Come Into My Web…

With the amount of vintage fashions that I make and wear, you’d think I’d have enjoyed Halloween in some wearable holiday-themed outfit from one of the popular decades of the 20th century – but no!  I always seem to do a fictional costume, or something historical, or just plain fun.  I haven’t ever done anything quite spooky ever, either.  In all, nothing is ever really a garment that I can include as part of my everyday vintage wardrobe.  All that has changed this year with a circa 1949 sultry femme-fatale outfit!  Using Gertie’s newest print, reproduced from a true vintage fabric, and scroll-work felt combined with raw buckram to make a curiously detailed hat, my ensemble is perfect for a jaunt out in the dark, rainy, and mysterious evenings of fall!

This is one of my very favorite, luxurious, and completely unique garment projects.  It was so fun to make a novelty outfit which is not just for an event but also for a season of the year.  The hat was super-easy make, and should work well for other outfits of any season, but truly compliments this set in a way far better than I had imagined.  However, if it wasn’t for the roses in the dress’ print, however, there is probably no way I would be even so much as trying anything with a spider theme.  The buggers creep me out!

The irony is that I added to what the webs were missing with my jeweled brooch – a vintage-style “Webster” pin ordered through “Nicoletta Carlone.com”.  He is not hair-raising, but rather cute (weird for me to say) and definitely glam.  After all – a web without a spider is a home without a tenant, right?!  All other accessories are true vintage items.

THE FACTS:

FABRIC:  Dress – 100% cotton sateen, “Kiss of the Spider Woman” 2018 print from Gertie with a sheer black chiffon for the neckline and a sweet pink broadcloth for the bodice lining; Hat – a felt placemat, buckram hat base crown, and black tulle netting

PATTERN:  Anne Adams #4696, circa early 1950s for the dress…self-drafted hat

NOTIONS:  I had all the black thread and bias tapes I needed, and the modern tiny ball buttons (not vintage) were already in my stash.  I only had to buy a zipper for the side seam waist closure!

TIME TO COMPLETE:  The dress took about 15 hours to make and the hat was made in an hour and a half.  Both were finished on October 26, 2018.

THE INSIDES:  a combo of French and bias bound seams

TOTAL COST:  About $35 was spent on the Gertie fabric alone, $5 on the chiffon, $2 on the zipper, and $8 for all the hat supplies (placemat from the arts and crafts store Michaels, and the buckram base from the Etsy shop “DanceCostumeSupply“).  $50 is my total.

This is my second time working with an Anne Adams vintage sewing pattern and what I found out from the first time rang true again.  Their designs seem to run quite small.  Just like before, my Anne Adams pattern was a size too large for me according to their chart, but it tuned out fitting me perfectly with 5/8 seams rather than the instructed ½ inch.  As unpredictable as vintage patterns are regarded by many to be, there are benchmarks to be found the more you sew with differing companies and various decades.  I’m not for certain that all Anne Adams will have their sizing off, but two times around is a pretty good confidence booster to know what I’m working with!  Size up with this brand, just in case.

Now, I did start with an early 50’s pattern, but I slightly adapted the design lines to make it more like a 1949 silhouette.  Post WWII fashion is remarkably similar between 1948 and 1952, minus slight differences.  All it basically took to change the date to this dress was eliminating the three paneled skirt front as designed and cutting out a slimmer, swinging, bias cut one instead.  The longer and leaner lines with a longer hem are trademarks of1949, whereas after 1950 there was more emphasis on a tiny waist and full hips (below the bust).  I was mostly copying off of an Aldens Department Store advertisement from 1949 (dated using the 60th anniversary emblem) by doing my adaptation, but nevertheless – the defined spider web print needed as few seams as possible anyway.  This pattern could certainly give what the fabric needed in my mind, which was minimal seam lines with no compromise on lovely shaping for a sultry air to the whimsical vintage print.  This dress sure delivered!

I can’t believe the neckline on this is original vintage.  The cheeky and bold taste that was around back then is much more alluring and lovely in my opinion than the modern baring-it-all fashion that leaves nothing to mystery.  The pieces for the bodice were so very basic, early on I was so doubtful that they would work out at all.  At the waist of the bodice, there are two sets of three stitched-down pleats in the front, and two small open pleats in the back but somehow they do their job turning odd shaped rectangles into something special.  There are small gathers at the shoulders too, though it’s not very noticeable in the sheer material…it just sort of helps to wrinkle up the front neckline a bit.

French seams are the strongest seam possible in such a lightweight and unsupportive fabric as chiffon, so that is what is holding the shoulders – and the body of the dress – together.  Fully lining the bodice not only gives body to the soft fashion fabric but also is a great way to cleanly finish the wide arching neckline where the sheer and the printed cotton meet – with no seam there, it lays nice and smooth.  A little sneak peek of pink that can sometimes be seen of the inside makes it so worth it, too.

