I Dream in Reverse Jacquard

My analytical brain likes to focus too much at times on some of the everyday mysteries of life.  Do I time travel when I take a 4 hour flight across two time zones in only 2 hours of my life?  Am I still dirty after cleaning myself in a shower for the towels to appear soiled so quickly?  Does a mirror really reverse an image for it to only cross up our front to back (in what seems to be a left-right reversal) but not up or down?  ‘Apparently not’ is the answer for all of these mental queries, but a scientific explanation doesn’t quite solve things for me.  So what do I do?  I play with at least one of those ideas through fabric.

In this case, I have created an elegant two-piece 1950s outfit that plays on the idea of the reverse image.  Jacquard is the perfect medium for such an idea.  It has a soft structure, is easy to sew, comfortable to wear, and not as fancy as a brocade or silk (i.e. more wearable for more occasions).  Most importantly for my idea, is the fact that either side is the ‘right’ side, more or less a reversible fabric.  Is it really a mirror image, though, when the loftiness of the nap is not the same on each side, creating shine in different places and therefore not a true reverse…in appearance only?  Ah, I think too much sometimes.  Nevertheless, I do love how this outfit turned out, with its play on maximizing the potential of my chosen fabric and making a deluxe combo that echoes everything I adore about the perfection of true vintage clothing.  The dress has dark navy, textured leaves against a blue satin background, while my bolero has satin blue leaves against a matte dark navy background.  It’s a trick of the eyes.

Speaking of the beauty I admire to past styles, that includes architecture…especially when it is as regal and extravagant as the Biltmore Hotel in Los Angeles, California!  Hot off of our camera, and the perfect backdrop for my fancy set, are these pictures from my most recent trip to the American west!  After I had stayed in Las Vegas for several days, we came to stay at what is described as the “premier luxury hotel destination in Downtown Los Angeles”, the Biltmore hotel.  Built in 1923, this immense beaux arts-inspired hotel will be the backdrop in yet another post as well, more appropriately an early 1930s dress.  Stay tuned!

THE FACTS:

FABRIC:  a cotton and rayon blend jacquard, with the dress bodice and jacket facing being in navy all-cotton broadcloth, and the bolero lining a basic ivory poly

PATTERN:  For the dress: Burda Style #121, a year 1957 pattern reprinted in August 2019; For the cropped jacket: Simplicity #8250, a year 1951 pattern (originally Simplicity #3775) re-issued 2016

NOTIONS:  All I needed was a whole lot of thread, some interfacing pieces, one long 22” zipper, two vintage buttons from the notions stash of the Grandparents, mesh seam stabilizer tape, and bias tape…nothing too unusual.

TIME TO COMPLETE:  The dress was my last sewing project for 2019.  After about 25 hours put into the dress it was finished on Christmas Eve, December 24, just in time to wear to the holiday celebrations.  The cropped jacket was made in about 3 or 4 hours and finished on January 2, 2020, as my first project for the new year.

THE INSIDES:  The dress bodice is covered by the lining and the rest of the seams are bias bound.  The little jacket is fully lined so no seams are to be seen!

TOTAL COST:  The jacquard had been found at a local rummage sale for only $2 for the whole 6 yard cut.  I only used about 4 yards out of those 6!  The cotton contrast and the lining for the jacket were scraps from on hand sitting for years in my stash, so I’ll count them as free, just as the notions.  This whole outfit cost me little over $1…how’s that for amazing?!?

This set happened to be my marker for the end of one decade and the beginning of the present one.  The dress was my last 2019 sewing project and its jacket the first for 2020 (as I mentioned in “The Facts” above).  What a way to show how far I have come!  This was a challenging project to make (mostly on account of the dress’ bodice details and the jacket adjustments), and I made it with all the trademark finishing of a well-made garment so I am very proud of myself for this set.  I could not have seen myself doing so well on it, even if I did manage to sew something like this, a decade back.  Enough of my reminiscing – let’s get down to the useful information.

