“How Far I’ll Go…”

     “See the line where the sky meets the sea?  It calls me. 

          What’s beyond that line?  Will I cross that line?

               If the wind in my sail on the sea stays behind me, one day I’ll know…”

     -lyrics from the song “How Far I’ll Go”

I might have my personal favorite princesses, but in our house, Disney’s 2016 “Moana” is an all-around favorite of all of us, especially my son.  The movie is an excellent example of Polynesian lore and culture, besides having Moana herself be an all-around exemplary, relatable 16-year-old human, even for all the legendary situations she is placed in.  I love that Moana has her family there for her throughout the film, which is unique for Disney (which tends to kill off the mom figure), and that she is searching for her own identity, not a love interest.  It has songs that are catchier than the best classic 90’s Disney tunes with amazing visuals that are an absolute treat.  It contains my husband’s favorite Disney song – “You’re Welcome” – and was my son’s first in-person movie theatre experience.  “Moana” is also the only Disney animated princess movie I cry to every single time we re-watch it again and again!  It is fitting that my last summer season sewing is something related to the princess Moana.

Of course I had to interpret this specific inspiration with a play set for my latest and greatest installment in my “Pandemic Princess” blog series!  There wasn’t a better decade for the cutest play sets than the 1940s, in my opinion.  Besides, with all the American soldiers (and their families in some instances) stationed at many of the Pacific islands during and after WWII, Polynesian culture heavily influenced the warm weather and playtime fashions for women of that decade. 

I had a head start on the 3-pieces which constitute a play set by wearing my pleated, skirt-style 40’s shorts, which I sewed years back as the base for another play set (posted here), to match with my newly made Moana novelty printed blouse.  The rich blue to the shorts reminds me of the ocean…and I enjoy being able to still be wear my older creations, after all.  Then the jumper, which is newly made and can be worn over both pieces, also matches with the blouse as it peeks out from underneath.  It creates a suddenly dressy tone to the fun time duo.  The brown linen jumper was custom dyed by me, and calls to my mind both Moana’s dark hair and the natural fibers that many ethnic Polynesian clothes are made of.

My accessories are especially coordinating this time.  I have a toy plush version of Moana’s sidekick the rooster Hei Hei to keep me company.  He might not be the best help on Moana’s boat (see this hilarious movie clip) but together with the pig Pua (shown on my blouse) complete her ‘conventional’ Princess ‘requirements’.  This Hei Hei toy was a present from my mother-in-law and can walk and “scream” by battery power.  I also have a large conch shell with me – it was acquired by hubby’s Grandmother in the 1960s or earlier.  It is a beautiful pink inside just like the ones the ocean gave Moana as a baby (see this movie clip – it’s so sweet). 

Now to the rest of my accessories, like my handmade ones! My belt is a multicolored novelty jute ‘ribbon’ which I originally made into a belt to match with this dress (post here) but works fantastically to brighten up the solid brown of the jumper.  Even my sea-inspired hair clip was me-made, too.  I started with a cheap $1 store basic hair item then glued on wooden themed charms of a sea horse, starfish, shell, and a fish that I bought from my local fabric store.  I love my self-made items which complete my outfits!  Finally my amazingly comfy shoes (the “Elinor” lace up ballerina pumps) are from the great brand Miss L Fire, which is sadly going out of business in the next week or two.  All together I felt fantastic in my outfit and also ready for whatever comes my way.  Oh ‘how far I’ll go’ for the perfect dream outfit…

THE FACTS:

FABRIC:  a heavyweight all-linen for the jumper and an all-cotton Disney brand Moana character print for the blouse

PATTERN:  McCall #5607, year 1944, a vintage original pattern from my stash

NOTIONS NEEDED:  lots of thread, vintage buttons from the inherited stash of both my Grandmother and my husband’s Grandmother, vintage hem tape, vintage bias binding, and some interfacing

TIME TO COMPLETE:  The jumper took me about 8 to 10 hours to make and was finished September, 25, 2021.  The blouse came afterwards, being finished on September 27, and was made in only 4 hours.

