Fuchsia Pleats to Brighten Up the Greys

Winter skies here can be so blasé and I am not at all afraid to use bold color in my choice of sewing plans to counter attack that!  This post will try to be short and sweet about a not so simple 1940s blouse I made to complete a recently acquired vintage suit set of the same era.  This blouse proves that mantra, “If at first you don’t succeed, try, try again!” to be very true and not just words.  I indeed had to struggle to have this blouse turn out successfully and am so glad I persevered for this gem of a garment!

I will confess that I now have a hopeless taste for silk and silk blends recently.  A fine silk cotton is my especial combination of fascination – it can come in so many finishes, levels of opacity and crispness, besides the myriad of colors available.  Add that to its relative affordability, it is a no-brainer to choose for blouses.  Find some for yourself and you’ll thank me later.  Just don’t go and buy it all, now!

If I let myself get technical, I would guiltily admit that I am mislabeling this blouse because if you go by the book “a tuck is stitched down, a pleat is not”.  So this is a tucked front blouse whose detailing is made to look like what we conventionally think of as pleats.  There I said it – I’m admittedly wrong.  Nevertheless, tucks and pleats are frequent and lovely details on vintage blouse designs, and are a fun and relatively easy way to have a blouse that’s a complex, standout piece.  Tucks and pleats are just about cleverly manipulating folds of fabric after all.

THE FACTS:

FABRIC:  a 58% silk, 42% cotton blend fabric, opaque and rich in color with a sheen like a satin and a crispness like a shantung

PATTERN:  Hollywood #1165, year 1943, a “Ruth Warrick of RKO-Radio” design

NOTIONS:  All I needed was thread at first, which I happened to have, but then I ran out of thread and I needed a zipper so I had to buy (at the last minute) some of my notions needed for this project.  Otherwise I used up some interfacing scraps for the cuffs, and I used vintage buttons from the stash of hubby’s Grandmother.  The buttons might look like cut glass, but I believe they are Lucite

TIME TO COMPLETE:  This blouse was finished on November 20, 2017 after maybe 20 plus hours invested in it.

THE INSIDES:  So nice I’m tempted to wear the blouse inside out…well, almost!  100% French seams.

TOTAL COST:  I ordered this from a seller on Etsy than imports in from Hong Kong so it’s at a discount.  Two yards cost me only $14 including shipping.

Now, before I get into the details of the blouse, let me gush over the suit details.  From what I have seen in my research, I can date this suit with relative certainty to circa year 1946.  It could be as early as year 1944, but not much later than 1947.  They just do not make suits remotely close to the level of quality and beauty as they did in the past.  This wool, though it is plain grey, has a satin sheen in varying colors that is simply breathtaking.  Pictures just cannot capture that shine, neither can they convey the substantial thickness of the wool and the crepe lining inside.  These kinds of fabrics sadly are not to be found anymore.  This wool is almost like a felt in plushness, and with the lining and complicated, impeccable structuring I can feel is going on inside, this is more like a jacket than just a suit jacket.  If you haven’t ever felt what a 1940’s quality suit is like, you need to experience it.  Put it on your bucket list!  These garments are truly transforming when you put them on.  They make you feel like the best darn good version of yourself you never knew existed.  I feel like I can tackle anything in a killer vintage suit – they’re empowering.  The trick is to take your measurements, know what garment measurements would work well for you, and then wait and check around to find the one that “suits” you!

More often than not, unless you are willing to make a larger monetary investment, a vintage suit will need some upkeep and TLC, with many even missing their matching skirt.  This jacket needed its buttons tacked on and some popped seams closed up, but these are the most common repairs with vintage pieces as cotton thread was frequently used back then and is to the point of disintegrating by now.  Luckily, I had a matching skirt, only it didn’t fit me very well, not like the suit jacket did.  Since someone had obviously tinkered with the skirt before I received it, adding modern-style repairs I wasn’t happy with, I didn’t feel too bad when I refashioned it so I could wear it.  The waistband was unpicked and removed to make a center back panel that gave me about 3 inches more of booty room and better, curved shaping around the waistline.  To finish the waist, I turned under the edge in simple bias tape.  Without the waistband, the skirt does have the tendency to droop now, but at least it is more wearable for me and I was able to fix it using all of the same original material!