I found the sizing on both pieces to be slightly off.  Vintage reprints and reissues often have such problems, especially so when it comes to Burda Style.  The dress, when cut in my ‘normal’ size, had a snug fitting bodice and loose fitting hips and waistline.  I had to take the waist and below in dramatically at the side seams.  Granted, you want the bodice of this dress, by the very way it is designed with its shelf bust, to fit closely, so I am not complaining that it is a good fit.  Luckily, it just fits for me.  The short jacket had snug sleeves and shoulders according to several online reviews from others who have tried it out already.  My shoulders are athletic, so I went up a whole size larger than what I needed according to the chart (for the entire jacket, not just the sleeves), and I am so happy with my decision.  A little crop jacket is the last thing you want to turn out tight fitting, and I wanted to hold onto my extra jacquard and not have to use it to make up for a mistake.  Thank goodness for sewing blogs, right?!

For the dress, I did leave out the addition of boned panels to the lining, as the instructions suggest.  I felt that a stiff mid-section would have been overkill and becomes obvious under such a soft material.  As long as you find a snug body fit as I did, I do not think boning the middle panel is necessary at all.  Definitely do heavily interface all of the lining pieces to the bodice instead, as well as the neckline.  You will definitely thank me later.  Some things you can leave out according to your judgment in sewing, but the shaping and the details, as well as the fit of this dress, demand significant stabilizing.  The sole spot I left out interfacing was along the skirt back’s open asymmetric vent slit.

For the jacket, I went ahead and significantly changed up the pattern to revise it back to the way the original pattern portrays it.  In the reprint, the jacket fitting more like a shrug – only covering a small portion of the upper body (shoulders and upper arms, not extending past the shoulder blades or covering the bust) and thus little more than a pair of sleeves joined at the back.  Not that I don’t like shrugs, but the original pattern cover from 1951 shows the fit and fall of the short jacket to be closer to a true bolero.  That is what I felt would match with my dress the best anyway, so I lengthened the jacket by 1 ½ inches, adding that amount horizontally midway between the hem and the bust.  This was a tricky re-adjustment because the hem is extremely curvy and the back is longer than the front.  The darts needed re-positioning, as did the front neckline curve, but I kept everything basically the same.  I feel that it fits me much better than if it was a short little shrug.  After all, tailored this way, I can have the option of closing it at the center front!  I made a little oriental-style frog using elastic ‘thread’ to achieve a low-key, workable closure.

I also adjusted the dress to bring it up to par with its vintage original.  Thank goodness Burda shares the original images because something about the extremely low dip of the neckline had me doubting this reprint’s credibility.  The center of the 1957’s sweetheart neckline was much more of a horizontal curve, a higher, more decent décolletage.  The reprint has a very angular sweetheart neckline that is closer to a V-cut than anything, and doesn’t look like it supports or holds the bust in at all.  I was not a fan of the model garment in that one detail.  Thus, I raised the center dip of the neckline by 3 ½ inches (yes, you read correctly!) to bring it up to what I feel is a truer imitation of the vintage original, yet still providing a hint of cleavage, a sexy open neck, true sweetheart curving, and better support for the close fit across the bosom.  Many times not letting it all hang out is more of a tasteful appeal than leaving nothing to the imagination.

The dress’ bodice by far took up about ¾ of all the time and effort, but just look at it!  It was worth it, in my estimation.  I have such a failing for sweetheart necklines, especially one with details like this.  The instructions were good, but for something as tricky as this, worded commands are only going to get you so far.  There was a lot of experimenting with the pieces, and unpicking a few times, before I finally hit upon what seemed to be right way to accomplish to the goal.  Granted, the steps did not make sense at first, but working it through – and under stitching every edge from the inside, even for the armscye – gave me a no-thread-visible, how-did-that-happen, complete pattern awe.

For all its faults, this is a really fantastic design.  If you want to advance your sewing skills, try this.  If you want a good challenge that will give you something to be so very proud of if you can do it, try this dress.  If you want to make something that will stand out from anything you can buy, that will bring you to the level of making your sewing equal to those vintage garments you are in awe over because of their craftsmanship – try this pattern.  It gives you a dress that is amazing to wear, after all!  I feel like a princess in it!