The upper bodice from behind is, to me, a very slight call back to Victorian times, when the necklines were high, severe, and replete with a multitude of tiny buttons.  During Halloween, Victorian times seem to be what is stereotypically associated with haunted mansions and creepy, cackling women in frilly black dresses.  There are only 5 buttons here, but still – the difficulty it presents to dress yourself is a goth reference to decadence and stuffy society.  I hand sewed thread loops along the edge to catch the buttons.

I suppose now is a good a time as any to talk about what’s on my head, now that you can see the full details from the back of my hat!  Yes, as I mentioned above, I started with a placement to decorate a dining table, but in my defense it was thick, dense felt after all, too similar to hat material to ignore doing some Halloween shopping one night.  It was on clearance too!  I have always admired the wide hats of the mid to late 1940s which have decorative ‘windows’ or fancy cut outs in their big brims.  Such vintage hats I have seen are either too costly for my wallet or disappear too quickly to act on buying them.  So, as I do with most else in my wardrobe, I make my own version!

The place mat was slightly oval but so is the buckram crown (luckily on hand…I do keep a stock of hat bases “just in case”).  Luckily the crown was just enough to replace the skeleton head cut out of the center!  Before hand-stitching the place mat’s inner edges to the wired crown edges, I did add a double layer of tulle to the top (upper) side to stiffen it up.  The tulle adds a mesh look that compliments to raw buckram plus it makes to hat brim flat and not wavy along the edges like a 70’s slouch hat.  I merely hand tacked the tulle halfway through the felt all around the outer edges, kind of like a very tiny pad-stitching.  Most of the time, the tulle and the buckram base used for my hat are only foundation materials which are not meant to be seen, only hidden under other, better, fashion fabrics to achieve a final end.  By leaving the raw supplies I used exposed, the effect reminds me both of the fragility of a spider web and the physical decay we frequently revel in around Halloween.

Spider web prints seem to have exploded in the vintage fashion scene.  They are incredibly popular and collectable today, so it’s no wonder that several retailers are reprinting such fabric.  It’s a good thing for those of us who sew because we can provide ourselves with what we cannot get our hands on – vintage spider web dresses!  These prints can be found starting in the 1940s, or very late 30’s at the earliest.  Spider web prints seem to have had their high point between the mid-1940s and mid 1950s, but still quietly persisting through the 1960s and 70’s through the work of some bigger named designers.  For some reason, though, the form of stylized web-and-roses print that I have used from Gertie is the one that is most frequently seen.

Although I and the world of today tend to automatically associate spider web anything with the holiday of Halloween, if you look closely at the old original vintage advertisements for such spider web print dresses they specifically are for spring, yet also mention that it is an “all year design”.  I have a whole Pinterest board dedicated to “Spider Web Clothes Vintage and Modern” so please visit there and look closely to read for yourself.  It is so interesting to look at the primary sources for this new vintage trend, because when you do, you realize we are looking at it quite differently than they did.  Spider webs for spring?  As lovely as my own dress and hat turned out (if I do say so myself) and as wonderful as it feels to wear this swingy and sexy little number, I think I’ll take any and every excuse to wear this as much as possible!

Advertisements

Autumn Maize

The thing that many downward spiraling leaves and a dizzying corn maze have in common in the season of fall is a golden rich hue.  I’m talking about the color called “saffron” that has been popularly seen everywhere beginning in the early fall of this year…it’s also called mustard, goldenrod, and harvest gold among other things.  However, I love word puns, so I’d like to associate my dress as being more the color of the traditional grain maize, with a title that calls to mind one of the joys of autumn that a field of corn can provide!

This dress is so comfy, the skirt is so swishy, and the details are so unique I can’t help but love it, although I’ll admit it was a bit hard to like at first because it is so quaint and more blatantly dated in style than much of what I make.  This dress does have rick-rack and an obvious vintage metal zipper in the side closing, after all.  Nevertheless, I enjoy trying novel things, and that includes new styles, new colors, new sewing pattern companies, and new techniques.  This dress has all of that in one project…so hooray for a feminine and fun vintage dress in the latest color for those warm “Indian Summer” days of fall!

THE FACTS:

FABRIC:  100% rayon challis

PATTERN:  American Weekly No. 3545, circa year 1941

NOTIONS:  I had all the thread I needed, and the oversized rick-rack and vintage metal zipper I used were from my existing stash.

TIME TO COMPLETE:  Even with the tricky paneling and added rick rack, this dress was still relatively easy, made in 8 to 10 hours and finished on September 10, 2017.