With all the effort I put into bringing this vintage suit set up to snuff, I felt that a more detailed and complex blouse was especially worth it here.  Don’t get me wrong – anything anyone makes for oneself is ‘worth it’.  I just mean that a rich looking, detailed blouse that might take more time than my normal project would justly give my suit set the finishing touch I was seeking to have a full outfit that has a bang!  Of course, the right accessories help that, too. My gloves, handbag, and hat are all true vintage, as well as my Grandmother’s jeweled turtle brooch and earrings set.  My two-tone spectator pumps are new reproductions from my favorite vintage-style brand, Chelsea Crew.

Finally, to the blouse!  Not that I don’t have blouses already that work with this suit – of course, white and black tops match here, primarily because of the buttons.  But that is so boring and predictable.  Blouses with collars distracted away from the lovey curved collar (and matching pocket flaps!) on the suit.  My oldie-but-goodie 40’s basic round neck satin blouse works nicely under the suit, so for my new shirt I reached for a rounded neck blouse with interest down the front that would peek out.

I have been wanting to use this Hollywood blouse pattern that I have had for years!  Ever since I saw Emileigh of “Flashback Summer” blog make a Maasai-inspired version for herself using this pattern it has been higher in my sewing project queue.  I had a feeling that a solid color would be the best way to show off the detailing, and I think I was right.  Only, I was wrong when it came to estimating the sizing.  This pattern ran really small!  It was weird.  Emileigh had said that she felt her pattern ran large, and I have made another Hollywood pattern from 1943, the same year, that ran true to size, as well as one which ran very large from the next year.  It’s not that this pleated blouse pattern had weird proportions, for all the pieces were nicely marked and fit together well.  It was just all over small.  Luckily, when I graded the pattern up to my size, I gave myself and extra ½ inch or so just to be on the safe side so I had just enough bonus so that that a small change could fix things.  More on that change in a minute!  The only thing I can think is that this was an anomaly rising from the combo of an unprinted pattern and an off-brand company (meaning something other than the “Big Four”, Simplicity, McCall, Butterick, Vogue).  Many times unprinted patterns are less reliable in accuracy than printed ones due to how they were made in stacks of hundreds of sheets at a time, die-cast stamped with their balance marks and darts.  Also, out of all the vintage patterns I’ve worked with, I do find unpredictable sizing almost always in brand patterns like Du Barry, Hollywood, mail order, and even Advance.

You start with the front, which is in three panels – one side front on the left and right of the center panel that gets pleated.  Except for the center where they spread out towards the shoulders, the pleats are in “blind tuck” style, which has folds that meet each other so no stitching shows.  Then I made all bodice darts, sewed the back panels on, and inserted the sleeves.  Sounds easy, right?  Well, I adapted the sleeve fullness to be pleats rather than gathers as the pattern intended.  It was tricky to get the sleeves looking even and exact together when I was free handing the detailing.  I wanted the pleats on the sleeves to match the trim darts on the sleeve caps and the pleats on the body of the blouse.

That done, then I realized that the neckline add-on piece would make the blouse so high necked I might as well choke myself with it.  No, I was leaving the round neck panel off. So I took what little material I had left and made bias tape facing to cleanly finish off the neckline at the level it was at.  While I was at it, I then also made a bit more bias tape to cleanly hem the bottom of the blouse, too.  I tried it on without the back closing, and realized the bust darts needed to be re-stitched about one inch lower.  With that fixed, the blouse seemed to fit great, so I finished it by stitching in all the buttonholes and buttons in the sleeves and bodice back.  Here came the problem.

