.  There is a better reason, though.  There is room to believe the original owner/recipient might be a distant relative we never heard of before!  You see, one weekend, on my occasional visit to our city’s antique and vintage shops, I came across a shocking and exciting find of a 1940’s pattern, whose old postal recipient had the exact same last name as ours.  Her address was in our same city, quite nearby, too.  Our last name is on the more unusual side, and it’s in the traditional German spelling, so the family has always said that anyone else with this same name in town was probably some relative, however distant.  Finding this pattern make the family dig into our genealogy again.  To make things even more special, the year of 1943 was written on the instruction sheet…very much appreciated because mail order patterns are seldom able to be so specifically dated.  Everything about this pattern was a touching, exciting, special opportunity…probably something that will not happen again and a neat happenstance to find in the first place.

Whether rightly or wrongly, I somehow was surprised at the amount of detail and well thought out design to this pattern, as if I thought mail order patterns were second rate.  I feel bad now because this was a killer pattern not in a standout or “chic” fashion way, but by having a great fit of both pattern pieces and finished dress, nice instruction sheet, and impressive design lines.  I am probably so used to primarily using patterns from the four major brands in every era (Simplicity, McCall, Butterick, Vogue), as well as the coveted yet well-known defunct brands (DuBarry, Hollywood, and Pictorial Review, to name a few).  I realized from using this Anne Adams pattern that I should give more mail order patterns a better appreciation.

Anne Adams from my knowledge is an all-American pattern company (yay!) which lasted from the 1930s to the 1960s and were the last to use unprinted, pre-cut tissue.  Her company’s patterns were available through the local newspapers along with related Marian Martin brand.  Apparently, Anne Adams designs were from uncredited designers who tailored to real women, offering larger sizes and even customizing designs for local fashions trends (so the city girl and country girl could have their own style)!  Many Anne Adams patterns do have scalloping as part of their designs, with a penchant for trimming, so I suppose this pinafore is a semi-classic design for this company!  My pinafore does strike me as a very country girl look for a city woman to purchase…I can tell the pattern pieces had been used before so I’m really curious if it was the original owner – our mystery distant relative – that made this for herself!

This was unexpectedly challenging and sort of difficult in the way of being quite detailed and having many steps to make.  This step had to be done before this step…oh and don’t forget the trim…was the sum of my sewing progress in repetition.  I really needed those crumbly, falling apart instructions and the fact that there were substantial parts missing made sewing a bit more challenging.  Not meaning to brag, but for many garments I’ve been making recently, I have not needed the instruction sheets so having a project be a surprise challenge was a good change.

There is really a lot going on with this dress!  Most of it is in the front, and although the back is rather basic, it does have first-rate seaming and shaping.  I enjoy how the vintage metal zipper I used in the side really makes my pinafore strike me as close to an authentic vintage piece.  Asymmetric scalloped bodice closing, tapered rectangular neckline, set-in waistband, center front skirt box pleat, and curved, set-in-style pockets are all awesome, but I like the sleeve ruffles the best.

The shoulder seam is defined by the spot where the gathers are brought in and stitched down.  The smart part is that they are set into the main body of the dress!  The horizontal shoulder seams, which run from the neck outward, are divided into two separate seams – the true shoulder and the over-the-shoulder ruffles – by the vertical opening for the gathering to work.  This did make the bodice one big piece tow work with!  I had to iron the finished ruffles and stitch the seam allowance flat (facing towards the neckline) so that the over-the-shoulder ruffles don’t flare upward obnoxiously…what they want to do!  They might be over the top but these ruffles are so fun to wear and were interesting to sew – not to forget mentioning extremely comfy, too.  The openness of the sleeves and the airy breeziness of the ruffles make this so very easy to move around in, stay cool, and have all the freedom to perform all the necessary or menial tasks a pinafore is meant to be worn doing.

I’m not one for rick-rack on my clothes, by I’m actually surprisingly won over to the benefit a card of the vintage baby size notion added along the edges here!  As I said before, the quainter a pinafore is made, the more it is jazzed up with novelty embellishment, it only makes it look all the better.  Without the rick-rack, anyway, I do believe much of the seaming details would be sadly lost.  I just made it – I only had about 4 inches leftover of the rick-rack after I was done adding it along the pockets and neckline edges. Whew!  I couldn’t cut it any closer if I had pre-measured how much I would’ve needed.  I really think this project was meant to be!

The slight puckering to this seersucker makes it simply a dream to wear and work in.  Reproduction aside, this is (to my knowledge) the true vintage way of doing seersucker – not the giant bubbled, ugly print stuff I see offered nowadays.  It is so cooling the way it keeps an airy distance from off of the skin.  It holds a good shape without being too stiff or getting droopy yet stays soft and comfortable due to the brushed all-cotton content.  Fabric like this is a goldmine to come across these days and that’s a shame.  I’m glad I resisted the urge to hoard this because now I understand why its material gold…it’s not just because it’s rare, it also great to wear!