THE INSIDES:  All the seams are either enclosed in bias tape or French finished, with just the armholes left raw edged. 

TOTAL COST:  This was bought at Jo Ann’s Fabric store within the last few months, for a total of about $10 to $12.

That American Weekly dress pattern has been stumping me for the last few years since I bought it.  As much as I liked the design and wanted to make a garment of it, I could not figure out how to picture myself in the dress or get past the example drawing to see my own interpretation.  On a completely different strain yet a similar situation, when I bought the golden floral rayon, I loved it and knew what era of vintage it would be perfect for – the late 30’s to early 40’s.  Yet once it was brought home, I realized I was stumped with how or what to make of it.  Both the pattern and the fabric were dually stumping me in their own ways.  Maybe this is why the two of them felt right for one another in some vague way when I was sorting through my pattern stash for ideas!  I am so glad I have found a way to conquer the rut I was in and make something I love wearing!  For me, pairing a pattern with fabric and notions is something deep down inside I can’t always pin down, a sort of creative intuition.  No matter what I want to do, sometimes I need to wait for right moment of inner approval for me to sense that I have made the perfect match.  Many times the process of a project coming together is different, such as pairing fabric off first, or being inspired by the notions or merely a picture, but it all feeds my creative intuition that keeps cranking out ideas which keep me going.

Although I see it mentioned nowhere at all on the pattern, when I was doing my preliminary fitting of the tissue pieces I realized this was a petite Junior miss pattern, not in adult proportions in other words.  I can’t help mentally pat myself on the back for finding this out ahead of time and not just whipping it up.  Never assume too much when it comes to vintage patterns!  Check them out fully and figure them out before you reach for those cutting scissors, especially with old mail order patterns…I’ve made enough to know by now you can’t exactly know what to expect.  I retraced the pieces out onto my roll of sheer medical paper so I could then cut, tape, and otherwise re-size the pattern.  I suppose this time I had an obligation to preserve this pattern by being ‘forced’ to make a copy if I wanted to sew a dress out of it!

The sizing read as a nicely “normal” bust-waist-hips combo for me, and it should have technically been a tad big.  Just to be safe, however, as well as to have bigger seam allowances than the given ½ inch, I did add some ease to the side seams.  Good thing I did this!  Even with the extra width, the pattern still ran small enough to fit perfectly…I would not want it any more snug, especially in the hips.  Apparently not only is their sizing chart off when it comes to the finished dress but there was not a designation for body height sizing either.  McCall’s and Simplicity would use the term “junior’s” on their patterns and generally would be in the small sizes like a 30” bust.  My pattern was a size 16, for a 34”-28”-37” body, so it was not a small size by vintage standards.  Although there have been other mail order patterns I have come across which had some mysterious, slightly shortened proportions, this pattern was so short…it made it look so tiny!  It needed over two inches added to bring the bust, waist, and hips down to where they needed to be.  Just how many American Weekly patterns are actually in a junior’s size and no one would know the better until the tissue pieces get fitted on someone?

Sizing complaints aside, American Weekly patterns were offered through a Sunday supplemental magazine of the same name produced by Hearst for inclusion in their newspapers – kind of like the modern day “Parade” leaflet.  At one point, it was billed as having a circulation of over 50,000,000 readers!  Apparently this magazine only offered patterns from circa 1940 through the 1950s.  As I can find proof of one of the first American Weekly patterns, dated to year 1940 with a number that slightly precedes the numbers on this post’s pattern, I am pretty certain at dating my dress as year 1941, when the patterns just started being offered (besides basing the date on the style).  My instruction sheet says that their patterns only come in 5 sizes for anyone between a 30” to 38” bust, so that is not a whole lot of variety!  The actual construction directions were some small line drawn pictures and several brief paragraphs of text – not much for those you who would need assistance.  American Weekly patterns do have some really lovely styles, nevertheless!  Nothing I’ve seen is really is jaw-dropping, but they strike me as subtly complex and harmoniously designed.

Enough facts…look at the dress’ lovely details!  It has mock tabs on the hem of the gathered-top sleeves, and a mock-jacket look to the body.  The curving to the bodice panels was amazing on the pattern and really make for an interesting, unusual, yet quite complimentary fit.  The dress elongates the bodice and puts emphasis on the hips, yet the full skirt and wide, strong shoulders (thanks to the sleeve tabs) balance it out.  The bodice dips lower in the back than in the front, but as the hips turned out snug, this feature is not as obvious as I’d liked.  The skirt is 6-gored for a very pre-WWII fullness, with each of the skirt seams perfectly lining up with the bodice darts in the back and the two bottom points to the bodice angles in the front…simply marvelous symmetry of design.