The blouse was not all that small of a fit in itself if I just stood with my arms to the side, but add in the back buttons and that was a difficulty.  I found it almost impossible to button the blouse closed on myself, with not enough extra ease room.  Once I did finally do that feat, I saw that when I reached out, the stress on the buttons was making me scared the delicate fabric might possibly rip.  Stitched on and already cut through buttonholes are non-reversible, so I thought, “Why not cover up the buttonholes (my only real option anyway) and add a pleated panel down the back to also cover up a zippered closure?”  This way the back of the blouse compliments the front and now has equally lovely interest, besides that fact that a separating zipper is so much easier to do blind reaching from behind and much stronger than four buttons could be.  Adding the panel with the zipper technically gave me one whole extra inch of space across the back, making my blouse fit me so much better overall.  A crisis was averted that night, and I actually like my method of covering up a sewing “failure” much better than if everything had gone according to plan.  Mistakes are often blessings in disguise, I suppose.

The Hollywood star associated with my blouse’s design, Ruth Warrick, is herself an interesting woman that is not heard about as much as she could, for being in the limelight in as many ways as she was.  First of all, she played the character of the actor Orson Welles’ first wife in the famous 1941 movie “Citizen Kane”.  She worked with Orson Welles on both the screen and the radio on several occasions because he said he was looking for a woman who “was a lady”, not just someone who could “play a lady”.  Mostly she is known for the later career in the television soap dramas.  She was in “As the World Turns” for a number of years after the show debuted in 1956, then she moved to “All My Children”, which she was part of from 1970 to 2005.  She has bonus points in my book for being a gal from my own state of Missouri!  It’s amazing how adding the association of a famous screen star can really add to a pattern’s appeal.  Pattern companies should bring back Hollywood patterns, and I’m not talking about cosplay either.

Speaking of Hollywood, this reminds me of a quote of some fashion advice by Joan Crawford, “Find your happiest colors – the ones that make you feel good.  Care for your clothes, like the good friends they are!”  (Full quote here.)  This is good advice for store bought clothes, even more so for things that you have sewn.  If you have taken the time to think of it, buy the fabric and work with the pattern, you are worth seeing what you have made be a success and not an unwanted failure.  However, Joan Crawford’s quote is especially the case for vintage items.  It would be sad if the general interest in fashion from the past also becomes the cause for it to be more scarce and therefore less attainable.  I don’t mean to get on a soapbox, but really – it’s kind of like what is said about our environment, we should leave vintage the same or better than how we found it, but never worse off.  Those who own a garment piece from the past should make sure to wear it only if it fits (as there will be less chance of it tearing irreparably and more chance they will like wearing it), take care of it, and examine, appreciate, and learn from it.  Without clothes from the past how will we learn and understand our present and future fashion styles?  Anyone who has or does sew vintage and even those who do not should appreciate the value of true authentic pieces in the hands of everyday people.  I hope you agree and enjoy what I have done to add value to this 1940’s suit set.

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“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.  My slit addition makes the skirt now look closer to a pattern from my stash – a McCall #6338 from 1945.

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!

Parallel Geometry

I am certainly not a math loving person – yet I do greatly enjoy using it so precisely in sewing.  Even more so, I enjoy seeing how manipulating the basic shapes and parallelograms of geometry can create a garment that customizes to the human form.  I know – I’m weirdly technical sometimes.  Nevertheless, it’s true.  Some form of math can find its parallel in fashion, in art, in nature even.  There are lots of angles, geometric shapes, and fashion parallels in these photos of my new, but vintage, multi-season blouse.  How about a seek-and-find of some sort?

I really tried something different with some of the styling and accessories here.  I am completely loving it and it seems many passer-bys that day did too from the amount of compliment received!  This blouse is from 1941, still technically pre-WWII for an American like myself, when many of the styles of the era still had strong fashion influences from the previous 1930s.  The analogous black, white, grey, and cream colors in my outfit make this for a very undecidedly fall or summer set.  Since I am all about finding a confusing balance, apparently, I just went with it by adding a 30’s Tyrolean hat (a re-fashion by me, post here) with a snood in my hair, my Grandmother’s WWII star pin to keep my collar closed, her vintage long gloves and earrings, with reproduction skirt and shoes (B.A.I.T. Halina pump).

