A Tribute to Bernard the Flamingo – The “Devil in Pink”

When there are frigid temperatures, and forecasts of ice, snow, and dreary skies, part of me cannot help but mentally travel to the opposite clime…somewhere warm and sunny, where living is relaxed and duties are a thing forgotten (for the time being at least)!  Flamingos can be found at such tropical getaways, and imagery of their one-legged standing silhouette is often associated with resort lounging anyways.

This year, rather than just imagining, hubby and I are actually off at a sunny Florida beach for the moment.  Thus, now is the perfect time for me to share my 1940s outfit I made inspired by the “devil in pink” himself, Bernard, pet of the master of carefree lounging himself, Marvel’s inventor extraordinaire Howard Stark.  (Watch this clip for a small minute of understanding!)  Bernard the flamingo was the loud and hard-to-handle bane of Howard’s butler, Mr. Jarvis, to the humorous amazement to the two ladies Agent Peggy Carter and Mrs. Ana Jarvis in Season Two of the Marvel TV series.  This inspiration was the perfect opportunity to channel my love of vintage, Agent Carter, and casual yet nice separates all into one handmade outfit.

Thinking of a warmer climate basked in sunshine, my post WWII blouse has brass sun buttons and golden flamingos printed on a rich pink rayon.  My trousers are a multi-climate wool blend twill in practical khaki tan with post-war style hem cuffs for a masculine touch.  My accessories are a classic straw fedora (just like what Agent Carter had), pink patent oxford-style shoes, vintage pink pearl earrings, and an old 40’s original tooled leather box purse, the kind that were popular tourist souvenirs brought back to the states for sweethearts.  I couldn’t be happier with the comfort, chic, and practical usefulness of this set!  It’s a girly pink overload (with the shoes, too) in a restrained and professional way coming straight from the past.

THE FACTS:

FABRIC:  Blouse – a 100% rayon challis; Pants – a wool blend twill in a medium weight thickness

PATTERN:  Simplicity #8243, a reprint of an original year 1948 pattern #2337, for the blouse and a vintage original Simplicity #4528, year 1943, for the trousers (used before to make these denim pants)

NOTIONS:  I used everything from on hand – bias tapes, cotton scraps, thread, and vintage notions.  My pants have an old vintage metal zipper in the side, and my blouse’s amazing sun-image buttons come from hubby’s Grandma’s stash.

TIME TO COMPLETE:  The blouse and the pants came together quickly – about 5 to 7 hours to make each.  The blouse and the pants were finished in June of 2017.

THE INSIDES:  all cleanly bias bound

TOTAL COST:  The flamingo rayon was bought in early spring 2017 at JoAnn’s fabric store, while the fabric for the pants was bought at a rummage/resale store for only $2 for 2 yards. I don’t clearly remember the total but I think the blouse and pants together might have been about $10…pretty good, right?!

I had been saving the khaki fabric to make something that would be a staple piece which would see much wearing – weather that would be a 1940s Eisenhower jacket, vintage trousers, or a 1930s skirt, I wasn’t sure.  The flamingo fabric was a sudden, spur-of-the-moment purchase – one of those things that when you first lay eyes on it, it screams to you “you need this”, and then mentally you know exactly what to do with it.  The sudden purchase helped me narrow down what to do with the fabric purchase I had been hoarding.  Together, these pieces are awesome, but I really do immensely appreciate how each goes with so much else in my wardrobe.

Many times, spur-of-the-moment projects can satisfy one’s creative need but not really fit into one’s existing separates.  Not so with this blouse!  It actually looks good with khaki skirts, denim bottoms, and even some rust red and dark brown or white colored bottoms too.  As for the pants… they are something I really don’t know how I lived without until now.  I like them so much better than my basic black knit pants.  The material is nicely substantial and wrinkle free, and doesn’t show fuzz the same as a dark color would.  When my pants are worn with a basic blue oxford shirt and some suspenders, I feel like vintage menswear for women wipes out modern business attire.  Not even close to equal in awesomeness!

Rayon challis feels remarkably soft and silky on the skin, but as this was a blouse, it needed some stability in the neckline.  I didn’t want the collar and button front to be overly stiff from interfacing so I opted to use plain 100% cotton instead.  This gave it a bit extra body, and kept the fabric from losing its shape, without the stiffness.  As I used khaki colored cotton for the interfacing substitute, it also helped make the facing become invisible (more or less).  The pink rayon is slightly sheer, but a slip or anything skin toned becomes invisible under it.  I was afraid the double layer of fabric, where the collar and button placket are faced with on big fabric piece, would be glaringly obvious, making the pink a different color there.  However the flesh toned cotton interfacing happily disguised that.  I do like my sewing to be well engineered, keeping up the art of beautiful insides with tricky facings as subtle as if they are not even there!  Keep this in mind if you try this blouse in a light color, too!