This sure gave me an opportunity to use up a pack of giant rick-rack from my stash of never-touched notions in order to make sure the lines of the panels didn’t get lost!  The points, curves, and corners of the dress sections were tricky already, made trickier by the rick-rack, but I just love the interest the exposed notches create.  I probably could have achieved sharper points had I not included the rick-rack but – oh – how it brings this dress to a whole different level I’ve never had before!

Previously, I always had this idea that rick-rack was very home-sewn distinguishable, and for feedback dresses or aprons, even though I do have a generous stash of it.  I tested rick-rack out on this 1945 top, loving the results, and the more I’ve recently looked at really creative uses of the stuff, the more I felt I need to dive in with a major project, and that this was the one.  Similar dress designs from about the same time frame use the “half-rick-rack” method on the edges (see Marion Martin #9547 and my fabric inspiration dress New York #1368 from the late 30’s/early 40’s), so it seemed like the proper thing to do for a style like this anyway!  Adding the rick-rack was really time consuming, especially as I went to the extra trouble to tack the points down to the fabric so they would lay flat nicely.  I realized after the dress was done that the rick-rack actually does much to stabilize the bodice seams of shifty rayon, thinking practically.  Going out on a limb can be so amazing when it’s this successful.

“Three inch hem” according to the instructions, my eye – the dress, unhemmed, came down to my ankles!  I ended up doing a hand-sewn hem that was actually 8 ½ inches deep (see picture above at “The Facts”)!  Initially it was because I didn’t want to cut that much off my dress, but then I realized by making the wide hem it actually helped the dress immensely.  Firstly, the wide hem weighs down the otherwise very full and floaty skirt.  It keeps me from having a “Marilyn Monroe” moment of my skirt coming up on me and gives it a very feminine swish when I walk and especially twirl!  Secondly it makes my skirt opaque, much like a self-lining, so my lingerie slip doesn’t always have to be the perfect length.  Lastly, I didn’t have to commit permanently to a certain length.  I like my clothes to have the versatility to be tailored and changed if need be so that they’ll be something I’ll be happy with and fit into for many years.

One of the good surprises to this dress is actually how versatile it is to accessorize.  In these photos, I went for the brown and snow white tones, but is also works well with black shoes and earrings, as well as dusty greys as well as maroon brown-reds or orange tones.  My two-tone, brown and cream, slingback spectator heels are actually a good example of how the 1970’s era can imitate the 1940s era so closely the difference is almost indistinguishable.  What I like about 70’s-does-40’s shoes are the chance of finding them in a much more wearable state, as well as cheaper prices!  The rest of my accessories are true older-era vintage, however.  My gloves, my earrings, and the little beetle brooch are all from my Grandmother, while the 40’s hat is my very first vintage piece of headwear I acquired from a second-hand shop so many years back now.  It’s so hard to find brimmed hats from the 40’s and earlier in decent condition, and this one is a winner that has some stunning petersham ribbon decoration to boot!  In fall weather my allergy sensitive nose needs attention too, so I couldn’t resist grabbing this lovely seasonal handkerchief from my collection to pair it with my outfit for the day!

Yellow does have the connotation (at least so I’ve heard) that it does not “work” for many people, but I think this stylish golden hue is a bit more promising than other ochre shades!  Granted, I suppose I am a bit biased…I have made a hat in this shade already!  Besides, I know that just because something is pushed as a style ‘trend’ or ‘fad’ doesn’t mean people really like it on their own terms, after all.  My hope is that I have presented an attractive way to style and accessorize this golden maize color, though.  I have taken what is on trend, and interpreted it for myself using the way the past had done it before.  What goes around comes around and fashion is persistently resurfacing in surprising ways.  In the hands of someone who sews, fashion is whatever you make it!  Are you or have you worn a similar golden tone, or have you used your sewing talents to find a way to better like a style or shade of color?

Netted Satin Tilt Hat

Thank you everyone for the wonderful comments recently!

Ah yes, I did not forget – I had promised in the previous post to go on about more than just my 1943 dress!Burda Style sept 2011 DIY hat ideas

My hat was a ridiculously easy project, coming from a page of Burda Style’s September 2011 magazine.  They issued an article on “do-it-yourself” hats like from the royal wedding earlier that year, and I used the basic idea given there and ran with it.  After tiring myself out looking at so many inspiration pictures of original extant small tilt hats (see this page for one of my sources), I decided they all pretty much had a few things in common – small enough to show off a hairstyle, a little bit of quirkiness, and lots of over the top decoration, whether it be birds or flowers and especially netting.