The amazing Tanith Rowan and her bringing back “Snoodtember” for 2017 was a big impetus to my even trying the combo of both snood and hat to match this outfit.  Her post for “Snoodtember” of last year (as seen here) and the amount of images from circa 1940 gave me a reason to break out my little used snoods and one of my favorite me-made hats to help date my new blouse a bit better by adding some vintage character that is not seen enough, in my opinion!  The transition periods between decades are generally so very interesting to me, anyway.  Most of the times they leave a lot of room for personal interpretation (while still being historical, if that is your thing, as it is for me many times).  A little bit from the decade ahead, a bit from the decade past, and there you have an outfit from a perfect tossed up mix of two sets of 10 years.  I am happy to have found a new way to enjoy and interpret the early 40’s, which I sew a lot from, with the combo of hat and snood.  This won’t be the only time either!

THE FACTS:

FABRIC:  100% rayon challis, bought from my local Jo Ann’s Fabric Store

PATTERN:  McCall #4520, year 1941

NOTIONS:  Nothing but thread and scraps of interfacing were needed here, and I had all of that on hand.  A vintage metal zipper from my stash on hand went in the side for the closing.

TIME TO COMPLETE:  This was a relatively easy and quick blouse – it was made in about 4 hours and finished on June 16, 2017.

THE INSIDES:  All lovely French seams with a bias covered hem.

TOTAL COST:  This was something I recently bought from Jo Ann’s in the last few months.  Actually, to tell you full the truth, this is something my 5 year old son picked out.  Yes, he enjoys going to the fabric store and many times if he’s not socializing with employees, he likes to pick out fabric, mostly for me, and sometimes for himself.  This rayon was something I let his taste be the judge of…and I think he did a pretty good job here!  I guess what I do is rubbing off on him!  Anyway, I bought 3 yards of this fabric, intending on making this into a dress before I thought the fabric would do better as a blouse.  I spend maybe $15 in total, but used half (1 ½ yards) so I could give the other half to my best sewing friend.  I can’t wait for us to have matching blouses together!

This is a great cheater’s pattern to have a top which looks like a traditional pointed collar blouse without being one.  No buttons needed!  Unfortunately the fabric pattern kind of hides the lovely placket detail so as to see everything of what’s going on.  There is a wide, squared off collar placket which gently angles up to the upper shoulders.  Depending on how deep of a chest exposure wanted, the placket can be left as it is for a deep V, but I prefer it pinned closed halfway up, the way you see it in my pictures.  Either way it’s pop on, zip up the side ready to go!

The smartest point about the placket is actually on the inside which no one sees.  The edges to the facing half of the placket are slightly wider to easily cover the raw edges.  Vintage patterns constantly surprise and impress me with their ingenuity in regards to the little things.  It’s the little things, though that sometimes make all the difference.  The small detail to the placket facing saved me time from hand stitching the placket down.  I could merely invisibly stitch “in the ditch” around the placket and easily catch the edge underneath, too.  I even left off my customary top stitching on the outermost edges of this collar, a rarity for me to do on a blouse, but the stiffer interfacing and a good ironing give a very polished look to the collar with no visible stitching to ‘mar’ the smoothness.

This placket-collar style must have been popular – and I perfectly understand why after making one myself!  I’ve seen each of the major, as well as some of the minor, pattern companies have a version of this neckline throughout the early to mid-1940s.  (See McCall #4130, year 1941; Du Barry #5785, year 1944; Simplicity #3900, year 1941; Hollywood #903, year 1942; and a re-printed De Pew #3504, year 1939 French pattern)  I realized after seeing a few of the other pattern covers that apparently this neckline style also seems to fit nicely under jumpers, vests, and sweaters without the “distraction” of buttons– part of the reason, no doubt, that it was popular apart from the ease of dressing and making.  I am really tempted to try the lovely striped version on the cover of my pattern but the perfect matching along the collar placket and bodice would probably blow my brains to pull off…still, I’d like to try at some point.