THE INSIDES:  all cleanly finished thanks to vintage bindings on hand

TOTAL COST:  1 ½ yards of the Moana cotton bought at Jo Ann Fabric store cost me about $12; the fabric for the jumper was linen I had on hand longer than I can remember so I’m counting it as free.  The dye for the linen cost $3 something dollars.  All other notions were on hand from my stash so I’m counting them as free, too.  My total cost for this outfit was about $15.

This overall project started out as an experiment.  I had this lovely bright orange, almost neon, soft and supple linen that was my ideal fabric but in a wrong tone for the jumper to match with the Moana print fabric.  I had an overall 3 ½ yard cut of the material, and only needed just over 2 yards.  Thus, I cut out the pattern pieces for the jumper and saved the rest leftover for my upcoming “Part Two” Moana-inspired outfit.  Then, those jumper pieces were partially sewn together (darts, pleats, and all secondary seams), and the front buttonholes were marked with thread, so they could be cooked in a bath of RIT brand liquid dark brown dye. 

I actually had absolutely no idea what tone I would end up with, but expected a burnt orange.  Any way the dye job would have turned out, I was ready to be happy with it as long as it remotely matched the Moana blouse fabric and became a different color.  I think that since my fabric was a natural linen (which takes well to dye), and I chose a dark brown versus just a natural brown, I ended up with this lovely rich and opaque nut color.  I wanted a jumper which would carry me beyond this particular outfit and be versatile going into fall, but overall become an all-season piece.  This jumper as it turned out is not what I expected but just what I wanted.  It was a planned surprise.  Dyeing is always so very interesting and fun, but always a gamble.

Other than the dye job, this jumper was easy to come together.  Part of the joy to it was how much like sewing through butter was the linen I was using.  Also, though, it has been too long since I’ve used a true vintage printed McCall’s pattern – they’re my favorite.  I appreciate the general predictability of how well they fit me out of the envelope and their details are understatedly fantastic.  The waistband panel – an incorporated ‘belt’ – was eliminated for my version of the jumper because I am both short-waisted and wanted to cut down on the blousiness of the style.  Otherwise, I sewed this jumper just as it is shown on the envelope, not counting grading up in size.  The deep cut armholes are great to show off the blouse underneath and keep the jumper from being confining.  The way the bust darts radiate from the sleeve openings is my favorite unexpected detail.  I went the extra mile to do only hand-stitching finishing touches so no thread is visible besides for the buttonholes.

My blouse was super easy and straightforward as shirts go.  It has menswear details, no doubt added just to keep a smooth profile for layering under the jumper.  Many 1940s blouses have some gathers or shirring somewhere, normally across the shoulders (to add bust fullness) or the back.  This blouse has the conventional separate shoulder panel across the bodice upper back, but with masculine-style pleats for reach room below that.  The front relies on a giant bust dart set into the shoulder down to shape the bust, then there’s a small below-the-waist tiny pleats to fit the hips.  Even this collar is rather on the tame side as 1940s collars go and I like it.  The shoulders are nice and smooth, too.  These features all help this blouse seem a bit more timeless than dated, more than many other 40’s blouses do.  I will definitely coming back to this top pattern to sew a dressy, solid colored version in the future. 

Even if you don’t know Moana or have not yet seen her movie, I hope you enjoyed my new play set with our beach themed photos and find yourself inspired by what I have said about our family favorite princess.  At a basic level, it is just an outfit inspired by a girl whose enthralling story revolves around what she will do out of her love for both home and family.  Whatever her culture, that is a universally admirable quality…but especially for a 16 year old heroine like Moana! 

My outfit respectfully avoids any cultural interpretation, and instead focuses on the predominant colors of the animated tale, vintage clothing for ‘fun in the sun’ by the water, and my personal fangirl manifestation.  With the blouse, the skirt, and my old favorite shorts all in one set, it has been a fun but still practical project to complete.  Out of all my other “Pandemic Princess” inspired garments, this one is perhaps my most natural or ‘organic’ interpretation.