100_6270-compBurda’s page recommended starting with an almond shape, oval and pointy, with several possible styling options shown.  So, I drafted my own from an 8 ½ by 11 inch piece of paper, with the oblong going cross-ways from one top corner to the opposite bottom corner.  Next, I cut out two “almonds” (adding in seam allowances) from the same contrast satin used for the dress.  I also cut out one of the same shape from some tarlatan on hand.  Tarlatan adds the perfect stiff-but-pliable feel to hats and is also very vintage in its usage.  Next, I sewed the two layers to ‘face’ one another, with the tarlatan sandwiched inside, and everything was top-stitched down.  100_6265-comp

I needed something to keep this little satin thing on my head to see what shape I wanted, so sewed in a small hair comb and a black elastic tie, much like a headband.  The front half of the tilt hat received a dart along the center, to add drama and bring the front down over one eye while the back half was curled over to be tacked down to the center top.  Some lovely fine and soft black netting was cut into a giant square and draped over the front to be tucked in under the back curl of the hat.  Ta da!  This was so simple and fun, I literally need to make more…only I also need a reason and place to wear them.  Humm…

I might come back to this hat in the future and add on something quirky like a giant flower or oversized brooch.  What do you think?  Should I leave it as it is?  Is it just me or does it seem weird and take a bit getting used to having netting over you face?

1943 “Polka-Stars” Satin Dress and Netted Tilt Hat

This post has been long in coming but is now ironic because McCall Company just re-issued the pattern I used (as McCall #7433), albeit with dramatic changes.  Hopefully this post will show the beauty of this specific dress design and how the re-issue has been altered from the original.  Now, if you buy the reprint, you know how to make it more authentic.

A yearly World War II re-enactment weekend always gives me an excuse to whip up a new 40’s dance dress.  Therefore, I cranked out this pink and black satin year 1943 dress, together with a self-drafted fancy tilt hat!

100_6254a-comp

I confess, this was one of those stupid/silly sudden-last-minute decisions where a few days ‘til the re-enactment I decided year before’s outfit would not do.  The tiny stars in the fabric made me feel patriotic at the re-enactment dance, without being too much, while the black tempered the sweetness of the pink and the black made me feel dressed up without being too overwhelming (see this article from “Chronically Vintage”).  The tilt hat was directly inspired by the headgear spotted at the wedding of Prince William to Kate Middleton in 2011 as well as coming from my newest interest in millinery.

THE FACTS:

FABRIC:  A thin 100% polyester, buff-finish satin, in a rich but light pink with tiny black stars like polka-dots.  The contrast black satin is semi-thick, but also polyester, and was used for the hat as well.

PATTERN:  McCall #5295, year 1943 (this was a lucky find at only $3); the hat was self-drafted

McCall 5295, year 1943, combo of front n back-MNOTIONS:  I had on hand what I needed – the thread, bias tape, interfacing, and zipper for the dress; tarlatan, elastic, hair combs, and netting for the hat.  The buttons down the front of my dress came from the stash of Hubby’s Grandmother.

TIME TO COMPLETE:  I raced through sewing the dress in about 8 to 10 hours.  It was finished on April 24, 2015.  The hat was made in two hours on September 25, 2015.

THE INSIDES:  I had only a few days to make this dress so unfortunately the insides are all raw and terribly fraying.  I was also afraid adding on some sort of bias tape would stiffen the flowing fabric too much and didn’t have time for what I wanted…French seams. After the dance, I came back to clean up the insides, trimming the seams and covering them in fray check liquid. 

TOTAL COST:  This was bought on clearance at Hancock Fabrics as a store was closing so I bought this fabric at about $3 a yard, and this dress only used just under two yards.  The solid black satin was only a ½ yard cut, and went towards both hat and dress contrast, so this cost very little.  The black hat netting was originally expensive, but was a lucky find on clearance at 50 cents for each yard.  So, I suppose my outfit is about $8 in total. 

100_6256a-compMcCall #5295 was just challenging enough to be satisfying and ingeniously designed.  This is also the first vintage 40’s McCall pattern that seems to run very small.  The pattern size I had was technically a tad too big for me but it ended up fitting a bit snug (nothing some smaller seam allowances couldn’t fix).  After making my 1943 dress I had enough leftovers to make these double layered tops, thanks in part to Wartime rationing and economical pattern pieces.

The whole dress is lovely and interesting, but the bodice definitely takes center stage with the neckline.  The dress bodice is constructed in an unusual two-part creative manner for a dramatic style.  The lower front bodice comes first by facing the entire edge and making three rows of shirring from the shoulder to the end of the neckline notch.  Then the four back bodice waistline tucks are sewn and the shoulder is attached to the upper bodice front so this entire neckline can be faced and finished off as well.  Finally, the bodice’s upper front gets overlapped with the lower portion and both are top stitched together along a line of shirring next to the neckline notch.  I was tempted to not add the contrast insert underneath at this point, but I’ll save this idea for next version of the pattern (which will be a winter dress in long sleeves).  The new re-issued version of this pattern sadly leaves out the shirring next to the front neck notch as well as weirdly turning the back into a shirt-look, with its shoulder yoke and tucks.  I can’t wait to see if the new version also faces and constructs the neckline in the same manner.

