Origami Neck Blouse

Just as you fold and manipulate flat, one-dimensional paper to create something magical and 3-D in the practice of origami, so too does the same thing happen with sewing.  You start with flat panels of fabric and fold, tack, and manipulate it into something that forms to envelope the body in the most fantastic way.

I know I’ve mentioned this opinion before, but this blouse’s post deserves to have it stated again – 1950s blouses really do have the most intriguing and unique details.  This top, with its mitered cornered collar that reminds me of origami folds, I saw as having a strong Japanese influence which I stressed by using a print for the placket which has bright and beautiful hand fans.  After all, it already had kimono-style sleeves (as they are called in fashion terms) and pleated bust darts which radiate from the neckline much like the “Rising Sun” flag.  All of that symbolism together into one scrap-busting project and now I have one lovely blouse that is both a wonderfully dressy-casual wardrobe addition as well as being an opportunity to learn more about another culture!

THE FACTS:

FABRIC:  a solid burgundy red Kona cotton together with a fan printed quilting cotton

PATTERN:  Butterick #6567, from the Summer of 1953

NOTIONS:  All I needed was thread, some interfacing scraps, bias tape, and buttons (which were leftover from the buttons I used at the neckline of this movie inspired dress from the year before)

TIME TO COMPLETE:  The blouse only took maybe 4 or 5 hours to make, and was finished on May 14, 2017.

THE INSIDES:  all cleanly bias bound on the side seams with French seams for the shoulders

TOTAL COST:  Well, the solid Kona cotton was leftover from making this dress awhile back now, and the printed placket material was a discounted ½ yard remnant…so I can estimate that this blouse is under $5.  Pretty awesome!

As lovely as this turned out – if I do say so myself – what I am most proud of is the fact that this used up scraps.  Yes…a garment from seemingly worthless remnants can go towards something amazing and wearable!  I save pretty much everything that is leftover from all my projects, yet I do not count myself as a hoarder because I really do use that stuff up, as this proves so clearly!  The solid Kona was only about ¾ of a yard, and the placket was (as I said) a quilter’s fat quarter, but by turning the blouse pieces oppositely to mirror each other, and by piecing the placket strips together (you’d never guess, would you?) I made my idea work.  Blouses and tops with cut-on sleeves are so awesome for fitting in the smallest cuts of fabric.

Now, I can actually back myself up, historically speaking, with using the fan print for this 50’s blouse.  It was originally chosen to make both the most of a scrap and to explore understanding a culture other than mine.  (I have made a few Chinese inspired garments – here and here – so it was time to dive into Japan!)  However, I have found fan prints in some extant vintage 1950s garments, the best example being this dress sold on Etsy.  Interest in the Asian culture through fashion was extremely popular in the 1950s but unfortunately the decade was not differentiating between the nations nor appropriating appropriately.  Hopefully this blouse does a better job at that!

The collar area called for slow, exact sewing and my favorite, under-used technique…mitered corners! I was worried that between piecing the placket and interfacing it, the neckline would be too stiff compared to the soft Kona cotton but I think that is the point.  The stiff, stand-up collar is like a portrait frame for the face…I am fascinated with its unusualness and love the way the look of it changes at every manner it lays – open, buttoned, or folded back.  The envelope back description calls this collar style “…the newest cardigan look” “inspired (by) Paris”.  Hummm, I never heard of this, and sadly have not found any research info about it.  Neither does it exactly look like a sweater cardigan, and I do have a small collection of vintage 50’s ones to compare.  However, there is a more famous designer, or at least famous novelty blouse I should say, that does have the exact same collar with the mitered origami one of this post.  I’m talking about Hollywood designer Edith Head’s “Birds and the Bees” blouse offered through Dial brand soap in 1956.  This is 3 years after my blouse’s pattern date with no name listed for the collar style.  There is a new fashion terminology mystery here yet to explore and understand.

After it was finished, I was worried that my stash busting Japanese-inspired blouse would not match with anything.  However, I just need to wear bottoms with color – like my purple 40’s trousers (posted about here), my pink skinny pants (posted here), or a pink linen short A-line skirt (an old RTW item), or even some dark denims.  Usually I’m very conscious about my ideas for separates, making sure they actually are versatile and will pair with what I already have.  What’s the use of fulfilling an idea if it never is worn and enjoyed?  I disregarded thinking about that this time, and got lucky.

We took our pictures at our local Botanical Gardens’ Japanese Garden.  They have the most peaceful combed rock beds, and artful bonsai.  Bonsai, the artistic cultivation of small trees, is another one of the many wonderful traditions of Japan, but hand fans are much older to the culture.  Did you know that the folding fan was invented in Japan, with the earliest visual depiction date from the 6th century?  The Japanese believe that the top of the handle of the fan symbolizes the beginning of life and the ribs stand for the roads of life going out in all directions to bring good fortune and happiness.  Where would women’s history be without such a beautiful and practically useful invention!?