Except for the outer hem edge to the bolero, everything else to my outfit is hand finished.  The jacquard has such a satin finish, any thread showing would be glaringly obvious.  The bodice has all of its stitching reserved for the inside so as much as I wanted the easy way to completion, I hand stitched the hemline, skirt back vent, and the long back zipper.  I love the precision that installing a hand-picked zipper offers!  Even though I did not use an invisible zipper, I am getting so used to hand stitching in the conventional exposed teeth zippers almost invisibly.  I’m not meaning to brag, but really not sorry if that’s what I’m doing.  Practice really does make perfect, folks.  There isn’t anything wrong with being proud of your own personal accomplishments.

My accessories are special in their own way, and a combo of different styles and eras.  My necklace is a “Downton Abbey” jewelry piece, in other words a copy of 1910s era style.  My gloves are a great true vintage find on my shopping in Burbank area shops of Los Angeles.  They have a “handmade in France” label and are probably 1930s.  My hair flower is a vintage silk millinery decoration, from the 1940’s, yet another good find on my visit to L.A., this time from fashion district.   The very best purchases of my travels were an immediate part of my fanciest outfit for my trip!

I think all of this must come down to the fact that my mind has never ‘grown up’ in the modern conception of the term.   I haven’t forgotten how to be curious and ask questions about the world around me, or even enjoy playing dress up just because I can or I want to.  Getting out to go on travels helps promote that amazement and interest in life, past and present, too.  It also makes sure I don’t get overly used to the daily grind and get out of my comfort zone to see and do new things.

Finally, this most recent trip was extra special because I caught up with a good friend!  That friend is the one that helped me decide which side of the jacquard to use for the dress after all, so it was appropriate to bring it on my travels spent with her.  Ah, it’s amazing the unlimited possibilities this world has to offer!  Let’s make sure to take the time to be creative and open our minds, in whatever way you need, and I’ll keep my mind open.  I’ll keep asking those deep questions and searching for their answers, continue to challenge my creative skills, and prioritize time for friends and family.

Graphic + Novel

There are unfamiliar clothing items that I would like to try and wear – things that the rest of the world is wearing.  I can remotely picture myself feeling good in such things, but the “play it safe” side in me pulls up my insecurities with my body every time.  I am so self-conscious about my physique.  Take into account that some of those things for my wilder-and-not-so-vintage side are really hard to find to suit my taste – like a really good quality pair of skinny jeans that will actually fit (with a high waist) or cool logo tees which are sustainable yet affordable.  I haven’t found either yet, which is why I don’t have them already!  In lieu of the misery of searching in vain I have used my sewing capabilities to fill in the answer.  After all, if I sew them, those bolder (for me) fashions become a source for a pride in what I made, a sense of accomplishment stronger than those insecurities which make me think I can’t wear what I fancy to imagine!

Here comes Wonder Woman help me out with that!  With a little ½ yard of graphic printed cotton and some too tight t-shirts back from when I was a mid teen, I have a new tank to remind me to own confidence, strength, and inner beauty.  But the remnants for making the Wonder Woman tank were enough to also update another yet uninteresting and unworn top from my wardrobe, too!  I totally ended up with the best deal ever, and made thoughtful and purposeful reuse of what I had on hand to now have new – novel – items that I am so happy with.  It’s a win all around. I swear – refashions are like a gift that keeps on giving. They make me feel like a wonder woman of the sewing world.

THE FACTS:

FABRIC: Pants: 100% cotton twill, in 7 oz. weight with a brushed finish on the ‘right’ side, bought from “ebpfabric” on Ebay (here is the listing).  The color is a bright orange-undertoned red, “cayenne pepper”. Tops: two girls size cotton knit tees (at right), one in a semi-sheer slub knit in white and the other a solid navy double knit, were my starting point with a 100% cotton woven print for the front of my tank.

PATTERNS:  Burda Style’s “Vintage High Waisted Trousers”, from year 1957, #129, from April 2015 and self-drafting for the two tops.