100_6273a-comp

Now the contrast under the neckline is such a simple little piece to make such a difference…more or less an odd shaped rectangle folded over with interfacing inside.  The contrast piece only extends from the end of the back neckline to flush with the edge of the button front.  The new re-issue seems to have the contrast wrap all around the neckline and plummet to nothing before the edge of the button front.  Adding in the contrast does nicely support and shape the neckline as well as making it pop on account of both the extra top-stitching involved and the contrast color.

100_6291-comp

You will never guess what interesting little tidbit is lurking about this dress in regards to the top front buttonhole.  In order to be authentic, I used my late 30’s/early 40’s Kenmore sewing machine for some of the construction of the dress, especially the buttonholes.  I followed the instructions on the pattern where it said to put in the trio of buttonholes in the dress before adding on the contrast.  O.k., did that, but the end of the contrast piece also receives its own single buttonhole before getting sewn under.  You know what?  The double 100_6293-compbuttonholes align up perfectly together and work as good as a single buttonhole.  On a basic level, I’m supposing the instructions said to do it this way because 4 layers of fabric with interfacing is too thick and bulky, but think about it.  Having separate buttonholes for both the contrast piece and the dress a very smart move and so very “1940’s versatile”.  Depending on the color and print of the dress you could make more than one contrast piece or even leave it off to change up the appearance of your dress!  I’m telling you, vintage patterns do things right.  I hope the new re-issue sticks to this same ingenuity with the contrast piece but my hopes are not high.

The short sleeves were a bit of a surprise to me – what…no gathered, puffed top caps!?  No, the sleeve caps are instructed to be smoothly eased in without any gathers, darts, and such normally found on forties women’s fashion.  They are still quite easy to move in due in part (no doubt) to the fact I cut them on the bias grain just to be on the safe side.  The contrast piece for the sleeves is not a cuff, but something which gets placed under an already finished hem and top-stitched down, similar to the neckline.  The sleeve hem contrast is only offered to match with the short view in the old pattern, but if I was going to make the three-fourths version I was planning on adapting a piece for the end as well, and the long sleeve plackets could be in contrast, too (though not removable).  The new reissue seems to offer similar short and long sleeves, only without the ¾ darted sleeve option.  The long sleeve cuffs on the original are not buttoned, only turned back and buttoned on the overlap, which I don’t see on the re-print, though they seem to have added basic notched cuffs, instead.

100_5006M-comp

My dress’s skirt makes this so perfect for swing dancing.  I’m so glad I made it for the event (it has seen other wearings since then, too)!  In the original pattern, there is the “traditional 40’s” three paneled back to the skirt, but the front has two side panels with four skinny center panels which dramatically flare out. (See also McCall #5302 from ’43.)  This way, with just the fullness controlled in the front center of the skirt (from the hips down, mostly), the skirt still keeps that slender A-line silhouette, but has extra beauty, fun, and ease of movement.  I love it!  I believe the re-issue to have ‘miss-read’ the intent of those four flared front panels on the original and added in an all-around pleated skirt instead for some uber-fullness that is not as 40’s a silhouette.  Swing dancing in a skirt like what the re-print has might call for some tap panties.

100_6276-comp

Here is the reason of the distaste (more like a love/hate relationship) that I have for many modern reprints, especially Butterick and Simplicity.  If you please, let me vent.  They are re-issuing past patterns just well enough to make them tantalizing but at same action frustratingly altering them.  It is wonderful to make these old, hard-to-find, and not-easily-available patterns available to everyone again, yet they have to instead “taint” (in my mind) rather than preserve the past.  Modern is not the past, and modern will change as quickly as one can keep up with.  Thus, sticking to the past should be a bit of a better “tried-and-true” benchmark, I would think.  They could make sure patterns don’t disappear forever by faithfully re-printing them.  However, by changing them, these old patterns are partially “lost” to me.  Leave these vintage patterns  complete with all the individuality that makes a 40’s pattern from the forties, and so on for each decade, giving people a chance to learn and discover.  But they don’t, and so many will miss out on the awesome things that sewing true vintage will teach to one who makes it.  Shame on McCall’s Company…don’t mess with what’s already great.  A modern tweaking won’t make it better for me and many others, I am sure.  McCall’s, if you want the original of a pattern reach out better to us bloggers and sewists and collectors.  If you want to offer a modern version of vintage, don’t call it an archive pattern.  Vintage is awesome and authentic…leave it that way, that’s why we want it.  Let those of us that sew put our own tweaks, touches, and changes into our clothes if we so please, thank you…that’s what makes sewing beautifully individual.  Please join with me in the discussion – input and conversation is welcomed on this topic so I’m not just “getting on my high horse”.