As the hand fan had eventually been universally adopted, many forget to think of the country of its origin.  The tradition of origami is so much more understood to be Japanese.  However, no matter what culture you are, it is still so universally enjoyed.  I think the art of paper folding is so special because it’s great to help people who don’t sew understand the art of creating with fabric and thread.  There is a form of fashion drafting that is called origami for a fantastic crossover, only it is one of the most challenging sewing imaginable (in my opinion).  Check out the origami sleeves on this Badgley Mischka dress!  However, it was Issey Miyake was one of the first designers to explore how origami could influence design.  The Spring 2009 collection by designer André Lima was also directly inspired by origami.  Art and garment design, form and functionality finds Zen through origami.

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Red Roses for a Vintage Style Lady

Admittedly, for someone that briefly worked as a florist, I’m not much of a real roses fan.  Don’t misunderstand, I regard them as simply beautiful, and when in quantity add up to a good day’s total at the cash register.  As a customer, though, they just wilt too quickly for their cost.  Even the outdoor bush and plant variety always seem to soon enough become sick or mutated and die in our yard, sadly.  Now I have the kind of roses whose beauty will last and make for a great deal!  Heck with the old song, “Red Roses for a Blue Lady”.  These are roses for a lady who likes vintage styles!

Here is yet another garment where I’ve repeated what I know I love in a project – channeling a feminine ‘Betty’ outfit from the television show Mad Men again (second season this time; other Betty dresses here and here) and also using a true vintage fabric (my most recent one here).  As good fashion never really goes out of style, I do think this dress has the same qualities as the costumes of Mad Men, period-appropriate but also timeless and fashionable even to modern viewers.  I paid attention to details like I had all the time in the world, and did tons of hand stitching, even adding seed beads, for a dress which is my own perfect Valentine’s Day treat!

My fabric choice is a pristine condition, polished, printed cotton from the 1950s (surmised from many recurrent similar extant garments of that era).  I found it as a lonely piece at a steal of a price thrown in the corner of an antique mall shop.  How could I just leave it with its saturated red goodness at that cost?!  So – a good fabric deserved a really great pattern…one that has intimidated me every bit as much as I adore it.  I came upon a find, I saw a perfect project in mind, and I have conquered it!  However, the finished wiggle shaping ends up making my body look like a very shoulder-and-hip-heavy hourglass ‘Joan’ silhouette that I really am not used to but am completely taken by nonetheless!

THE FACTS:

FABRIC:  a true vintage cotton lined and contrasted in a solid black cotton broadcloth

PATTERN:  Simplicity #2727, a ”Slenderette” pattern, year 1958 (I plan on coming back to this and making the jacket, yet!)

NOTIONS:  The basics I needed were on hand – thread, interfacing scraps, a hook and eye – but the zipper (22”) and the beads I bought recently just for this as I realized exactly how I was going to detail it!

TIME TO COMPLETE:  It took me about 10 hours to finish, but I actually spent a handful of hours just on figuring out the pattern piece layout before cutting out…there was no room for error…or the pattern pieces, really…

THE INSIDES:  A fully lined dress means all inner seams are not to be seen…

TOTAL COST:  This vintage fabric was only 8 freaking dollars, people!!!  The cotton lining I received for free, and the beads were only $2.  So this is an under $10 dress!  Such a deal.

Why, oh why is it that the best fabrics I find seem to frequently come in small cuts?  It’s like some sewing Karma wants to test me at every turn and always make sure my projects are a challenge.  This rose fabric was in a ridiculously small 35 inch width (one of the reasons I can estimate the vintage) and was a hairs breath under 2 yards long.  Under the envelope back listing for 35” width fabric, it says I needed 3 yards for this dress.  Yikes!

The only way I could make things work was to piece together a full one side back bodice panel and to add a horizontal waist seam to what had been intended as a smooth center front.  The print is complex I do not think the extra seams are noticeable but I know they are there, nonetheless (well, so do you now).  The center dress panel change especially makes me a bit sad (seen or not) because I loved the streamlined look of it with one-piece, streamlined, princess-style drafting as on the original design.  Not too shabby of a compromise, though, and at least the lining was cut properly without extra seams!  Granted, every piece was butted up against one another when laid out, so it’s a lucky thing I did not have to grade up in size at all.  The skirt had to be shortened by about 5 inches and the kick pleat eliminated to make things work, so I was literally left with nothing but tiny triangles of scraps leftover.  Although stressful, even mind stretching, it feels so good to be super-efficient and determined with a project idea!  If there’s a will, there’s a way, as the saying goes.

I am glad I had put off tackling this sewing project until now when my sewing skills are where they are at.  The overall dress was not hard to make.  It was the detail points that were the challenge, which was a difficult one that I have not had in a while.  Luckily, I had some practice ahead of time to help me out on the trickier spots of this dress.  A few of the projects I have made already have had some of same the details I encountered in making my red roses dress when all of them were in one project.  The underarm bodice panel/kimono sleeve combined into one element reminds me very much of my 1955 Redingote, as does the belt attached in at a front waist dart.  The side paneled bodice shaping is just like on my recent 70’s style Burda jumper.  The pleats which cover up a seam, like the ones at my waist, are call to mind the pockets on my “Spring Green” Easter suit of 1954.  It is good to challenge oneself, but at the same time I want to stress it is beneficial to work up to that scary hard pattern by finding projects ahead of time which prepare your skills for a successful turnout.  A fruitful finished sewing creation makes all the difference in confidence and estimation of worth in time and effort.