I for one am not into logo tees or character tops unless it is for Agent Carter, Wonder Woman, or as a concert souvenir.  For Moana to be included in that category for me should tell you something big!  Please do yourself a favor and see the animated film “Moana” if you haven’t done so already…and if you have, let me know what your favorite scene was!  I have so many, it is hard to pick anything other than every minute of the movie.  I am so super hyped to have an outfit that embodies this special Polynesian princess.  Many Pacific Islands are an underrated and underrepresented part (if only a satellite affiliation) of the United States, after all!

Blushed Briar Rose

It mystifies me that something as vigorous, beautiful, and pleasant smelling as the shrub rose, also known for its wild varieties the dog briar or briar rose, can also be designated as a weed.  Yes, I agree a shrub rose can grow out-of-hand, it creates dense vegetation of spiny brambles, and it can be aggressively invasive.  However, many flower shops and high end events desire lab curated roses for arranged displays, yet snub their nose on the humble, steadfast briar rose that was the humble ancestor to all roses back from the time of the dinosaurs.  After all, “A rose by any other name would smell as sweet” is the popular quote from Shakespeare.    Did you know that most of our important crop plants are in the “Rose” family?  A pretentious pedigree should not matter for a plant. 

It’s cooling down now that September is here, yet in our city’s Botanical Garden there are still plenty of shrub roses blooming untamed next to some single oversized hybrid.  A desire for overly curated cultivation has grown a skewed perspective.  I think a plant such as a briar rose that perseveres through the ages, with healthy benefits to boot, while still having loveliness to share despite their alleged flaws is the diamond in the rough that deserves more respect – ‘weed’ or not.

The hidden beauty with a hopeful heart, Princess Aurora, of Disney’s 1959 animated film “Sleeping Beauty”, was also called Briar Rose.  This was a term for the fairytale princess which comes from the German version of her story as told through the Brothers Grimm.  I can deduce that this genus of plant was specifically what grew into an impenetrable barrier to enclose the sleeping princess.  This is what I’m channeling today – the wild and prickly beauty of the briar rose as inspired by the Princess Aurora.  Here is a delicate combo of a blouse in sheer white chiffon similar to Aurora’s forest outfit and flowing rayon trousers in a soft rosy hue…because briar roses are almost always pink, you know! 

Here is a rare example of me mixing decades, I would like to think to great effect.  These pants are from the 1990s, yet my old-fashioned ways I keep calling them trousers by default because they are high-waisted and wide-legged as if from the WWII era.  The blouse is 1940’s, a piece from an old dirndl pattern because it has been suggested that there is a Germanic influence to Briar Rose’s forest attire (no doubt coming from the story being derived from the Brothers Grimm).   The fabric I chose and the way I’ve worn it here keeps the blouse more of agelessly romantic in aura than pure vintage.  I been having a lot of fun with my style recently.  I find the eras that revived older fashions so very interesting, but now especially so when it comes to the 90’s, a decade peppered with the influences of the past 20th century, all of which I already sew, wear, and love.  Besides, the 1940s era came up with some of the best classic pieces, particularly for separates.  Put all this together and I can’t go wrong, right?

Before I go on with my post, can we all take just a moment to appreciate the skills and patience of my 9 year old to take these blog pictures of me?  Let’s give him a hand for being my photographer for a day!

THE FACTS:

FABRIC:  Blouse – a poly chiffon with the ‘interfacing’ of the cuffs being a sheer white stiff organza; Trousers – 100% rayon twill

PATTERN:  Blouse – Simplicity #4230, year 1942, from my stash; Trousers – McCall’s NY NY “The Collection” pattern #5718, year 1991

NOTIONS NEEDED:  one 7” invisible zipper for the pants and lots of hook-n-eyes together with one vintage covered button for the blouse, but otherwise lots of thread, some bias tape, with a little interfacing

TIME TO COMPLETE:  The blouse was made in about 8 hours and finished on January 6, 2020.  The bottoms were done on April 3, 2021 in 4 hours.

THE INSIDES:  The blouse is a combo of French seams and serged (overlocked) seam allowances.  The trousers’ raw edges are bias bound.

TOTAL COST:  All supplies came from my local JoAnn Fabric store.  Two yards for the pants and 2 yards for the blouse came to about $30 in total.