In the next few days I will go into a short but further detailed post on the hat I made.  Stay tuned!

100_6259ab-comp

Putting a Feather in My Hat

badge.80The title phrase for this blog post is the literal truth – I put another “feather” in my sewing “cap” of projects under my belt recently by successfully making and fitting a vintage wool hat.  Not just any hat, mind you, but a hat designated to a certain style which was popular in a particular time period -the mid 1930’s to early 1940’s Tyrolean style.

This post is counted as part of my 1940’s “Agent Carter” sew along.

100_4093a Here I’m wearing my hat with a garment that hits the midpoint in the era of this Tyrolean hat –my 1940 “Gold Diggers” style suit dress and jacket.  My hat also matches well with my 1937 peacock blouse, for another option of pairing the hat with something from the very beginning of the Tyrolean style.

From all I can tell off of old fashion plates and catalogs, as well as what I have read from books and other bloggers, the Germanic/Bavarian/Tyrolean Cultural style lasted from about 1935 to the end of the war, 1945-ish.  There is a wonderful blog post here at “The Vintage Traveler” were this fashion is expounded upon and explained better than any attempt of my own.  I perfectly agree with the author of “The Vintage Traveler” that the Germanic styles lasted because of a very basic reason – it was popular before the war, then the war-time shortages forced it to stay.  If a lady had a wardrobe of these styles when WWII broke out, she wasn’t going to acquire many new styles and/or fabric for the next several years, so those were the clothes she had to wear.  However, I would also like to share my strong suspicion that this fashion prevailed before and around WWII because of the amount of fashion designers fleeing into America to escape ethnic isolation and persecution going on in their homeland territory.  See this link (or see We Sew Retro’s review) that will show you an exhibit about one such designer. Those designers seemed to strike a cord with the Hollywood industry (becoming popular with actresses like Marlene Dietrich).  The Tyrolean/Bavarian style was also regarded as exciting with its new, fresh styles of easy button front dirndl skirts, fun jumpers, and bright colored fashions bringing back a youthful ideal from overseas in our very own America.

THE FACTS:Vogue 8175, yr 2005

FABRIC:  My Tyrolean hat is made from an 100% wool felt, in a golden heathered yellow tan.

NOTIONS:  None needed to be bought; everything was on hand.  All I used was thread (the same color used for my linen 1920s tunic), a ribbon (which was easy, as I have a generous ribbon stash), and a feather I’ve had on hand for a while to use on a hat.

PATTERN:  Vogue 8175, year 2005, (now out-of-print).  Beautiful cover pictures, Vogue!

TIME TO COMPLETE:  With only three simple pieces in this pattern, it was together in the blink of an eye and took me only 3 hours from start to finish – 45 minutes to sew the crown and brim together, an hour to hand sew the brim’s hem, and just over an hour for the cutting out, sewing on the inner band, and other finishing touches.  It was completed on October 25, 2014.

TOTAL COST:  The full price of the wool felt, bought from JoAnn’s, was $20 a yard, but I had a coupon for half price, and I only bought half of a yard, so my total cost was only $5.00.  Making my hat only used up half of what I bought, so in reality I actually only spent $2.50!  How’s that for dirt cheap pricing for high quality?!

Millinery skills are my new ‘thing’…another world yet unexplored for me, at least as successfully as this time.  You see, I have actually made two hats before.  Several years ago, I had made a basic fleece hat, which did turn out very well, except the plaid print does not go with much in my wardrobe so I haven’t worn it.  That fleece hat did provide some faith in my potential for hat crafting.  Flashback to sixteen years ago when I had bought some very nice winter suiting fabric and planned on making a matching “tulip shaped” skirt and “bucket style” hat set.  The skirt half of the project was finished perfectly, and I still wear it nowadays.  The hat, however, was also made perfectly…only it didn’t fit.  Boo hoo!  It was lined and interfaced, and lots of time and details were put into that hat.   When I was done it was way too huge and too well made to be picked apart and salvaged.  Frustrated and devastated, I ended up giving it away (now I wish I had kept it), and have only now regained my hat making confidence again with my wool felt Tyrolean hat.  Enough said!