The bodice panels turned out the best I’ve ever done yet, happily, thanks to knowing what to expect.  I do love the way such a design element in the garment provides the best ever shaping for ones bodily curves, besides being the most comfortable form of a kimono sleeve…better than one with underarm gussets.  Look for something similar to try for yourself – you will love the way it wears!  Only, I thought the bust for this pattern ran large until I put on the period-appropriate longline bustier.  Then, suddenly I had that curvaceous 50s figure and a perfect fit that put me in awe.  So, a word of warning – in a 50’s pattern, beware that their curving accounts for more than what modern women are used to with the lingerie of today.  Unless you are willing to try a different style of underwear, or unless you find such a design element in a pattern from another decade closer to now, the wonderful shaping which you will find with a bodice panel/kimono sleeve combo might be more than you expect.

Those front waistline pleats where the belt is attached were the toughest part to tackle.  It took me about 4 attempts to figure them out correctly…but just look at them!  They remind me of the interesting pleats which can be found on some 50’s or maybe 60s couture garments.  Two of the pleats that provide the slight hip poufiness are angled out and folded down.  The pleat that encloses the belt and bodice side panel seam is perfectly vertical and folded towards the other two pleats away from the center front…so confusing on paper but awesome finished properly.  The fabric makes it really hard to photograph these details as clearly as I see them.

I’m not complaining about this wonderful fabric one bit, though!  Modern cottons are sadly missing out on the lovely sheen which vintage polished cotton has, not to mention the saturated dying process that makes it almost reversible.  Yet, vintage polished cotton is a bit sheer and stiff on its own, thus another solid opaque layer was needed under my dress for a non-transparent and natural-bodied hand to the fabric.  Besides, I am silly and would rather make a whole second dress as a lining so as to have an impeccable, second skin finish inside…not just to cover all the seams but mostly to eliminate the fussy neck facings.  Having more than enough cotton lining gave me an opportunity to cut the dress out the way it should have been with no adaptations.

Except for the major seams inside, all else to this dress was hand stitched invisibly.  This has been the first garment where I really sense that my hand sewing skills have grown to be similar to my machine skills – accurate, fast, and efficient.  The lining is hand tacked to the zipper (which was also hand installed to the point it is as good as invisible); the neckline, sleeve hems (after a machine added ¼ inch bias binding), and skirt hems (after lace tape added to the under edge) hand finished.  Not that it matters – who else but me really sees inside or even gets close enough to notice the details?  Whatever.  It’s that choked-up, happy emotion I get inside seeing the unnecessary extra particulars so fine as I’m dressing.  It makes you feel special, and reminds me that the beauty inside a person, like a garment’s inside, although unseen, is the best part.

It’s these same sentiments and the urge to try something new that prompted me to add a bit of beading to the neckline.  Not that the neckline is not a statement in itself!  This is one of the best fitting boatnecks I have come across, and the little notched front heightens the neck and shoulder emphasis by centering under the pit between the collarbones.  I merely added some clusters of 4 to 6 seed beads at a rose center which might be near the neckline center top edge, with a few smaller 2 or 3 bead accents on some petal tips as shading.  I was tempted to go and add the whole package of beads so it would show up better, but there is something I love about the understated elegance to not going overboard.  I do not want gaudy or distracting details to subtract from the dress and its fabric, and the more I bead, the more there is pressure to turn it into some sort of defined design…then my beading skills have to be better.  I did attempt to make a simple 3-D flower out of strings of beads to add on the end of the back waistband.  It’s not perfect, but pretty nonetheless, and just the perfect touch if I do say so myself.

Vintage is admired and long lasting because of its understated quality and beautiful ingenuity…these are the details I miss the most in modern ready-to-wear.  So, if I can bring a small part of that back in my own life and be the example, then I am happy.  If I can remind others they are worth feeling good in their skin by a wonderful dress, and that creating is good for the soul, than my garments are beneficial to more than me alone.  Hopefully with the time, attention, and care I put in towards my dress project, this red roses vintage fabric will have a lovely new life for many more years to come!  I know this dress will be seeing more than just a Valentine’s Day wear!

Hermes Helmet

Hooray!  This is my 300th post!  To celebrate, I’ve dressed up in the 1950s finest.  This will be a bit of a different post in the way that the only thing me-made is a curious hat.  My dress is the true big deal here, though…it is an “Anne Fogarty” label!  Not only is it currently my most prestigious true vintage garment, but it is such a learning experience to examine, as well as a wondrous treat to put on.  This dress gives me a dream figure, and I hope my little handmade hat is the proper extravagant finishing touch to such a formal outfit!  More about that later.

For those of you that do not know who this dress’ label refers to, Anne Fogarty is summarized as “an American fashion designer, active 1940–80, who was noted for her understated, ladylike designs that were accessible to American women on a limited income.”  She was discovered because someone had the open-mindedness to see her potential, and she learned as she worked her way up…a true American story.  Her designs emphasized femininity especially seen in her “famous paper doll dress”, also the reason I am so excited to have found this dress in my size.