The shoulders of this blouse pattern seem to run slightly small.  I have generous upper arms so I commonly have problems fitting in modern sleeves and some vintage sleeves, anyway.  This pattern is definitely not the tightest in its armscye, but it could benefit from a 5/8 inch longer shoulder seam in the bodice to make it extend out to the end of my actual shoulder blade as well as a wider back for more reach room.  The trio of darts at the sleeve caps are such a lovely detail, and make the actual sleeve itself generous in room, so any tightness in the bodice’s armscye is easily forgivable.

Besides the sleeve armscye, I did not find any major regrets to change for next time.  I did however, look ahead and make a bunch of slight tweaks.  The hem length ran a bit short for a blouse to stay tucked in on its own so I lengthened the blouse the fall under my hipline.  The collar was a steep curve to turn right sides out and so I snipped the seam allowances throughout down to about 1/8 inch.  The facings did not lie down as nicely as they could so I made the outer hem wider for a thinner facing that meets the back neck collar seam rather than hanging over it.  The recommended button placement was weird – the top button makes for a very chokingly high necked blouse while the bottom button ends right at the waistline making it hard to tuck in without looking like you have a majorly protruding belly button.  I lowered the top button by over an inch and raised the bottom one by ½ inch (could have brought it up even more) with the middle one coming in between the two.  Finally, I added a snap closure to close the blouse between the last third button and the hem.  This below the waist snap is something I always see in vintage patterns, and it helps keep my blouses closed nicely so I added it here even though it wasn’t in the instructions I saw.  Most of these recommendations I also made to my second, sequel version of this pattern – my silk orange Agent Carter blouse, posted here.

The length of the sleeve hems is something I see frequently “misunderstood” when I see versions of this pattern sewn up.  Looking at the original pattern piece, the extra length to the sleeves might appear as a ¾ length sleeve.  I installed my sleeve unhemmed to see for myself, and yes, it turns out as long as a ¾ sleeve.  I did not like this look in the least on my blouse, nor did the sleeves strike me as having the right shaping to give elbow room to be a ¾ sleeve.  Even if you do the instructed 5 something inch hem this makes the sleeve above elbow length, just like what you see on the silky red version on the model images on Simplicity’s site.  If you look at the original old pattern’s cover, the sleeves are meant to be cuffed, and honestly I think a shorter, mid-bicep sleeve looks better with this blouse, anyway.  It takes a lot of extra fabric to give room for cuffs, and I find it so weird, confusing and misleading that the line drawings and made-up versions to this pattern seems to inexplicably “forget” to show sleeve cuffs, throwing many sewers off with this pattern.

If the versions of this blouse that I am seeing are longer sleeved because they are intended to be so, because they like them that way, then that is another story and all fine and good.  But it sure seems the sleeves are this way because of a glitch on Simplicity’s part, since the pattern works out just fine being cuffed without making any changes.  I am wondering how many don’t see the sleeves were originally meant to be cuffed, and they don’t realize that in the extra hem length as the pattern intends all because Simplicity “forgot” about it in their modern make-up.  Every little detail matters when it comes to vintage – that is what makes it so loved, so likable, so unique, and so timelessly wearable.

Speaking of the sleeve cuffs, since I had made these pants before, and they fit me out of the envelope with no changes needed, I was comfy with the assurance of a good finished pair of pants and therefore played around with the long hem to add cuffs at the hem.  Each is cuff is tacked down in four places – one at each side seam, and one at the center fronts and backs.  This is what I did for the cuffs of my blouse sleeves, as well.  Cuffs are somewhat confusing because you have to over account for the extra fabric, but as I had my previous pair of pants to measure from and I had just done the cuffs on my blouse, I felt more to grips with making cuffs on my pants.  I think I would have preferred the cuffs to be a bit wider, now that I look at them, but I feel like they match the blouse this way, add a touch of masculinity, and bring my WWII era pattern up to date with the freedom from rationing that would have been the case with a 1948 outfit.

For these pictures, I had a good taste of how Bernard could easily have been a bothersome handful which was his reputation when we visited the flamingo pond in our town’s zoo.  I was a yard or so away from a flamingo fight and they were totally unafraid of people.  For all their socialness in the pond, they can really get into things with each other!  Their noise quickly turned into a harsh and grating ruckus, and the two fighters walked away with a pride that was really laughable for their movements.  Bernard the pet had no intentions of acting like a pet in the least if he was anything like the flamingos I saw!