This is a very generously wide, loose, and sort of baggy blouse when it comes to the width across.  One can see this a bit more obviously from the back or when my arms are up.  However, this does make for a very comfy blouse.  The rayon is so flowing that however generous, it looks good.  A blousey 1940’s top needs to have something slimming or at least waist defining worn on the bottom half I’ve figured out.  My modern, vintage-style, A-line black skirt matches well, but my Burda Style black pants match well, too, as well as some neutral and grey bottoms.  Yay for a new staple separate!

A pattern which fits as-is straight off of the tissue is the best find ever!  I did lengthen the bottom hem just to make sure my blouse stays tucked in, but other than that I made no changes because this pattern was in my perfect size.  I suppose I could have added stiffening to the sleeve caps so the trio of darts (VERY early 40’s trademark, by the way) would not look so droopy, but I didn’t…I might add that later.  I also made the ¾ sleeves because I figured this will make this blouse more versatile.  After all, when it’s warm out, I frequently find myself rolling up the sleeves to short sleeves anyway.

Did you find some of the other geometric shapes on and around me?  My fabric is a grid of floral diamonds.  The 1910 to 1920 era building behind me is rich in square, rectangle, and octagon shaped brinks in a lovely glazed coating.  Fancy brick work is what my hometown historically did best out of the whole country, and that’s a fact – not just a brag!  I could name off a few more mathematical co-ordinations around me, but I’ll leave them up to those who want to find them.

For some vague reason this outfit reminds me of something that has a very European vacation flair.  Tell me if I’m crazy.  Maybe in my mind that’s just where or what I’d like to be doing at this moment instead.  Maybe just a great outfit in the right location in my own town is taking me back in time mentally a bit…to a past period in history where I wouldn’t be the only one dressed like this!  Oh well.

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Escape and Evasion: a Post-WWII Map Blouse

A map can help you find your way, it can provide a safety net, be a memento, create a fashion statement, or even be the product of someone’s profession (cartography).  Believe me, a map is much more than markings and directions on material.  Are you ready for a trip?  Let’s have a go with a vintage blouse that incorporates all of those things I first listed, constituting the most out what truly is a map.

100_3709,pa-comp,w

The world is always changing, so a map necessarily documents a moment and place in time.  My blouse, although made in our modern times, pays tribute to 1946, and its post-World War II times and practices.

THE FACTS:

FABRIC:   100% cotton is the content for both the map fabric and the inner lining fabric.  The map fabric is a ‘Tim Holtz’ brand print, from his “Eclectic Elements Expedition” line, and it is very silky soft.  The lining is a beige tan batiste, tissue thin but also super soft.1692-Simplicity

NOTIONS:  I bought the buttons to specifically match with the top (I’ll explain my reasoning further down), and other than that I really needed only thread, which was already on hand

PATTERN:  Simplicity #1692, a 1944 pattern re-printed in 2013

TIME TO COMPLETE:  My blouse was completed in maybe 8 hours, and finished on September 8, 2014.

100_3760a-comp,wTHE INSIDES:  Nice and clean – the side seams are flat felled, the bottom hem is bias covered, and the shoulder seams are covered by the lining.

TOTAL COST:  The fabric was ordered from an online store and the “La Petite” buttons came from (now defunct) Hancock Fabrics for a total of about $25.

Now, I know history buffs out there like me will see my “Facts” and notice and say, “Hey, she’s making a Post-WWII 1946 blouse out of a war-time 1944 pattern!”  Well, yes, I know.  Many styles in fashion then did not have any radical changes during and right after the war, due to many factors.  It wasn’t until 1946 that rationing and “making-do” just began co-existing with a postwar boom all things – more patterns, new fashions, buying of material goods, and even a plethora of babies 😉  Besides, I adapted the pattern design to be more appropriately a 1946 style with its kimono-style cap sleeves and button back.  My adaptations to the pattern were based off of this old original 1946 silk chart blouse as seen in Jonathan Walford’s “Forties Fashion” book (below), as well as this vintage Globe novelty print 40s blouse seen here on Etsy.