Similar to the way I successfully used a bedsheet to sew a couture dress (in my previous post here), this outfit was also started with materials not what I intended, but what struck my immediate fancy.  It just goes to prove that the final look of any and every sewing project is entirely dependent on the execution of every step along the way towards the finish.  It doesn’t take fancy supplies to end up with something amazing to wear, and trying something new might just end up better than you originally thought.  “A rose by any other name…” comes to play here, too.  If you can make the most of what you have it doesn’t really matter if it’s a bedsheet or a polyester in the end if you’re happy with what you’ve created and think it is fantastic!

I would have preferred a silk chiffon for my blouse but after getting tired of internet searching, I instead took advantage of a fine polyester option that was both convenient to find and reasonably priced.  I was doubtful that a slinky rayon would be substantial enough for what was supposed to be a structured pants pattern, but I wanted to try something experimental and it was in most enchanting pink tone…I couldn’t resist.  Together, this outfit ended up way better than I imagined.  I love these results!  Luckily, I avoided being snagged by all the thorns around me while wearing my delicate fabrics.  I took the risk, as you see, to folic like a modernized, dreamy version of a princess, spend time touring a lovely rose garden for an afternoon, smelling all the flowers.

These two pieces were really a lot easier to construct than they may look.  The pants pattern fit me straight out of the envelope like it were drafted just for me, a trend I find with this 90’s line of NY NY “The Collection” McCall’s patterns.  There was a front piece, a back piece, and two facings, all with just the right curves for my hips, so it was pretty simple to make and match the very geometric windowpane plaid. 

I took a shortcut from the French seams I started in the blouse to do the rest in serging (I rarely use overlocking) because it was a poly after all, not a silk like I wanted!  It has a loose and flowing fit, but as I already used the rest of the pattern before for a dirndl vest (posted here) I knew what sizing to expect and graded accordingly.  A little before-hand knowledge is not always something available when working with vintage patterns, and I definitely appreciated it here.

As the pants and blouse were easy otherwise, I spent a bit of extra time on the details.  For my bottoms, I made sure to have impeccable inside edges and a center back invisible zipper.  I sewed in a hook-n-eye placket to close the blouse along the side seam, just like a proper vintage garment might have.  A fluid, sheer, light-as-a-feather blouse deserved something other than a harsh and rigid zipper!  This type of closure was the fiddliest part of the blouse, next to the neckline, but elevates it closer to the quality I’d hoped to end up with for a silk version. 

Of course the resemblance of my blouse to Princess Aurora’s “Briar Rose” peasant blouse was made all the more similar thanks to a little piece of vintage lingerie in my collection.  I wore an authentic 1940s boned long-line satin foundation undergarment beneath which gave my blouse an illusion similar to the sweetheart neckline of Aurora’s black overblouse corset.  I acquired this amazing garment in the first place because not only was it my size, and something I did not have, but I also felt sorry for it.  The brassiere needed some TLC to bring back up to a wearable status. 

All the boning channels had been torn through but otherwise it was in impeccable condition, with elastic that was still very intact.  To do the mend, I merely used some old vintage twill tape from on hand and re-sewed down the channels, closing in the spiral steel boning strips once more.  This repair took me only 30 minutes!  It is pretty enough of a piece to be seen in it floral damask satin, but I remember it is still lingerie, so I loved being able to fulfill both aspirations by wearing the brassiere with my sheer 40’s blouse.  At this point, it rather looks like a mere strapless top underneath anyways, and highlights more of the gauzy goodness to my blouse than anything else.  If anyone but my husband notices anything otherwise, shame on them!

I would be remiss if I failed to also highlight the unusual choice of footwear I chose for my outfit.  As I was going both romantic old-timey but also experimental, I felt it was time to enjoy my new purchase of a pair of American Duchess’ “Kensington” 18th century leather shoes in ivory with “Cavendish” 18th century brass shoe buckles.  To be inspired by “Sleeping Beauty” meant I had all sorts of historical references in my mind for this outfit, and these pretty – if a bit unusual – shoes made me happy with their finery.  It was all about creating an aura for this mashed-up outfit.  Yet, after all, I was also being practical.  There was an 18th century reenactment to attend the coming weekend, and all American Duchess shoes need time to be “broken in” before they really start forming to your foot and becoming more comfortable.  A walk through the soft ground of the Botanical Garden did just the trick!   