In ancient culture, flamingos represent a calming confidence.  It can also stand for femininity and a firm outspoken attitude.  Combine all of these together and there is one awesome combo to stand for an interesting creature.  The wild, unpredictable brashness of the flamingo was sort of a running joke and source of humor to the creators of Marvel’s Agent Carter, some of whom I hear were pecked at and chased down by Bernard off set.  A trio of Agent Carter ladies had show-girl style flamingo inspired outfits for the song and dance sequence in the beginning of the 9th episode, and from what I have seen on the social media sites of some of the actors/actresses, but especially the costume designer Gigi Melton, anything flamingo related (brooches, novelty fabric, fan art) is appreciated.  So – this outfit is to all of that quality entertainment, killer vintage style, and much-needed inspiring characters which is Agent Carter.

You will be seeing my pants making recurring comebacks to match with some of my future to-be-posted blouses.  Other than that, don’t fall over when you try to stand like a flamingo, and I will be back at home to share something closer to my winter clime when I give you my next post.  Here’s to happy sewing everyone!

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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!

“Laundry Day” Dress

Have you ever had those days where you have errands to run and things to do but you want to be casual and comfy yet not completely dressed down?  No matter how nice it still appears, this is another much needed, throw-on, chore-time dress…yet it’s still vintage!

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Here’s a dress from 1948, something late in the 40’s and not yet 50’s, that now, re-made and sewn with modern fabric, becomes a frock for current times!  The lovely ribbon-like seersucker fabric of the dress is effortless to wear and take care of (it’s meant to be wrinkled, for goodness sakes), making this one of my wardrobe’s go-to, easy-wear pieces for those “laundry days”.  The cream, white, yellow, and green tones are a lovely combo that has a cool mental ‘feel’ for warm weather, yet pairs well with many cardigans and blazers in cooler temps for a multi-season garment.  What more could I want from a dress?!

Betty and Peg Braden - 1948, smaller picTo put the icing on the cake, this dress looks much like one worn by my Grandmother, as seen in her high school pictures.  She was 18 in 1948, and there are several pictures of both her and her sister from that year lounging around the high school campus with her books, both wearing matching, striped, button front dresses.  Her mother, and herself as well, were good at sewing whatever they needed, so I’m DressLikeYour Grandma Challenge 2017 badgecurious as to whether or not their two dresses were made by them.  My Grandmother’s dress, in particular, (on the left) has the most fun with stripe placement, most similar to my dress.  Her dress and mine even have the large, handy horizontally striped hip pockets, too!  This is a lovely knock-around-town dress, so I perfectly understand her style in these pictures now.  I guess it’s no wonder this dress is part of Tanya’s “Dress Like Your Grandma” sewing challenge.

THE FACTS:

McCall 7212, year 1948 day dress,pFABRIC:  a 100% polyester seersucker, with the bodice facing and pocket lining cut from a scrap of 100% cotton

PATTERN:  McCall #7212, year 1948

NOTIONS:  all that I needed to buy was a pack of buttons, but the bias tapes, thread and hook-and-eyes were already on hand

TIME TO COMPLETE:  not long – 7 hours.  It was finished on August 23, 2016

THE INSIDES:  Every edge is cleanly and easily finished off in yellow bias tape. (In this detail pic, you can also see my “fake” feature at the waist – there might be a button and a button hole on the outside, but there is really only a hook-and-eye inside to keep things stable.)

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TOTAL COST:  This fabric has been in my stash for as long as I can remember (it was in my parent’s fabric stash first).  Thus, I’m counting the fabric as free, so all that this dress cost was the pack of buttons…$2.00!

I actually hated what I saw of this dress as it was coming together.  It did fit perfectly in the size that it was, and it was mildly challenging yet easy enough to be fun.  It’s just that the dress ran so darn long…as in ‘evening length’ long.  I know that fashions from post-WWII were much longer, more mid-calf than the actual early 40’s shorter knee length of my dress.  However, this was the only length that I felt looked good on me and did well for the dress, too.  I’m not one to try to be so authentic to every detail at the cost of sacrificing my taste and my style and happiness with making a garment.  The shorter length also solves a few issues as well.  Yes, there is a deep 8 to 10 inch hem on my dress, and –no- I did not want to cut it off because it makes the poufy, lightweight fabric hang nicely and it also results in a completely no-see through skirt (which would have been a glaringly obvious problem otherwise).  Guess I was ‘taking down two birds with one stone’ as the saying goes!  After all, I did have four yards of this fabric so I might as well keep it on the dress rather than in my ever growing scrap pile…