The dress I have on is a great example of the “tight bodice, wasp waist, and full, ballet-length skirt supported by layers of stiffened petticoats” which were the trademarks of an Anne Fogarty “paper doll” dress, seen as an American and inexpensive option to the Dior silhouette popular since the late 40’s.  I remotely dated my dress to the early side of the mid-50’s, and the happenstance of finding a similarly designed frock in an advertisement from 1955 has concreted my assumption.  There had to have been yards upon yards of rayon satin finish taffeta needed to make this dress with such a full skirt that is over and above a circle shape, so a ‘reasonable’ price must still have been expensive.  My Grandmother’s brooch even matches the one in the advertisement!

Fogarty seems to receive harsh flack in any write-up nowadays on account of her book, “Wife-Dressing: The Fine Art of Being a Well-Dressed Wife”.  I think this is sadly unfair because it not only overshadows her wonderful, resourceful career but, as a product of her times, it is going to naturally have stereotypes.  However, in my opinion, there is still a lot of good said in her book that can be relevant and followed today, just as her designs have such a lasting beauty and magnificence of craftsmanship that the couture world (or anyone interested in sewing) of today would do good to look and learn from.  We seem to live in a world where the runways have become a place to make a statement, show one’s art, entertain extravagantly, or display an idea, making it less about presenting something truly wearable to any but rich starlets who have somewhere to go in view of the paparazzi.  Goodness, with some of Balmain’s Spring Couture 2019 models going topless and the last few years’ trend of sheer fashions (these have a ridiculous amount of nothing there), even what clothes do come out of high design still make women practically naked!  One cannot put on a dress like this Anne Fogarty creation and – miss in some way – the covered up, but still sexy as all get out, appeal of a body sculpting garment which can craft a tasteful yet enticing figure with superior quality of artistry, yet still be accessible to an everyday fashionista.

Taking pictures of a solid black dress is very challenging, so we didn’t even really try to take many detail shots, but I can tell you about them instead.  The most obvious and perhaps the most confusing is the drop-waist/skirt seam.  The curving is ingenious, especially taking into account the many tiny cartridge pleats that comprise the skirt attaching into that seam.  Yes, it is not plainly gathered…mind blowing!  There is no boning of any kind for this bodice, but from the bust down the inside is double layered of fabric and all the princess seams double stitched and pressed out.  It kind of just molds my body into shape as I zip it on (there is a sturdy metal center back zipper).  Granted, I did follow Anne Fogarty’s advice and wear a petticoat with a vintage, strapless, full body corselet under this for the full and properly 50’s experience, and I actually lose a few inches in my waist!  She seemed to recommend two petticoats under her dresses, but this dress already has one built into it, made from the same material as the dress itself.  The skirt seams are almost all on selvedge seams, while the rest are simply pinked.

The upper bodice is very classic 50’s – kimono sleeves with a parallelogram underarm gusset so I have full arm movement (amazing for a fancy dress).  The neckline has a rolled edge which ends up looking like a collar.  There is a plunging back which more than accounts for the high covered front.  The bodice also has the very tiniest of flaws in this otherwise amazingly excellent condition vintage piece.  There two are pinhead size holes at the left front chest which I really wonder if they aren’t from a brooch, making me kind of feel badly for adding one myself.  However, I am careful to not poke roughly through the fabric.  The nature of this dress’ fabric is so stiff, tightly woven, and structured it is perfect for a design like Fogarty’s but it keeps frays in check.  I think I’ll leave those little spots be as they are.

Now, to talk about the hat I made since you get to finally see it best from behind!

THE FACTS:

FABRIC:  a thick vinyl faux crocodile skin, ivory with gold foiled accents

PATTERN:  McCall’s #1571, year 1950

NOTIONS:  all I needed was thread, some cotton and interfacing scraps, and some wire for the “headband” that is part of the lining…

TIME TO COMPLETE:  this was made in about 4 or 5 hours

TOTAL COST:  I spent $5 for a half yard of the vinyl, and only used half of what I bought, so I suppose this hat only cost me $2.50!  I should just be able to squeeze in a little fancy purse out of what’s leftover, to be made in the future (but I will probably choose a view from an OOP Vogue #7354).

This hat ended up in a whole different direction than I originally intended, but that’s okay – I love it just how it is better than I had imagined.  The pattern I used actually came from my mom’s pattern stash.  I doubt it came from her mom or has a story behind it or I probably would have heard about it by now, but I’m now thinking I should ask her just in case there is a tale that just hasn’t come out yet.  Even with my small changes to the pattern it still is classic 50’s style of full crown coverage.  Only, here it received what I see as an avant-garde upgrade, too.

At first I sewed the hat up just like the pattern designed (sans lining) and it turned out mimicking something between a religious bonnet and a swimmers cap.  It completely covered my ears and hair.  Bummer!  Although difficult to sew on my machine, I was super excited because the three layers came together quickly.  It did fit my head quite well once I top-stitched the seams down (by hand).  The front needed to be pruned down and given interest to be made fashionable.