100_4070 With a pattern this easy and simple, at first I was doubtful as to how it would work out.  As you can see above, it takes only three simple, unusual shaped pieces to become something amazing in no time at all!  The rectangle sort of piece with the notch in it is the crown, and the crescent is the brim, and the tiny band is the loop for my feather.  The brim piece gets a dart along its length (if you look closely you can see it marked on the felt).  Then you sew together the long ends on each side of the square notch.  Next, that notch turns into the crown’s asymmetric side pleat/indentation by opening it up a different way and sewing it together.  That’s it!  It magically turns into the crown as you see it on me and the pattern envelope cover.  For the brim, the slanted ends get folded under before it is attached to the crown.  This part was tricky, but still much easier than expected with the brim and crown matching up and fitting perfectly.

I was wary of the sizing, and actually terrified I was going to choose the wrong size.  I looked up about how and where on the head to measure your head size for hats and measured my head accordingly.  I ended up with a measurement of about 22 or 22 1/2 inches, which was no big surprise as I have noticed labels on the inside of my vintage hats listing the same sizing.  This Vogue #8175 pattern is divided into small (21 1/2), medium (22 1/2), and large (23 1/2) sizes.  I went for the medium size and – bingo! – perfect fit.

100_4103GoodGirlsGotoParis cafe scene-a After much discussion together with a sewing friend of mine who knows about hat making, I opted for a wireless brim edge and I am quite happy with my decision.  As an example, the actress Joan Blondell wears a Tyrolean flared hat very similar to my own in the 1939 movie “Good Girls Go to Paris” (see her in the middle of the left picture). Joan Blondell’s hat was rained on, smashed, rolled up, and generally beat up, but she would pull on her hat, fold it into shape, and it still looked good.  Now, I’m not saying I want my hat to go through the treatment her hat received, but I get the general idea that these hats are supposed to be easy care, easy wear items that have shape, but do not keep that shape by means of stiff, constrictive support.  Besides, the wool felt fabric I used for my hat is so very luxurious, tight, and finely made that it is supple yet able to keep its shape at the same time.  Hand sewing under 1/4 inch hem on the edge of the brim took me longer than sewing the hat together, but I ended up with a very nice appearance, especially after it was ironed.  This hat’s edge is the perfect lightly stable finish to match with the rest of what the hat has going for it…effortless style!  Vintage truly does things right!

100_4097a I did fudge a bit on the inner ribbon band.  Proper vintage hats should technically have Petersham ribbon, which gives the correct flexibility and fiber content to provide the best support and authenticity.  Apparently you’re supposed to iron the ribbon into the curve of a smile as pre-shaping before sewing it into a hat – this way there are no wrinkles in the close of the curve which you get with ribbon or grosgrain.  However, I was impatient to have my hat finished and be able to wear it, especially when it was coming together so quickly.  I did not want to wait the amount of time necessary to order some Petersham ribbon, and find myself agonizing at the mailbox every day just so I can wear my new hat.  At some point, I do want to order some Petersham ribbon and do an inner crown’s band properly.  For this hat, I chose some wide ivory satin ribbon and hand-stitched it on, easing in the wrinkles.  It still looks nice inside, but like I said, I’ll do better on my next hat.  Hey, listen…I’m talking about making more hats!  Keep watching my blog.

100_4101 My hat’s feather comes from a mystery bird, as far as I know.  I’m guessing it’s a turkey feather.  I bought it from a vendor’s tent at a “Lewis and Clark” 1812 Historical encampment which we visited a few years ago.  I had bought another, second, even more interesting feather, to be added onto a “Jane Austen” era bonnet of mine.  Only thing is, that second fancy feather had been eaten up by an insect, and this smaller one I used for my hat was the one I have left.  I didn’t know bugs liked feathers.  If anyone can recognize the bird my hat’s feather comes from, leave me a comment and enlighten me, please.

Once you feel that you can make hats, it opens up a whole new facet of the vintage world.  Now you can perfectly compliment and complete that vintage garment you sewed up with a hat that suits the individual’s taste, wardrobe needs, and sizing.  No more biting the bullet to fork out a lot of dough on an old original for sale – most vintage hat patterns I have seen take about 1/2 yard or less, so you can generally get some very nice fabric for a decent (if not cheap) price.  Making something yourself is sensible in more ways than one.

From my experience, I think hats seem so much more intimidating than they really are, and once you actually get into making one (as long as the sizing is right) you’ll be happily surprised.  After this Tyrolean hat was finished, I know I found myself saying over and over again, “This was it?  It’s done already?  Look at how great it looks!  I can’t believe I made a hat!”  Everyone deserves to have a sense of this proud amazement over what they make.  I have a suspicion it comes from successfully completing a challenging and unusual sewing project.  By overcoming my fear of not being able to do a certain skill, I have found a way to indeed add another “feather in my cap”…the first of others, hopefully!

There are more views of my wool Tyrolean hat on my Flickr page.