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The hardest part about making this dress was deciding on the buttons – of all things.  It took me a week to figure that out.  I even ordered matching green buttons…which I didn’t use.  I looked through my substantial and varied button stash from Grandmothers on both sides of the family, and still nothing seemed to be ‘the one’.  This is when hubby came to the rescue.  He enjoys browsing through button collections and frequently has a good eye for my projects.  He said I needed to go with something not distracting from the rest of the dress, but extremely plain, basic, and mundane, so I picked out the cheapest bulk pack of what were labelled as “sweater buttons” at the fabric store.  I think he nailed it here.  Where I would be without his help sometimes, I don’t know.  (Don’t tell anyone that my man goes with me to the fabric store!)

Instead of choosing the high, choking, buttoned-up-to-the-top view, I chose the option that has the slot-type of neckline with buttons starting at the middle of the chest.  However, I still thought it looked a bit confining so I merely have both sides of the neckline flipped back as if they are lapels and only temporarily tacked into place.  Guess it’s a good thing after all that my cotton facing for the bodice matched with the dress so well!  I think the lapel neckline softens and lends more of a relaxed casual air to the dress (which I want) than the proper and perfect drawn cover version on the envelope.

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I sort of feel bad that I did kind of copy off of the cover by using a green striped fabric.  At the same time, I don’t feel guilty.  You see, after looking around at all the versions of this same sort of style of dress (and there are lots of them believe me, dating from about early 40’s to 1950s, at this Pinterest page of mine), I realized that many of them were in a green striped fabric of some sort.  As I figure it, I am going along with a late 1940s trend, not just copying the cover to give me a good reason to use up a long-time occupant in my fabric stash, ahem.  Besides, I did find ‘proof’ that this type of ribbon seersucker was around years back.  Granted they wouldn’t have had a fabric made from polyester in the 1940s, but look at this old original 30’s dress for sale at Emily’s Vintage Vision’s Etsy shop – doesn’t that type of fabric for the bodice seem so very similar to the fabric for my dress?

DSC_0257a-comp,wWe were happy to chance upon a vintage Laundromat in one of our shortcuts to get from one errand to the next.  Funny thing is, I found out that day this dress actually repels water and keeps me dry.  I suppose the tight polyester and rippled seersucker keeps the water rolling right off.  Later on, at a “Steak n’ Shake” for lunch that day, when my dress did get wet from my water glass, the fabric sort of “held” the water and kept my under layers dry.  This is one weird but awesome fabric – I haven’t had another material act like this.  Now, the only problem was making sure my natural fiber wedge espadrilles and braided cord belt didn’t get wet, too…

At the onset of this sewing project, I was aware that I have a similarly styled dress dated to the year before, 1947 (see it here).  It does have the same slashed neckline and pockets, but with the stripes and buttoned front, this post’s dress is different, after all.  This is a look alike to one my Grandma wore anyway, so that’s a big win.  Maybe this is just a trend of the post war that I like.  I know the large pockets are a big draw for me.  Do you have a certain style niche in the history of fashion that you especially love for one reason or another?  Do you too find yourself copying envelope cover images more often that not?

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“Atomic Jacks” 1955 Set of Redingote Jacket and Dress

I’ve sewn it again…here is another look-alike to the fashion of the corrupt character of Whitney Frost on Marvel’s TV show “Agent Carter”, Season Two.  This time I have an outfit to show you of a dress and redingote jacket, inspired from episode 8 “The Edge of Mystery” to be precise.  I am so proud at how this outfit turned out better than I’d imagined it for myself, and it’s so wonderful to wear!  I even found an eerily similar silk scarf and leather-like driving gloves, all vintage, to properly complete my Whitney outfit.

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Both garments are absolutely great, however the dress was a bit overwhelming to make as it had a huge amount of ease on top of generously large fabric-hogging pieces.  The jacket is so amazing I want to convince everyone they need to brace themselves for the challenge of making this pattern – the most lovely design of outwear I could possibly want.

DSC_0860-p-compBe prepared for some dramatic poses, and a disturbing crack down my face opening up a force to be reckoned with…just like the villainess who wears my inspired outfit.  Yeah, it sounds weird to put myself in the shoes (through an outfit) of a megalomaniac with powers from another dimension, but Whitney Frost, like many women, was on a quest for purpose and respect…she just went down the worst path imaginable.

THE FACTS:

FABRICS:  The Dress: a Gertie brand 100% cotton sateen, The Jacket: a 100% Kona cotton for the exterior, a basic poly lining for the inside, a buff poly satin for the pocket flaps and belt, and a 100% cotton for the bias binding. 