I suppose I went with a rather traditional color tone for pinafores by making mine in a primarily baby blue print.  You must remember, that in the 1940s blue was still considered a woman’s color and shades of red, including pink were a man’s tone.  The modern opposite methodology of thinking was not around as of yet (read a further explanation of the gender significance of pink and blue in this past post of mine).  Even Hollywood used primarily blue pinafores to costume their best actresses in the decade of the 1940’s, the era I see the most pinafores on the Silver Screens.  Perhaps the most famous of the blue pinafores has to be the gingham bib-style one worn by Dorothy in the 1939 movie “The Wizard of Oz” (of which I made my own version for a past Halloween).

Also, the popular 1945 musical movie “State Fair” abounds in blue toned peasant looks, aprons, and pinafores.  The movie’s main actress Jeanne Crain wore at least two shoulder ruffled, baby blue pinafores that were really more like jumpers than my own dress version.  For another obnoxious shoulder ruffled Hollywood pinny in a more basic color of white, I’d like to highlight one that Betty Grable and her associates wore in the 1944 movie “Pin up Girl”.  There’s even rick rack along the edges just like my own and Ms. Grable still looks hot!

Traditionally the pinafore was worn for many years in primarily white and it wasn’t until the 20th century that they became something worn by anyone other than children in prints and colors.  Going upon the concepts of Rousseau that children are their own entities with their “duty” being to learn, play, and be healthy, late nineteenth century girls, young women and sometimes small boys were dressed in pinafores made of plain, mostly white fabric, so they could have comfortable option to protect their clothing when they did their “work”.  With this concept, pinafore from that time were a sort of “uniform” for doing what children did best.  Besides, at that time modern methods of washing were not available and a basic white pinafore would’ve been relatively easy to wash, bleach and starch back to normal if dirtied.

In the 20th century, this had changed to the pinny becoming part of the clothes it was originally meant to protect.  In 1946, Life magazine noted this shift in an article on children’s dress, noting that “children used to wear washable pinafores over un-washable dresses. Now a pinafore becomes a washable dress.”  (Quote from the FDIM Museum blog here.)  Beginning somewhere after WWI (circa 1920s) novelty and juvenile prints, fabric with patented movie themes, and feedsack cottons also helped contribute to the pinafore usage switching from a basic, white, covering children’s clothes to a one-piece, fashionable garment for the dirty work needed to be done by all ages.  In 1941, the U.S. had about 31 textile mills manufacturing the fabric for bag goods which, in 1942, it has been estimated that three million American women and children of all income levels (roughly 3% of the population) were wearing at least one printed feedbag garment.  The element of fun was definitely brought in to loosen up the “uniform” of a pinafore with printed, colorful fabrics.

For adults to adopt a garment as childish in historical use, so sweet in its styling as a pinafore, I don’t think it’s because of being in a wishful time-rewind fantasy world.  Yes, it can be out of place to adopt the fashions of an age group different than your own.  I see it as extending the practicality of a garment, and bringing some lighthearted charm to mundane tasks with something as basic as what clothing is worn to perform necessary tasks.  The rise of the “junior” class of teenagers mid-1940s no doubt further propelled the idea of staying youthful (a key theme of pinafores)…what they found popular, adults paid some heed to and women found ways to bring their trends into their own style when desired.  Sure, pinafores evolved somewhat into playsuits, or jumpers to be worn over blouses, and even into dresses with ruffles and trim that mimic a pinny, so there was no rigid way to achieve a pinafore look.  But no matter what the kind of pinafore, they still find a way to way to mix practicality and playfulness in a way that can be perennially appealing.

Clothing of today is rarely such a hybrid mix of so many different aspects of appealing yet useful, comfy yet nice in one garment.  As odd as it might seem, a pinafore definitely has a place that can best be understood if you make and/ or wear one for yourself.  There are so many, unlimited ways to achieve some sort of pinafore style that I’ll take a chance and say that there is one that could work for any woman or child.  There are 1960’s simple A-line pinafores, 1970s prairie looks, and even modern ones out of denim or suiting.  Why just a few weeks ago the famous 19 year old actress Elle Fanning was out and about wearing a fuchsia pink pinafore with a crop tank underneath and designer accessories for an up-to-date option.  Perhaps my “Pretty Pinafores” Pinterest board can further inspire you to find a style that suits you, or at least find an image to like and appreciate.  Let me know when you find it!

Save

Save

Save

Save

Save