The way you see these pieces worn and accessorized in this blog post is merely one out of the many other ways I pair them with other separates from my wardrobe.  You can see this post here where my sheer blouse is being worn with my scuba knit sundress like a jumper!  As pretty as these pieces are on their own, they really are being enjoyed much more than I had hoped – which is a very good thing! 

After all, ever since the pandemic of 2020 started, I no longer ‘save’ my nice stuff for just nice functions, otherwise much of my wardrobe would never be worn.  I really do think people appreciate it when they see there was thought and enjoyment behind putting myself together – no matter the occasion.  You know, after these pictures at the Botanical Garden, I wore this outfit to do some practical grocery shopping, and received the most unexpected amount of compliments.  Public appreciation or not, pulling cans off the shelves with sleeves like these suddenly felt much more elegant than hum-drum.  Pushing the shopping cart around in 18th century heels feels empowering instead of droll.  It was fantastic!  I highly recommend it.   

It’s just a parody to my earlier reflection of appreciating a ‘weed’ of a rose as something to be valued in one’s personal estimation.  If I can’t avoid the weeds of life – like droll errands – I will find a way to see them as palatable by also doing something I enjoy at the same time…like wearing my me-made clothes.  I will not let the lack of events to attend get in the way of an outfit like this not having an opportunity to be worn!

A Skirt-Blouse and a Dress-Skirt

The second installment for my 2020 “Alter It August” is a featuring of this crazy but coordinated and happy display of me wearing things in the wrong place.  Ugh – that just sounds like need to relearn how to dress.  No, I just like the sewing success I find when thinking a bit differently when attacking my tucked-away mending pile.

What I started off with were two vintage pieces in their own right.  I’m wearing what had been a skirt from the 1990’s as a newly refashioned blouse of the 40’s WWII style.  Then, I also salvaged what was left of a true vintage 30’s era dress into becoming a skirt which pairs nicely with my new blouse.  Yes, I’m all over the decades and every article of clothing I started with is now something else.  Yet, somehow, what I ultimately ended up with is these wonderful separates that I can wear and enjoy for years to come.  I think I can rock this sort of upside-down dressing!

THE FACTS:

FABRIC:  a soft cotton with a hint of spandex is the fiber content of the skirt that became my blouse, while the true vintage dress that became a skirt is a lovely rayon gabardine finished off with a matching color modern cotton sateen

PATTERN:  Simplicity #4528, a year 1943 vintage original pattern from my personal stash, was used for the blouse

NOTIONS:  some interfacing scraps, thread, two true vintage buttons for the blouse, and a vintage metal zipper for the skirt.

TIME TO COMPLETE:  It only took me about an hour or less to clean up the dress and turn into a skirt.  The blouse was finished on August 1, 2020 in about 4 hours.

THE INSIDES:  The insides of my blouse are cleanly bias bound, while I kept the original (pinked) seams of the vintage dress-turned-skirt and merely finished the waist.

TOTAL COST:  FREE!

My true vintage skirt was more of a salvage than a refashion like my blouse.  I had an acquaintance had passed to me this piece that someone had given her because they knew I am a smaller size and would be capable of restoring this to a wearable state.  The bodice of a cream-colored, rayon gabardine 1930s dress had been roughly cut off midway through, the side zipper ripped out, and the amazing duo of large pockets halfway hanging on.  I can’t help but hopelessly wonder what the full dress looked like originally.  It might have been wonderful to have the chance to save more than just the skirt, but really – I shouldn’t complain!  This was a wonderful gift and an honor of a challenge.

I started off with the basic preliminary tasks – trimming the bodice down to the point where I would sew on a waistband, taking off a handful of belt carriers, re-stitching down the pockets, and setting in a side zipper.  Next I used a cotton sateen from on hand (because hey, it was something I didn’t have to buy and it matched in color) to sew on a waistband and a hook closing.  That was all it needed besides a basic cleaning and pressing.  There still are some very slight stains I need to get out but overall I am very ecstatic to have saved this piece.  I am amazed that for all this dress had went through before it came to me, there were not any obvious stains or even a hole, rip, or tear in the skirt (it is pristine).  A very good vintage find finally all fixed up deserves a great new top to pair with it, right?!