PATTERNS:  The dress comes from an original 1955 Advance #7095 pattern and the jacket comes from a Vintage Vogue #8875, a re-print of a year 1955 and 1957 pattern (originally V#4771).  The pocket flaps were added on from an original year 1948 pattern, McCall #7354. McCall 7354, yr1948 & Advance 7095, yr 1955-comp

NOTIONS:  I had the interfacing that I needed, as well as the dress’ thread, zipper, and packaged bias tape, but the jacket needed thread to be bought and I made my own bias tape.  The buckle is from my stash and it is vintage carved shell.

THE INSIDES:  All nicely finished.  The dress has all bias bound seams and the jacket is fully lined.

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TIME TO COMPLETE:  Both the dress and the jacket were a bit time intensive.  My dress was made in about 10 hours (not counting maybe three hours for cutting and laying out) and done on June 8, 2016.  The jacket was made in about 30 hours (with about 4 hours for cutting and laying out) and finished on July 1, 2016.

TOTAL COST:  The dress took so much fabric (5 something yards) I’m not sure of the total anymore, but I think it is about $25 to $30.  The jacket was less because half of my supplies (the lining, satin, organza, and some thread) were on hand so my total for 4 yards of Kona cotton on sale with one yard of a remnant for bias tape comes to a total of about $23.

Whitney at atomic siteFirst off, I need to vent…this is not a costume, in the particular definition of being something for cosplay, stage, theater, or an out-of-place garment.  It is clothing I want to wear in my modern living (the jacket is something I needed, actually) and was merely inspired by something on television to go the extra mile for a great outfit.  That’s good, right?!  I kept my outfit similar in shape, color tone, and style, but it is according to my own taste and personality because I intend to wear these pieces in my daily life, such as out to dinner, vintage shopping with friends, or to church.  However, I will admit this would be perfect for the next in town cosplay event and it is fun to understand a character by stepping in her shoes, besides feeling like I could be a part of my favorite television show (see the television still at left with Wynn Everett playing Whitney Frost).

To top off the irony of my rant, the Advance pattern envelope actually calls it a “costume dress”…don’t understand why.  This is an original pattern to make what looks like a very normal mid-50’s dress, albeit quite poufy.  I’m assuming the use of ‘costume’ here is meant in the term of “fashion of dress appropriate to a particular occasion or season or a set of garments to put together an outfit.” Honestly, this all confusing grammar particulars.

Of all the weird things I’ve found in pattern envelopes, the Advance pattern had double pieces, as if someone bought two.  Why just double of the bodice, the skirt side panels, and collar pieces?  To further complicate the mystery here, the skirt double pattern pieces were cut in half, like the previous maker intended on cutting those on the fold, and sliced accordingly.  All the pattern pieces are the same size as each other, so why buy another just to cut two pieces in half?!  After all the unnecessary pieces, the pocket top band is missing, and there is one of everything else.  Was somebody making a lining?  Oh the stories these patterns could tell…

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I expected the dress pattern’s fit to be normal or at least semi-generous, but this Advance dress had the most unexplained extra ease of any pattern I’ve made.  It was like a gi-normous fabric monster.  The skirt pattern pieces were so huge, I had to taper off several inches on each side of all of them and they are still incredibly full.  Several inches had been taken out at the bottom hem because it seemed evening length long, and also to help fit everything in.  I had bought 4 yards already and still realized I did not enough for all of the pattern pieces.  To top things off, I miss-cut on one piece and had to frantically search amid town to find the last remnant so I could finish my dress.  As it turned out, I hacked off 6 more inches from the hem to get my dress the length you see and even sewed up the duo of giant pockets (which I didn’t add), so I guess I sort of wasted a bit too much fabric here.  The pattern I had was technically in my size but I did add in 3/8 inch so I could have a little “just-in-case room”, but I ended up taking out a few inches all over any way, distributing it between the panels.  The empire waist down is still kind of generous on me but I can only take so much in before I give up on reaching that “perfect fit”.  What was the deal?! DSC_0857-comp

For all my saying how huge the skirt pieces were, this dress is such a feminine, swishy, perfect-for-twirling outfit made even better with my full ruffled petticoat underneath.  My petticoat does not remotely fill the skirt out though.  The wide, oval, shoulder-to-shoulder neckline does balance out the vertical seamed skirt, compliments the waist, and creates a lovely 50’s silhouette which I think works for me.