My solution was to work with what I already had.  The side curves had “wings” cut out of them.  The “wings” are still attached to the hat at the inner corners at the top of the head, and were left free of the lining when I stitched it around the edge.  The wings are tacked down on the sides of the head further back and decorated as you see them with vintage metal shoe clips.  This way, without adding anything new or doing drastic changes, there is room to show my ears and hair as well as have a sort of interesting underlying theme…my post’s title gives that away.

You see, Petasos is the closest thing that my hat reminds me of.  An ancient petasos was a metal helmet worn by a member of the Athenian cavalry, and it later became associated with the god Hermes (also later known as Mercury to the Romans) when it had the side “wings” on it.  Hermes was the messenger god as well as “moving freely between the worlds of mortal and divine”, and to accommodate his quickness, his petasos became more streamlined to the head, too, besides losing its wide traditional brim.  He was also the god of commerce, his very name under the Romans is related to the Latin word for “merchandise”, so anything of monetary value, especially precious metal and coinage has been associated with him.  My 50’s hat oddly aligns with all of this.  Its construction is plated, in a mock form of those crescent-shaped overlapping pieces which can be found on the back of an armadillo or on a knuckle in medieval armor.  I never really meant for such an association…the wings I added to my hat do add a lot to the original frumpy design and seemed like a natural adaptation.

Sometimes I do believe there is a lot of either subconscious planning going on or projects just make themselves what they are supposed to be.  Whatever the case, and whatever connotation my hat has, I always like what I make best when I don’t try too hard…thinking that is!  I just make beautiful and creative stuff that I do need more often than not and always do enjoy even when it’s made for others.  Makers gotta make, as the popular saying goes.

There are some designers that I can associate myself more easily than many others, and this is so with Anne Fogarty’s story and beautiful creations.  I don’t ever really go out for the purpose of buying vintage (I like to do controlled browsing), and goodness knows I don’t have enough fancy occasions to wear nice stuff to, but this was in my size by an well-known designer and it was too good of a deal to pass up.  As I have said in past posts (here and here) where I addressed the care for, benefits, and details to true vintage, this dress is worthwhile alone by being something I can learn from and aspire to.  Let me know if you have a garment that has a quality or story that has taught you something, or at least inspires you to create!

I am so happy to be writing my 300th post to all of you.  Thank you for all the comments and support you have shared with me along the way.  I pulled out the good stuff for you this time and hope you enjoyed this slight change of pace.  Here’s to many more blog posts yet to come!

City Wildlife

January is the depths of winter here and right now we are getting bombarded with frozen precipitation.  Yuk…this is not ‘my thing’.  As an August baby, I need a reason to remember the warm days when I could wear my favorite skin-baring sundresses!

I have not forgotten late last years’ beginning of my “Indian Summer of the Sundress” series, and so I’d like to add another installment to it with this post.  I figure it might help those of you in the depths of winter like me as well as inspiring those in the warm weather at the opposite side of my location!  This time I have a ‘modern-does-late-mid-century’ look in an animal print maxi.  It’s a properly classy yet subdued unruliness made to visit the animal and human wildlife for an event in our city zoo over this past summer.  Happily, a giraffe was more than willing to oblige to be in the background of some of our pictures even though I am wearing leopard (these big cats can be their predators in the wild).

THE FACTS:

FABRIC:  a super soft quilting cotton print fully lined in your average soft cotton unbleached muslin

PATTERN:  Simplicity #2180, year 2011

NOTIONS:  all I needed was a lot of thread, a bit of interfacing, and an invisible zipper, all of which was on hand

TIME TO COMPLETE:  about 15 to 20 hours went into making this dress; it was finished on August 25, 2018

THE INSIDES:  full lining means, “What seams? I don’t see ‘em.”

TOTAL COST:  As this has project idea been sitting in my stash for a while now, with the fabric bought a few years before that, I’m counting it as free by now.

This dress has been on my “to-make” bucket list for about 5 years now.  I remember it was one of the projects I wanted to tackle in the early days of my blogging, yet some of the details to it intimidated me at that time, so it got shoved to the back of the queue.  No longer!  However it was a good thing that I did put off making it because this sundress was challenging…not so much to make, just to fit and tweak to point where I am happy with it.  None of my changes are really noticeable when you look at the original design, though, so they are nothing major.  No, I wouldn’t do that to it – I love the style lines too much to really change them!

The back bodice triangular tied-together style is something I’ve seen again and again in mid to late 1950’s extant vintage dresses for sale at shops online.  I enjoy the fact that it is revealing yet you can still wear conventional brassiere under it!  It’s not like being completely backless but it sure gives off that air…so sexy with its teasing!  I can’t tell from the pictures whether or not the true vintage dresses really tie or are sewn shut in imitation.

Nevertheless, to make things easy for myself, I made the center back of my dress sewn down together.  The pattern calls for a tie back, but that sounds fiddly to me besides possibly creating a knot for me to sit back on – ouch!  I also didn’t want the complexity of ties to cover up the back design because I think the simplicity of the back is just beautiful.  It’s also perfectly airy for a hot summer day.  For my fix, I merely corrected the angle and left off the tie straps, which originally were and extension of the neckline facing.