I had a plaid skirt which had hardly ever been worn, even though it has been in my wardrobe since circa 2000.  I had bought it second hand back then, so it must be from at least the 90’s, judging by both the style and how the label inside proudly claimed to be completely “Made in the USA”.  Maybe I should not call it fully vintage…just ‘dated’ for now.  Nevertheless, it became a blouse of a different ‘vintage’!  The skirt’s plaid was cute enough to me that I held onto it for this long, yet the style always screamed too “school girl” for my taste and so was rarely worn.  No doubt the fact the hem ended right above my knees added to that impression.  It has a low-riding hip yoke with a deep-pleated, flared skirt below and was fully lined.

A refashion can feel like a giant uncertainty, so it helps to use a pattern that you’ve used already and which has turned out successfully before.  It gives an extra confidence level.  I used the same pattern that gave me one of my current favorite vintage blouses – this “Australia” movie inspired creation – and merely shortened it to waist length because of the limited amount of fabric I was working with.

There was so much fabric in the pleated section below the hip yoke, all I needed to do was cut that part of the skirt off and it was like having a long 2 yard by 20 inch section to work with.  There was imperfect plaid matching in the skirt to begin with, and I did not have any extra fabric to be as choosy of a perfectionist as I like to be with geometrically printed fabric.  Yet, I do think I made the best of it!  The belt strip to the original skirt became the waist tie attached to the bottom hem of my new blouse.  This tie front feature helps the top stay down on me and is also a nice feature to perk of the pretty, but still a bit plain, ivory gabardine skirt I am wearing with it.

I was sort of aiming for a pre-WWII casual 40’s kind of look here, but I’m happy it ended up looking pretty timeless after all.  The skirt is in a feminine and comfortable bias cut so it is obviously 30’s era, but a well done cut and style like this never goes out of style.  After all, the giant, interesting pockets hold my Android phone just fine with room to spare…how modern is that!?  I personally like large blouse lapels and cannot lie, however, they do rather give the blouse away that it’s vintage.  Yet, crop tops are quite popular now, the tie waist is an unexpected detail, and the plaid is quite fun, so perhaps all this outweighs the collar for a contemporary appeal.  I paired my outfit with my Grandmother’s earrings and my comfy Hotter brand tennis shoes.

Even though “Alter It August” is drawing to a close, it’s always a great time to whip those unusable clothes into shape and make them work for you!  You have the sewing superpowers to create…now use those same gifts to take care of what you already possess on hand and make sure it is something useable that you love.  A refashion from what’s on hand is something new for nothing, with the added happy benefit of knowing you both succeeded at something challenging and helped counteract the global harm of the wasteful fast fashion industry.

I don’t know about you, but at the rate I am going out and about these days, I really don’t need a whole lot of anything new coming in the house besides food in the fridge.  That doesn’t stop me from continuing to be a ‘maker’, though, and this sporty little outfit was just the sensible, thrifty little pick-me-up project to be useful, keep me creative, and clean the house all in one.  Maybe I haven’t been out enough for me to even think of turning a skirt into a blouse, after all, though?

Agent Carter’s Color-Blocked Slacks Suit

Slacks suits of the 1940s – when the blouse and the pants both matched as a set – are such an admirable yet interesting piece of fashion history which is under the normal radar what we think of WWII clothes for ladies.  No doubt it has to do with the fact they are an extremely rare item to find extant, especially with both pieces together.  They were an avant-garde statement of women’s empowerment.  They always have great design lines and wonderful styling when they are to be found either in person or in magazine images.