The ‘anchor’ of the dress is of course the dramatically subtle collar-like neckline.  It was quite fiddly, time-consuming, and difficult compared to the rest of the dress.  The combination of a curved, interfaced, skinny strap, faced with another piece and attaching to the full dress with four gathered sections, too, was stressful, requiring lots of pins and slow stitching.  The front tabs end at the same place at the neckline, which was also tricky, then flipped under one another

Whitney and Thompson making a deal-croppedWhitney’s dress had a remotely similar neckline collar, except hers was folded over (free hanging) and tied in the center front.  Her dress has quarter sleeves and center bust gathers while mine has is neither, but our dresses do share the same skirt shaping.  Also, her dress was a solid purple in some sort of jacquard (in maybe rayon or silk) while mine is not, but I prefer the printed cotton sateen to stay true to my taste.  Besides, the children’s’ toy jacks that are on my dress are a nod to the Agent that aims to get on Whitney’s “good” side to reach what he wants – Jack Thompson.  Furthermore, my outfit is titled atomic because a faulty A-bomb is the catalyst for the events in “The Edge of Mystery” episode and the reason both Whitney and myself are in an empty, forgotten dirt patch.  Hence, the “Atomic Jacks” title is now explained.

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Advance 8296, cleaned upThis style of dress seemed to be a common design around 1955 especially with the Advance line but also seen through other companies.  For some examples, see Advance 8296 (pic at right) or view Advance 6915, Advance 8047, Butterick 6988, McCall’s 9647, all 1953 to 1956.  I find it funny that so many dresses look alike in a handful of years almost to the point of being boring.  One could buy only one of this style dress and tweak it to copy all the other releases.

Compared to the neckline, the dress from the empire waist down was just single layer DSC_0933a-compfabric and incredibly lightweight, so I unhappily found out it liked to creep up on me and wrinkle in terrible horizontal folds around the natural waistline.  I had to get creative to combat this bad behavior of my dress.  What I ended up doing was sewing down about 8 inches of skinny ¼ inch ribbon to the dress starting at just below the waist to below the waistline, with a long tail of ribbon hanging down tied at the end to a weight of a ¾ inch washer.  I did this in three places down the two front skirt seams and down the center back skirt.  The weights don’t really get in the way of my legs because I keep them over my frilly ruffled petticoat and they are totally removable because they are tied to the ribbon ends.  The weighted ribbons help the waist stay smoother instead of wrinkling up and nicely keeps the dress in place on my shoulders.  This is probably the most unusual fashion fix I’ve come up with but it totally works.

Now, the jacket is an awesome pattern which makes for a silent showstopper.  A redingote jacket is guaranteed to be awesomely special.  The 50’s were the hurrah for the redingote, although you do still see a few in the 60s, too.  Wearing a redingote is the most fashionable way to have a coat on yet still show off your clothes underneath, besides being so complimentary to the waistline.  (More history on the redingote can be found on this ‘Witness 2 Fashion’ post.)

For this pattern, everything matched together beautifully, the fit is engineered brilliantly,DSC_0771a-comp the sizing seems right on, and it is nicely unique.  Yet, it is tiresome to make and quite challenging…there are eight tricky corners in total to make.  (See the pic at right which shows three views of the angled corners, inside and out)  Once I started on the lining I wanted to give up on the jacket and swear I couldn’t sew another one of those funny angle/tight point corners.  I’m not even talking about the wraparound collar, either.  Yet, as I was making this, I could tell I was going to love it, and the promise of a rocking outfit (as well as a very rainy coming weekend) gave me the guts to suck up my distaste and finish the jacket.  I’m so glad I did.

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There are just a few things I did to the pattern to make it slightly easier to sew.  I did not change any of the design (besides shortening the jacket hem by 4 inches).  My ‘tricks’ here merely have to do with construction changes to achieve the same result as compared to what the instructions show.  First of all, I disagree with the need to do so much cutting down of all the curved seam allowances.  I did not see any noticeable restriction to the sleeve curves as they were and I think paring them down might make a high tension spot a bit less stable.  A little snipping maybe but that’s all.  It is still very important, as boring and repetitive as it might be, to stitch and re-enforce all the points and corners you’re supposed to and, yes, you do stitch the stabilization squares over the corners on the right side.  I didn’t disregard these points but I did use sheer organza instead of self-fabric for the re-enforcement squares (much lighter but just as strong).

Furthermore, I did not use any interfacing anywhere, and also left out the extra add-on contrast collar.  The facing for the jacket’s front edge was sewn to the lining’s outer edge to make a one-piece inner coat.  This was then sewn, as one ‘inner’ jacket to the ‘good’ outer jacket, along the front edge, from one hemline, up and around the collar and back down to the hemline.  Now where the jacket facing joins the lining the meeting is much more stable, strong, and smooth…besides saving me a butt-load of hand stitching!  I know this is sort of ‘cheating’ (so I’ve heard), not very time-committed, nor couture, nor vintage correct.  Hey, when sewing is a chore it doesn’t give personal enjoyment, so anything that saves one’s creative sanity is good in my book.  Besides, ready-to-wear has got nothing on this coat!