I did not like the original neckline finishing though.  It was too wide and appeared stifling compared to the rest of the dress.  So I made my facing half the width.  I like the slightly more open neck and low key element to my version of the neckline facing.  However, I did have to slightly customize the shape of the front neckline because the bust (cutting out what should have been my ‘correct size’) turned out quite large in the chest.

To aesthetically correct the generous upper bust, I made two cross-bias darts that end at the upper bust and come out of either side of the bottom center neckline front.  This fix is something which is a fashion dart in my old tailoring books and you don’t see it on many garments.  Only (boo hoo!) it blends into the fabric print.  It takes out the excess right where it was at yet changed the neckline facing into something slightly more angular.  The original design has the neckline quite high with the wide facing and boat neck wide in style.  Personally, I like my version better (no surprise) but it was all just alterations I made along way of the construction process…in other words not planned ahead of time.  It is amazing how little ‘failures’ are only opportunities for happy creativity which makes things better you’d than hoped!

Now, the back bodice might be a 50’s element but the rest of the dress makes it seem more 1960s to me.  The long slim skirt with gathered waist and the high banded middle distantly remind me of Audrey Hepburn’s black Givenchy dress from the movie “Breakfast at Tiffany’s” of 1961 (it’s my big hat – see picture below – influencing my perception, too).  Ever since that famous costume, early 60’s fashion had recurring but occasional long slim skirts to dresses, especially when circa 1964 combined these with an empire waist for a resurrected Recency Era fad, thanks to the creations of Norman Norell (see the “Josephine” dress), the great Dior, the innovative Bill Blass (then working under Maurice Rentner), and Mod Mary Quant.  These designers made such a silhouette the mark of high fashion.

This sundress’ skirt is really very straight rectangle on paper, and only appears a lot slimmer than it is when my legs are together or one knee is jutted out as I shift weight when standing.  I actually went up two size larger than my size because I didn’t want this dress to be too confining to walk in.  The above-the-knee slit helps movement freedom (and adds to the sultry aura of the dress, certainly) but I don’t want to rely only on that…I like my sundresses to both look nice and be ready for moments of family fun!  I was able to ride the jungle animal themed carousel ride with my son that day, but only side saddle for fear of ripping the side slit sky-high!

As the printed cotton was ivory (light colors tend to be see-through) I took the extra time to fully line the inside of the dress and it was so worth it!  It makes dressing in this so much more simplified not needing a slip, besides so soft on the skin.  I like a good layer of natural fabrics during summer, it wicks away moisture and breathes unlike any polyester, so I don’t mind doubling up on a good quality cotton.  Besides, the inside looks so professional even if it is just your average muslin lining!  Sandwiching a perfect invisible zipper up the side between the layers and matching up all the horizontal seams was tricky, though.

At first, I was afraid my outfit would be a bit “too much” but I had a happy time in comfort, received lots of smiles and a few compliments from passer-bys, and stayed classy despite my day in the hot sun wearing my sundress make.  I can’t wait to get more wear out of this sundress as soon as our weather turn balmy again!  It’s funny to realize I never used to enjoy animal prints as much as I have in the last few years, but when I do use them, for some weird reason it always tends to be leopard!  I have a Dior inspired late 40’s wool coatdress with leopard printed flannel accents which I plan on making this year, so my habit of using one kind of animal print doesn’t seem to be changing anytime soon!

There is an interesting article I’ve read recently called “The Trashy, Expensive, and Contradictory Reputation of Leopard Print” and as much as I enjoyed the info it made think about why I tend to leopard.  Strangely, it’s not because I feel any of the stereotypes associated with it – power, exoticism, eroticism, punk, or glamour, probably why most of my leopard print makes are relatively tame.  I think I like it because I see it as a mere print, more like a curious twist on polka-dots, even though I know it is the natural camouflage of an animal skin, to a wild cat that needs respect and protection.  So there – either I’m admitting to a watered down mentality, or I’m fully duped by fashion idea of leopard, or perhaps merely admitting to agree with Dior (which makes me cringe a little to say, but that’s for another post).  He used leopard print as a “house motif” and mainstreamed the usage of it as more than an unnatural item and not just a fur (continuing the practice to this day).  Since such a print can be found on practically any material nowadays (thanks to advancements made in the 1930s) – from cotton to faux leather and scuba knit – my mind is so far removed from the actual idea of the real fur…don’t know if I’ve ever seen real leopard clothes nor would I ever want to buy or wear them (and probably couldn’t afford them, anyway).  Dior is quoted as saying, “If you are fair and sweet, don’t wear it.”

What side are you on when it comes to animal prints, because I realize I am some weird in between…I like wearing fabric based fashion reproductions but they by no means are my favorite nor do they garner my repugnance.  It is good on an occasional basis for me.  Do any of you animal print lovers also favor leopard like me?