A slacks suit was nice clothing, and not just for working the garden or at a factory assembling war supplies like dungarees.  They were also day wear, or for home leisure, when they were out of nicer materials with finer details, but always practical by offering great ease of movement and practicality for the busy, multi-tasking woman of wartime.  Any way they were styled or worn, though, wearing pants was still not a societal accepted norm for women.  Many young women or ladies with confidence and a sensible disregard for public opinion took to such fashions.  It totally makes sense that a character such as the indomitable Agent Peggy Carter would wear such a thing when she came to sunny Los Angeles in 1947 (Season Two)!   What a better way for me to channel a 40’s slacks suit than to take cue from Miss Carter and make my own color blocked version!

THE FACTS:

FABRIC:  a burgundy colored apparel weight polyester challis from Uptown Fabric shop on Etsy along with an old cotton knit t-shirt

PATTERN:  an adapted version of Simplicity #4762, year 1943, for the blouse; I acquired this pattern as part of a trade of vintage goods with Emileigh, the blogger behind “Flashback Summer”

NOTIONS:  thread, some interfacing, and a set of true vintage 1940s buttons out of the inherited stash of hubby’s grandmother

TIME TO COMPLETE:  The blouse took me 30 hours to complete, including the necessary re-sizing of the pattern.  It was finished October 30, 2019.

THE INSIDES:  cleanly bias bound

TOTAL COST:  All I needed was two yards and this cost me only $14

To make things a bit easier on myself –so I thought – I bought the pants RTW from a company that remakes vintage style garments (Unique Vintage‘s “Ginger pants”).  These pants are made of the hard-to-find, soft, and wonderfully sturdy rayon gabardine so I couldn’t resist them, especially as they have a true high waist, pockets, and a good 40’s style wide leg.  I love that these pants are the next best thing to something I would sew myself.  They are a saturated, true burgundy and I thought that should not be hard to match…boy was I wrong.

It took me a year’s worth of browsing every so often, both in person at fabric stores and over the internet (which is much harder to do due to screen variations), to find a color which would match my existing pants AND be a proper blouse weight material.  So many burgundy tones either were too blue toned, too red, or too purple and then the fabric was either a quilting cotton, a silky print, or a duck cloth.  I would have preferred a natural material, but sometimes ya gotta go with the best one can procure for sewing projects.  At least this challis is high quality polyester which is surprisingly quite nice and –besides the surface shine – really not an obviously man-made in content.  Occasionally that dream material is too hard to find, especially when I was so impatient to be able to wear my completed dream project!  The two different contents of the pants and the blouse play tricks on the camera in the sun, but in person and through pictures in the shade, the two pieces really do match up.

Speaking of another challenge in color matching, I also had a really hard time also finding a material to match the rest of my set which was a true dark-toned spruce green.  I was tired of the searching so part of this outfit is also a refashion.  I chose the practical “made-do-and-mend” route and used an old printed t-shirt from on hand which no longer fit me.  It was in the right color green, only a completely different fabric – a cotton knit.  I was thinking (rather hoping) that the contrast in type of material might be passable because it is a contrast color to the rest of the set as well.  Also, I do love a sleeve that is easy to move in.  Against my better judgment, I went ahead and used the tee for this slacks suit’s blouse…and I am pretty pleasantly surprised at how well this refashion turned out.

I kept the original sleeves as-is from off of the t-shirt and transferred them directly onto the new blouse I was sewing.  I cut out the front Christmas print because I liked it (and might applique it to a new tee in the future).  The majority of the back body of the tee went towards the new blouse’s contrast shoulder panel and under collar piece, while the bottom hem was used to lengthen the sleeves a bit by adding faux cuffs.  I interfaced the shoulder panel and the under collar piece because, being a rather thin and stretchy knit, I thought the green tee material needed to act and feel stable like a woven from the rest of my set for it to ‘fit in’.  It seems my idea worked well.  I was afraid that using a knit for the shoulder panel – the spot on a blouse which has practically the most stress from movement – would be a terrible idea yet between the interfacing and lining that panel with more of the blouse fabric…my blouse is staying in its intended shape.  The sleeves were the only part from off of the tee that I kept fully stretchy.