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Perhaps the best part (besides the awesome pocket flaps) was taking the extra step for self-made bias tape.  I know, I might sound nuts, but making bias tape is incredibly fun – a total mood-lifter for me, especially with my Dritz tool won from my entry to the “Butterick to the Big Screen”.  Once you have made and used your own bias tape, it is quite hard to use bought pre-made bias tape…no kidding, you’re ruined, spoiled.  Self-made bias tape is 110% better especially when it is made to match out of fabric better than the stiff poly-blend available in the stores nowadays.

To make my jacket truly stand well in rainy weather, I sprayed it down with some “Protect-All” fabric and shoe coating.  This doesn’t stiffen the fabric at all, nor does it make the water bead or roll off, it only retards liquid from soaking into the fiber.  A whole can was used to spray my jacket with one generous coat of “Protect-All”.

Dr Wilkes flying into the rift, my look-alike combo

Did you ever have a film star for which you just had to have her wardrobe?  Well, I guess Whitney Frost is that person for me.  However, I believe I am not just making for myself her fashion.  I also try to put my own touch into it to make sure I feel like “me” in it.  Besides, since I do love purple in all its shades, and this is the color Whitney wears most often, I find it hard to resist.  No, but really – I do promise to make garments in other colors for your sake, and more Whitney Frost outfits for my sake!

If you’re interested in learning more about the vintage methods of make-up that were used to “make” Whitney Frost, see this article on ‘World News’ – and don’t forget to click on the full page option through the L.A. Times!  There is also a photo galley for this particular episode of “Agent Carter” (which you can find here) if you’d like to compare our outfits or just take a look!

 

A Hollywood Look-Alike – Doris Day’s Striped Collared Blouse

As much as my family enjoyed watching the movie “Romance on the High Seas”, released 1948, I enjoy even more being able (on account of my sewing skills) to wear today the fashion from a movie of over 60 years ago.  The music, together with the many outfits that Doris Day wore as the starlet of the movie, are all stuck in my head, and Butterick’s 150th Anniversary Sewing Contest gave me the perfect excuse to whip up one of Ms. Day’s signature Hollywood looks.  To make the blue and white striped collared blouse from “Romance on the High Seas” I simply adapted a modern pattern to make a close imitation.  My finished blouse turned out so comfy and classy.  This is one of my new favorite vintage creations for the spring and summer.

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While wearing this blouse, I can’t help but feel like singing Doris Day’s musical number “Put ‘Em in a Box”.  She sings about how “love and I, we don’t agree” and that “kisses in the dark, walks in the park,…and good old tea for two…love’s the one thing you can keep-in the ice box!”  Click here to watch a clip of the song from the movie. Luckily,  Doris Day turns around as she sings and gives viewers a good 360 view of her outfit.  It has a sporty but dressy and unusually fresh vintage look, in my opinion. I made plenty of notes to get the same features in my version of that striped collared blouse.  Here’s a picture of the original.

Lloyd Pratt (bass) in Doris Day film debut,1948     Now for THE FACTS:

FABRIC:  100% cotton fine double knits in two colors:  1 7/8 yard of eggshell white knit and and 1 1/2 yard of light blue knit.  Both fabrics have been in my stash so long I’m considering my fabric to be free.  (BTW, the blue knit had no selvedge just one continuous round piece, open only at the cut ends.  I don’t see any fabric woven like this anymore, and I wonder if it can be found still)

NOTIONS:  a white 6 inch zipper, matching light blue thread, and 1 pack of white double fold bias tape.  The notions are the only things I bought to make my blouse, and in total cost under $5

PATTERN:  Butterick 4347, view CB4347

TIME TO COMPLETE:  I was finished on June 5, 2013, after about 15 hours of time spread out over 3 days.

THE INSIDES: This is the most well finished garment I have made yet!  The shoulders and sides are french seams, the center back bodice is clean finished, and all the neck seams are bias bound.  Except for the bought bias binding on the neck seam, the collar and the other seams have bias facing handmade by me out of extra cuts of the white knit.  See the picture below.