NOTIONS:  I used whatever was on hand, which was thread, some bias tape, and a zipper for the pants fly

TIME TO COMPLETE:  The two tops only took a few hours to make on the afternoon of May 9, 2018, and the skinny pants were made on two afternoons and finished on October 7, 2018.

TOTAL COST:  I only spent $10 on the jean material and as my mom had bought these so far back, I’m counting them as free!

These tops I will show you are not the most stupendous things I have made by far, but everyone needs basic yet fun pieces in their wardrobe, right?  Mine will be all me-made if I keep this up…and I intend to!  You see, I’m systematically going through many of the clothes I still have from my teen years and updating them for my current fashion taste and place in life rather than immediately sending them to a resale store. This is the most eco-conscious means to refashion, not to mention a cheap and challenging way to have something new, but I sense that this is helping me find myself in a very special way by evolving my wardrobe while still remotely staying the same.

The white tee was originally way too small on me – duh.  It was for a 15 year old, not the woman I am today.  Something that is too tight and doesn’t fit never seems proper when I actually know how to tailor, besides not even being comfortable for me.  I began my re-fashioning by first cutting off the confining sleeves, side seams, and shoulders.  Using the back body of the old top as my starting point to draft the front panel, and knowing my own personal body measurements, I traced the existing shape onto sheer medical paper and graded up to what it needed to be to fit me.  Yet, remember – only the back was going to be used on my new tank and it was way too small.  The front was not going to stretch.  So I added an extra 3 ½ inches to the side seams of the front panel draft, arched the armhole around to the back slightly, and added an extra inch to the shoulders.

When you take something meant for a knit and want it to work with a woven you automatically have to add in a handful of extra ease.  A knit has negative ease – meaning, you subtract wearing ease and the stretchier the knit, the more inches you have to take out for it to fit.  Not so with a woven.  Depending on what fit you want, 2 and 3 inches added make for a snug fit, and 5 and 6 inches give a roomy ease.  My top was half-and-half, though, and so went in between when drafting my pattern.  No matter how simple a tank top might seem, finding the perfect fit and learning the nuances of pattern drafting is always important to me.  Besides – no matter how simple, anything you make is worth the extra effort to make sure you yourself ends up happy with it!

I kept the original neckline for the back half of my tank, to make things easy, and the rest of the edges on the new addition were finished with some black and some red bias tape from on hand.  I also kept the cute little logo on the front of my old white tee – It was of a colorful bejeweled Italian Vespa motorbike…vroom, vroom!  This left some good, still usable remnants still, and of course, while I was on the re-fashioning mindset, I picked out something else to update.

There has been this plain knit tee in navy, way too conservative with its high neck and basic sleeves, but so luxuriously soft in pima cotton, languishing in my closet for just as long as the white tee which I had already cut apart.  I only ever used this navy top as layering piece.  The body, shoulders, and sleeves still fit me so it merely needed a slight change.  Therefore, it was the first thing I thought of to cut into.  Granted, I’ll admit what I did do to the top was probably not the best and most unique choice.  However, I did want something basic (navy and white is pretty easy to match with).  Even just a simple V-neck, short sleeve re-fashion is a major improvement that I feel okay with to wear now.  A couple of facing strips later and I have a fun contrast edged tee.

There isn’t much to say that I haven’t already said in the post about the last (also the first) time I had made pants with both this fabric and pattern.  I cut the pattern out as-is again, and turned it inside out to do a body fit again, too.  The waistline was significantly harder to do this time for some reason, but it turned out okay.  I splurged on the inside edge finishing and made my own bias tape from the fun floral cotton leftover from this 1943 blouse.  I did make the legs a bit longer at the hemline, and despite my hopes to make these more like jeans I did the same invisible zipper front as last time.  Only, these red hot pants forced my hand to turn them into what I had said I would do with them.