Living with Coral

Personally, I don’t ever put much weight or mental thought into the chosen Pantone Color of the year.  I kind of think it is some sort of gimmick or ruse to ‘sell’ a certain dye lot, besides being rather silly, if you ask me.  Fashion chosen for the populace through those companies higher up who run the money and production is not an organic trend by the populace, no matter what advertising makes it out to be.  Anyway, never mind my conspiracy theory rant because I am weirdly head over heels for the 2019 Color of the Year choice…”Living Coral” (#16-1546).

It is described as “an animating and life-affirming coral hue with a golden undertone that energizes and enlivens with a softer edge.”  Subconsciously this color is not a new tone for me to sport, but the chosen Color of the Year has opened my eyes to see it is already in my wardrobe and has been part of my fabric choices more than I realized. (This can be clearly seen in this 20’s style dress, my 1954 qipao, ’57 striped sundress, my convertible 40’s pinafore, or even this 80’s style outfit.)  I do love a good bright color but this 2019 color is something with more pop than a pastel but not overly confident.  I feel a softened orange-borderline peach tone highlights my light olive skin.  So, Pantone’s “Living Coral” announcement only gives me a reason to bring out an old favorite color and find original and absolutely awesome way to wear it with my classic vintage panache – with this post’s dress as my first example.  Made with THE goldmine of rare fabric, this dress’ lovely true vintage rayon gabardine shows a unique and special way circa 1949 to incorporate “Living Coral” into more than just summer frocks (a default item made of the color).

The gloomy side of such a happy shade is the facts that the real world living creature of coral is dramatically dying in growing numbers.  I’m not meaning to be melodramatic here, but nature is the original, pure form of color in all its most breathtaking and inspirational sources.  Fashion is a major world polluter and this year’s color is sadly ironic if it is not also used as a source for awareness.  Man-made colors do not level up the bright and glorious shades of nature.  Just think of a Birds-of-Paradise, a butterfly, and a show stopping sunrise or sunset for only a few examples.  What good is it to have the shade of “Living Coral” paraded in paint cans, on garments, and stationary if the real living coral is becoming so bleached out it is now only drab and sickly?  I’ll step off my soapbox now, but as one who is staunchly emotional about sustainability and thoughtful fashion choices, I had to share my two cents.   Let’s turn this Color of the Year trend around to actually do good rather than just promote sales for once.

THE FACTS:

FABRIC:  a rayon and cotton gabardine blend vintage original fabric.

PATTERN:  a New York brand sewing pattern #867, a “Louise Scott” design, circa 1949

NOTIONS:  I only needed thread, a little interfacing, and a zipper (I used a vintage metal one).  All items were on hand

TIME TO COMPLETE:  The dress was finished on November 15, 2018 after at least 25 hours put into it

THE INSIDES:  SO nice!  All French seams

TOTAL COST:  This dress cost only about $20…I got a great deal on the fabric!

What is so special about vintage gabardine?  I don’t really know why it is so rare, but I do know quality modern (as in no polyester) gabardine is hard enough to come by.  Yet I have found some primarily made of cotton over the years and it can be found in many of my sewing projects.  Gabardine fabric is defined as “a smooth, durable twill-woven cloth” and I love how it is durable yet soft and flowing at the same time with an interesting texture when you look closely.  It is one of my favorite fabrics but this vintage gabardine absolutely takes my breath away with its high caliber of excellence…why, it actually has a satin sheen and is not just a solid color!  It is so silky and wrinkle-free.  It was a dream to work with and is fantastic to wear and touch.  The underside is a smooth solid grey and the right side is a very detailed floral pattern with the twill weave showing through.

Looking at the inventory of vintage fabric sellers who can authentically date their products, I have been able to roughly date this material to the late 40’s or 1950s, one of the reasons I chose the pattern I did for it.  Also, American post war fashions did not need the 4-something yards that a Dior style dress would require and I didn’t have much more than 2 yards to work with!  Nevertheless, I did want to pair two lucky finds together – the pattern had been found for a steal of a price during our last trip to the fashion district of Kansas City, Missouri, and the fabric had been a lucky gamble for a reasonable deal bought to support a “Makerspace”.  What went into making this dress could be counted on a “Top 10 Best Finds Ever” list, if I had such a thing.

This dress might look simple at first glance, because it inherently is just that…which at the same time only shows off the smart, quality style of it.  It has details – they just aren’t flashy.  This is to me the lovely epitome of post-WWII New York fashion (and I don’t mean the pattern brand).  American late 40’s styles were so much more sleek, slimming, and subtle compared to the strongly padded, statement silhouettes of French fashion so often used to define this time.  Both had impeccable tailoring and lovely design lines, and I know (as and American) I am no doubt biased, yet to me it seems that there is a great art in being understated.  Dior styles overemphasize both hem width and the hips to create a tiny waist but many American late 40s fashions preferred slimming skirts, longer hems, simple design lines, and relied on details (such as pocket flaps, peplums, pleats, etc.) to softly visually widen the hips.  This latter I see as more universally flattering and working for more body forms versus the former.  I think I can personally work both sides of the post war profiles, but I appreciate the low key appeal and practicality of late 40’s state-side vintage while also enjoying creating it.