100_1643   I assumed, first of all, that Doris Day’s original blouse was most likely a knit, looking at the close fit and the fact that there was only the small neck zipper at the back.  The beautiful shine of the blouse’s fabric in the movie’s shots make me wonder if the original was a silk knit, but I was not going that far to be exact.  Besides, there were the right colors and enough yardage of two cuts of cotton double knit just waiting for many years in my basement stash.  Any opportunity to work on my fabric stash AND not buy anything is a good bonus for a project!

Then I went to work on the preliminary stage.  I decided on a size SM for the shoulders and bust, while a MED for the waist and hips.  Next, I re-drew a new bodice piece so that it would be one piece, with two shoulders (see close-up picture below).100_1589

     When it was time to pin and cut on my fabric, the white fabric was worked on first.  I didn’t cut the back bodice on the fold – I added a seam and 1/2 inch seam allowance so I could add the zipper.  The sleeves were cut as short sleeves, and I cut out an extra full, one-piece bodice piece, as well as the two crossover bodice pieces.

100_1590     All the bodice pieces (at left) were cut at 1 inch below the waistline , based on my plan to add on the bottom (biggest) piece of blue at the waist.  The collar was the only piece that was cut with out any change.  I thoroughly marked all the pieces, including all the ones that didn’t even need marking such as the bust line and the waistline, as they would be the guide for adding the blue strips.100_1593      Halfway in the middle of each shoulder I made a mark and used this to draw a V down to the center of the bust line – that V is where the placket of the collar gets sewn onto the rest of the blouse.  As you can see in the picture at right, I sewed bias tape along the cut edge so my collar placket would not stretch, would be cleanly finished, and have support for all the layers of fabric that were to be attached along this point.

Before I sewed any of the main bodice together, I added the blue parts and did the back zipper.  I was very exact and methodological with adding the blue knit.  I measured 1 inch above the waistline and cut the blue knit from there to the bottom hem.  That was the biggest bottom potion of the blue and I joined it to the white using a french seam that was then top stitched down.  The middle blue stripe was 3 1/2 inches cut, and with two 1/4 inch seams, finished as 3 inches.  Likewise, the top blue band was 2 1/2 inches cut, and ended up as a finished 2 inches.  Looking at Doris Day’s movie stills there seemed to be a slight grading of the stripes, getting bigger as they went down, which is what I was trying to achieve.  There is exactly 1 1/4 inches of white knit showing between the blue sections, and the top blue stripe fell exactly centered over the bust line mark and 1/2 under the edge of  the shoulder seam edge.  Yahoo!  It’s so perfect.100_1621

The center back zipper ends up not really being needed to slip my blouse on and off, but I am glad I added it, at least for the sake of looking like the movie version.  View D of the pattern (B4347) calls for a small zipper to be sewn in, and now I’m not sure why, but at least a back zip adds visual interest to the back of my blouse.  I’m so proud at how nicely I sewed in the zipper…the bottom tail inside is even covered with a small square of bias tape and tacked down to the center seam for a clean finish.

100_1630     Adding the separate collar placket was the only real hard part of this blouse, but things were OK once I quit stressing out over it and just went ahead and put it together.  It is actually hard to describe how I did the collar now that I’m thinking back.  Basically I put the whole blouse together (side and shoulder seams) with the two collar pieces hanging free.  Then I put the collar together according to the pattern instructions, and sewed on my own self-fabric bias facing to cover the raw edges.  Next I put my blouse on myself and just started placing, pinning, and marking where to cut, sew and attach the collar placket to the neckline underneath.  There’s a lot of fabric in certain spots, so that I chose to hand turn my sewing machine a lot and do some hand stitching time just to be gentle on the fabric and precise in my stitches along the front.  I even sewed under the one crossover placket (this was hubby’ idea) so that it would be free and show no stitches coming out from around the collar placket.  I am so very happy with how my collar placket turned out so sturdy, clean, and professional looking.100_1628

I hope you can tell we had a lot of fun doing the photos for this blog post.  There was a piano perfect for posing with located at a fancy, ritzier mall in our town.  I even did my hair up in Doris Day’s same hairstyle.  The only thing missing is a South American cruise, otherwise I can’t get any closer to being a part of the movie “Romance on the High Seas”.

Sewing this blouse really taught me a good number of new things, especially how to attain couture techniques.  The extra time put into making this blouse just right has its own type of payoff that people who don’t sew can’t understand.  I hope that, just by looking at my top, it looks as it is – made well. However, I am almost more proud of it when it is off of me, on a hanger, and one can see for themselves all the attention to detail that went into sewing my Hollywood reproduction blouse.

I already have plans to make more clothes of Doris Day from “Romance on the High Seas”.  Enjoy watching the movie for yourself, and leave me a comment letting me know which one is your favorite outfit and song.

Doris Day in Blue Striped sweater top