Between the knit arms and the full, gathered lower back bodice panel, I now have a vintage blouse which lends itself to some extreme butt-kicking wrestling moves, such as Agent Carter was wont to exhibit on men who needed an awakening at the hands of a woman.  Luckily the scene in which we see Peggy first wearing this outfit (“A View in the Dark” episode) was a very active one, and all the different angles shown of her slacks suit were very helpful in seeing what details there were.  Out of the TV series’ original outfit, I kept the small pointed collar, the dark green buttons down the front, the back blouse fullness, the combination of colors, and the general placement of the contrast color.

However, as I have done for all of my other Agent Carter “copies”, I like to both personalize the clothing according to my taste and base it more heavily upon historical accuracy.  My bought trousers align with WWII-time standards with smaller pockets, no hem cuffs, a side metal zipper, and rayon gabardine – the classic fabric for a slacks suit.  I started with a 1943 pattern because when the war effort hit the home front in full force, slacks suits began a strong showing in fashion catalogs and shopping magazines.  All I needed to do was make just a few tweaks to make my outfits closer to extant originals that have caught my admiring eye.

I feel so much better about trying to copy a garment when I change up the design according to my own ideas.  Doing so is my way of respecting the original artist that was behind the garment which is my inspiration!  Yet also, I do want to stay true to that self-realization of knowing what will look best for my body shape, height, and proportions.  I want everything that Agent Carter wears, yes – but I also want to like myself in them rather than forcing something which might not be ‘right’ for me.  This is the only way for me to naturally incorporate a bit of Peggy Carter into my everyday wardrobe.  I like to wear my Peggy outfits as something other than a special occasion cosplay item, but to each her own.  This is why I opted for a belted overblouse style to my slacks suit, unlike the way Agent Carter originally wears her set.  Just like her, I dare to be different!

My main 1940s inspiration sources were both color-blocked jackets (with skirts) and extant matching slacks suits as seen through vintage selling sites.  Many of these include burgundy color.  My favorite set is a 40’s “California Sportswear” set made in Hollywood monotone set, sold by FabGabs, which is remarkably close to Agent Carter’s TV one.  Otherwise, I drew heavily from the two-tone “American Spectator” blouse sold at Boswell Vintage.  I made a separate belt and added it to my blouse, then adjusted the look to match my inspiration.  I imitated the front (below the belted waistline) pleats of the blue hound’s-tooth overblouse and the full gathered back of the burgundy “American Spectator” blouse.

The detail of the button going through the middle of the attached belt is everything to me here.  It’s a sharp detail so very much in tune with the tailored 40’s era and complimentary to my waistline, a big plus.  It keeps the general idea of Peggy’s set with – dare I say – better details and a better classic 40’s sportswear air to it.  My blouse is sans faux chest pocket flaps because they struck me as a detail which might only become a fussy distraction.  Combining my smaller frame proportions with the faux belt detail seemed like just enough of a balance although I do feel lost in any outfit that is lacking true pockets!

Matched in both fabric and color, slacks suits were frequently color-blocked – no doubt because each piece would be easy to mix and match separately with other items in a wardrobe.  Like most clothing meant to be an everyday item or at least supremely useful, they do not survive like special occasion clothing, says “The Vintage Traveler” (as in this post here).  She had been highlighting her collection of slacks suits on her Instagram (see these fantastic sets).  The more I see of slacks suits the more I agree with “The Vintage Traveler” and admire how casual did not mean sloppy in vintage style.  Yet, such dressing – women in pants, in particular – has lost its novelty over years.  What was informal for back then now appears quite refined by modern standards, but at the same time what was daring then is now often only thought of as a conservative approach to everyday wardrobe staples.

True instance on many an occasion – my hubby tells me to be casual for running errands and I reach for my vintage sportswear.  Then he says he needs to dress up to match me because I still look so nice!  This slacks suit is my sharpest version yet of 40’s pants based sportswear and has no complaints when I channel Peggy.  Luckily I ordered more burgundy challis material before Uptown Fabric sold out.  My hope is to extend my slacks suit to have a blouse and skirt matching combo at some point in the future.  I love how I can make something killer but still have it versatile and practical at the same time when I sew vintage…especially Peggy Carter…styles.  Now I have something new in my arsenal of creations, another box ticked off – a 1940s slacks suit.