So – can we take few minutes here to let me detail the fine points that a camera doesn’t seem to capture very well?  Of course the double hip pleats on each side are the main event, even though you might have glanced over them.  They were drafted as part of the skirt side panels making for two very long and skinny cuts of fabric.  They stand in for a true peplum.  Post war 40s peplums, especially ’48 to ’51 were very low on the body line at and just below the hips much like the pleats on this posts dress.  I was afraid that the print would drown out the detail, so I made sure the hip pleats were not ironed down flat but kept their rolled edge appearance.

The sleeve cuffs mirror the hip pleats.  However the cuffs are slightly pointed under the arm in front of the elbow.  This little drafting point actually helps the cuffs stay folded up and keeps them from catching on things as compared to other cuffs on clothes I have which are straight cut in circumference.  That is smart engineering there!

The skirt is similarly fine-tuned.  I noticed it at the ‘cutting out’ stage when the sides of the center front panel had a concave bottom half, like a very gentle slope outward.  This way the center skirt panel flares out and rolls over the side panel seams from mid-thigh downward…just beautiful and unique.  Such a little difference in pattern shaping does so much!  Not only does this feature make walking elegant and easy-to-move in, but also it’s not every project that the finished garment actually turns out to pretty much have the same drape and qualities as the cover drawing.  Many drawn garment examples (both vintage and modern) only prove to be an idealized or a lame version of the actual draft on paper of a design, and it frustrates my detail-oriented brain to no end that the two don’t match up more often or not.  New York patterns sometimes do get a bad rap (from what I have read) for only offering a colorless sketch on their envelopes, but here, the drawing captured the exact small nuances of this style.  Needless to say, I am impressed.

Hopefully, this dress could fool a fashion historian or curator.  I wanted nice finishings to please myself, but also I felt the special fabric deserved to be made particularly well.  Hardly ever do I sew with true vintage fabric, so I wanted to only use notions and techniques which could be seen on a dress of the era which I was creating.  The only thing glaringly modern is the shoulder pads and maybe the thread I used, the second of which could only be ascertained by someone trained to know.  Otherwise, the French seams, the cotton interfacing, and the vintage metal side zipper do not date this dress as current.  The design certainly won’t!  The edges of the neckline and sleeve cuffs, the zipper, as well as the hem, were meticulously hand-picked for invisible stitching, adding to the subtle high detailing and because the wonderful fabric deserved it (saying it again).  These might also confuse anyone looking to date this garment.  All of this was something of an experiment, and the result brings just making another garment into something at a whole other level.  I actually get giddy just thinking about it.  Reliving the past isn’t old-fashioned or second-rate…it is really fun and a very nice treat.

After all my raving about how the dress turned out, what was not lovely about this was the sizing.  I have made New York patterns a few times now and they have consistently had small shoulders, long hems and very small hips and waist.  This dress’ pattern was the opposite fit.  Of course, the difference is they have been pre-mid 1940’s.  But it is surprising that just 5 or so years later could show such a marked difference.  I have nothing to back my theory up, but I wonder if the New York pattern company had new owners or at least new body standards after WWII.  I know the company did make it to the mid-50’s.  The dress had a very long waist (common for 1950’s dresses), very wide hips, and normal shoulders.  I had graded down to my body size but I had to take out in the waist and below what accounts to two sizes smaller still.  Any vintage pattern never ceases to hold a fitting surprise, I suppose.

Sadly, I have not been able to find out anything on the purported designer of this dress, Louise Scott.  I did find several other Louise Scott New York patterns (from 1950, some of which I passed up) along with this one, and any Internet search I have tried so far only shows New York pattern envelope covers.  Thus, I’m guessing she might have been an independent, small designer hired by this one brand of sewing patterns to get her fashion concepts out there and help their company, which was in its last years of business, step things up.  She might have just been their in house pattern drafter, too, even.  I don’t know, but it is distressing that for as many patterns as Louise Scott offered through New York Pattern Company we know nothing about her wonderfully classy and meticulous designs.

I wore 1950s accessories to emphasize the fact that it could even be a design from early in that decade, or make it an obvious late 40s style at least.  My Grandmothers vintage 1950s black glass jewelry set (bracelet and necklace) pairs with some older, some modern pieces – mid-1940s gloves, a 50’s velvet beaded head topper, me-made sterling earrings, and my decade-old favorite strappy dress heels in black satin.  I believe my handbag might be from the 1980s but it has that classic 50’s style.  Of course, I had to play up the “Living Coral” color in my dress by tying a vintage 40’s silk scarf to my purse.  It also doubled as very pretty neck scarf that day.

“Living Coral” is such a versatile and cheerful color, more adaptable than many might imagine, almost like it’s a neutral.  Here, it goes with a blue-undertone grey and the black with cream flecks are a complimentary muted contrast.  “Living Coral” tones were often paired with a ‘dove brown’ or ‘avocado green’ in the 1950s.  Of course, I think  bright royal blue pairs well with coral, too, after making my 20’’s style “The Artist” dress mentioned earlier.  Please, just don’t forget that the real living coral in our oceans need to stay just as bright and just as much in the limelight as 2019’s fashion color is!  If you have another interesting color you’ve paired coral with, do let me know because I’d love to try it!