Have I ever said that I have a thorough love-hate relationship with invisible zippers?  I do.  They look so nice and give me such a challenge to accomplish…when they work, and it seems there is never any guarantee to that.  They are like a time bomb to me, waiting to fail, so although I do use them here and there, I never fully trust them.  For good reason! I was trapped in my 1930s royal blue satin evening gown because of an in visible zipper fail and unable to wear it to the occasion for which I made it years back.  These jeans were luckily only being worn in the house at the time when the invisible zipper I had installed popped open.  Thank goodness I had not yet left the house that night!  I had to carefully cut myself out of the jeans from the front.

Thus, I went back to my original plan and drafted my own mock-fly to cover the sturdy, vintage metal zipper which is sewn in the front instead.  This meant I needed back pockets, too.  I drafted some petite sized pockets and subtly monogrammed them with a fanciful cursive initials of my own design before sewing them down.  Do you see the ‘K’ then a ‘B’?  Yes, to make it easy for you to see the initials without staring at my behind, I took a close-up picture of them while they were off of me.

For starting with a vintage reprint pattern and outdated tees, this set really turned out fresh for my taste to try something more upbeat.  The 1950s really had some killer skinny pants that preceded the modern fad for the same thing (except back then they often relied more on good tailoring than the fact there is stretch in its fabric to fit)!  It would have been a bit bold to see Wonder Woman sported so overtly for the 1950s, because during the “Silver Age” comics she underwent significant changes which softened and adapted her image in the absence of her creator.  With the resurgence of a powerful and popular Wonder Woman today, this is the perfect retake, in my opinion!

“Retro Forward” Burda Style – ‘The Starry Night in the Day’ 1957 Casual Set

Picture a breathtaking scene of a pastel colored, dramatic sunrise, eclipsing a lovely clear night sky setting of stellar sparkling in lieu of the light of day.  Such a sight is sadly not to be seen most mornings.  I see such a sight sometimes in our winter season if I suffer through the misery of waking up extra early and bundling up to brave the elements.  Now, I can at least wear a vintage-inspired set that calls such a display to mind for me!  To me, it has all the elements of one of my favorite paintings…”The Starry Night”, painted by Vincent Van Gogh in 1889.  With a richly cobalt textured “sky” behind me, and colorful, swirling bursts of movement above a creamy pastel palate below, this Burda outfit is a means for me to wear art in my everyday life.  Sewing can be an art form in itself, anyway.

My first, real, riveting fascination with this piece from Van Gogh was through “The Christmas Wish” episode of the infant videos, “Baby Einstein”.  When our son was one year old in 2013, we were given a handful of “Baby Einstein” DVD’s, and he would be just as relaxed and mesmerized as I was watching them.  They would show details of “The Starry Night” by Van Gogh along to the music of “Für Elise” by Ludwig van Beethoven.  This combo of picture and music has henceforth been intertwined in my mind, which associates both with something lovely which puts me in a happy place.  This is partly why it seems so very fitting for me to take an old maternity tunic, and turn it into something which completes this artwork inspired outfit.  My second and strongly passionate reason for saving my old maternity tunic is also the fact it is an old “Made in the U.S.A” garment, besides the wonderful feel and print of the fabric.

Just as Van Gogh conveyed the sky abstractedly in his own personal way, I too probably see the world of clothing differently (I’m sure) than others.  In my opinion this is due in no small part to my ability to sew and my studyies on history.  In a sea of grey, black, browns, and whatever colors are popular with the dye lots for RTW any given year, I enjoy choosing a variety of colors.  The world around us is full of color and beauty, and we all have our own individual beauty and personalities, so why not give that awesomeness it’s just manifestation through what we are wearing?!  I wanted new skinny pants that were not another dark color – and how could such a lovely color not make me happy (especially with matching footwear)!  The shop that my pants’ twill came from as a stunning variety of incredible colors, so why not pick some out for yourself and make something special that’s all “you”, like I did here!   

Funny thing is, it seems as if the Versace line and I were of the same mind (though I made mine first)!  Check out how scarily similar this outfit is from their Spring/Summer 2018 ready-to-wear collection!  Look – it’s the same high-waisted, figure-hugging styled bottoms, in the same orchid-toned purplish pink…with matching shoes, too!  In honor of the 20th anniversary since Versace’s murder, his sister has brought back a style for next year that commemorates both the styles of the 90’s and influential celebrities who were his friends.