Map blouse from 'Forties Fashion'

I luckily made all sorts of annotations to the pattern after my first and second versions and knew what to do to make my third time around the best success yet.  My notes of how to fit the pattern to myself helped me concentrate on changing the design and lengthening the set in sleeves to become another mid-1940’s classic style.  Rather than cutting the back bodice on the fold, I cut mine with a seam and extra seam allowance.  A long underlap was drafted, as was the skinny bias tubing, so I could have the back be button closed.  Sure it is somewhat of a contortion trick to close it on myself, but it is also very 40’s (and looks awesome).  Hubby always shakes his head at the things we women go through to make and wear these vintage fashions.

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The print is some sort of conglomeration of fragmented antiquated maps with wind info and some random highlighting of towns.  It has a nice earthy yet pastel-like background composed of the basic colors in traditional camouflage.  I would have preferred more of a topographical chart or a real 1940s WWII chart, but this is not the last time I intend to sew with maps, so perhaps next time I’ll get exactly what I would like.  On my blouse, the continent of North America with the USA is right over the heart on the left of my chest – at least this is just how I’d like it!

100_3762-comp,wAlthough my blouse is made from cotton fabric (albeit quite nice cotton), it is intended to imitate extant original Post-War clothing which had been made from no longer used/needed Escape and Evasion Charts.  The use of more aerial fighting, bombing, and reconnaissance necessitated maps to be the newest ‘not-to-be-without’ equipment for WWII.  These charts, nicknamed EVC’s, are not bombing aids yet they are also more than just maps.  By being printed with specialized information onto fabric they instantly become an all-in-one survival tool to help someone such as a downed pilot, a lost ground troop, or a POW evade danger and survive both the surroundings and possibly unfriendly people.  Navigation aids, terrain info, edible animals and plants, and crude personal care are listed.

Now, just to be clear, I am talking about the true EVC’s made by government cartographers, not the one’s made out of alternative materials by and for POWs attempting to escape incarceration and also not the maps for remaining alive in aquatic regions, although all of these do fall under the “SERE (Survival, Evasion, Resistance, and Escape)” training military personnel receive.  That out of the way – originally, WWII EVC’s were small and either handed out or sewn as the lining to airmen’s jackets.  The Map pouchAmerican Charts were normally oiled rayon, while the charts issued elsewhere (mainly Britain and Australia) were pectin-coated silk.  The coating strengthened the material, kept the ink from running, and provided airmen with something rather flexible and non-crinkly (silent to use) yet waterproof so their chart could catch water and keep something dry.  The modern EVC’s are not only more detailed, but also made out of spun olefin, branded as Tyveck (house wrap), and have evolved into something as large as a blanket so they can also be used as a hammock, shelter, and bandage, to list a few out of many uses.

After the war, these charts because the source for much re-purposing, and during the war a hubby or sweetheart that no longer needed his chart could provide the rationed woman some precious extra material.  (See here what an old WWII charts looks like before being made into garment.)  Surplus and de-classified Evasion Charts were often a memorial of what a hubby and/or sweetheart endured, as well as silk or rayon that wasn’t going to be wasted.  Thus, so many of these special charts became clothing for a good number of women in the years following WWII.  I find it funny how most of the charts became underwear and lingerie – rather cheeky!  Visit my Pinterest board for EVC re-use to see more inspiration and info.

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Of all the re-using and re-fashioning that went on during WWII, Escape and Evasion charts are by far the most enthralling, most intriguing part, in my opinion.  What is so neat is that they are still useful today, being used after over 70 years!  It just goes to show the depth of history involved in things we take for granted in our everyday lives – maps, clothing, and just pure surviving.  Of all the novelty blouses that I could make, this one has the most passion behind it.  I hope this post made you think, and let me share with you about one of my favorite subjects!