However alike, my trousers are actually sewn using a true vintage 1957 release from Burda Style, while my top is only very vintage inspired.  (I do see a slight 50’s air in a number of Versace’s items.)  I’d like to think vintage offerings that come from modern patterns definitely help past eras transcend time to meld perfectly into contemporary wearing.  Burda Style especially does a good job at “updating” the image of vintage re-leases!  Designers’ rehashing the details and trends from the past also creates a whole new appeal, too, whether people recognize it or not.  What goes around comes around is certainly true in fashion.

THE FACTS:

FABRIC:   Pants: 100% cotton twill, in 7 oz. weight with a brushed finish on the ‘right’ side, bought from “ebpfabric” on Ebay (here is the listing); Top: a 63% polyester, 32% rayon, 5% spandex jersey knit refashioned from an old maternity tunic of mine.  Some polyester jersey knit scraps leftover from this last Burda make went towards the facing for the neckline

PATTERNS:  Burda Style’s “High Waisted Trousers” #129, from April 2015 with Burda Style’s “Princess Seam Boatneck Top” #104, from February 2014

NOTIONS:  I needed to buy the zipper for the pants, but otherwise the elastic, thread, bias tape, and small finishing notions were all on hand for everything else.

TIME TO COMPLETE:  The pants took over 20 hours – I stopped counting after that amount!  They were finished on May 31, 2017.  The top took maybe 3 hours to make after maybe 3 hours of decision making about how and where to cut it out!  It was sewn in one afternoon, on June 13, 2017.

THE INSIDES:  Pretty nice!  The pants have every seam edge individually covered in bias tape, while the blouse’s insides still have some of the original serging (overlocking), but the rest are merely double stitched over.

TOTAL COST:  I am counting the top as free because it originally came from a thrift shop, probably for a few dollars, almost 6 years back now.  The pants cost me just under $15 for both material and zipper.  That total is probably just as much as I would pay for the cheapest pair of RTW skinny jeans, so I’m counting that price as an awesome deal for the fit, quality, and fulfillment of personal taste that has went into my pair.

I will say first off before any nitty gritty construction details that I absolutely LOVE both of these pieces.  These two projects might be the most versatile and my favorite Burda Style makes in a while.  The fabrics are first rate quality, and the designs of the patterns something not too readily found in RTW.  That said, they were challenging to make.  The top tested my mind trying to fit in the pattern pieces on the existing garment, while the pants were horribly drafted (for me at least), requiring some pretty tiring fitting.

Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced from the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t.

I’ll start with the bottoms.  I must say they do run short.  I cut them the given length of the pattern, and I really didn’t have any room for a hem besides a slight bias fold in for them to come to my ankles.  This was the perfect length, but I wouldn’t have liked it any shorter.  I’m about 5 foot 3 inches height so anyone taller than that, figure in to make the hem longer.

As I wanted a perfect body fit and ultimate practicality for the pants, I simplified the design just to the bare bones.  A summary of my changes are no in-seam side pockets, no ankle zippers, no fancy waist facing, and a zipper right where I can see it…in front.  For my next pair of pants from this pattern, I think I will draft a conventional zipper fly, but for this first pink pair they have an invisible zipper up the front to make them easy (versus up the center back as the pattern suggests – how awkward).  To support the top of that zipper, inside at the top there is a small strip of cotton velvet ribbon (for softness!) to act like a tab placket, with a waistband hook-and-eye to close the waist.  The waistband itself was made by stretching a strip of ¾ inch elastic down to the top edge, then folding it in twice and stitching that down for a wonderful body hugging, but stretchably comfortable and smooth-waisted option.

Go ahead and call me “granny pants” because these are wayyyy high up on my torso!  I like them that way.  Come on, ladies, honestly – I’ve heard the truth from many women I’ve talked to in in town who’ve told me they like my pants.  Nobody really likes to spend their entire day picking up their drawers every time they move or bend!  I know I don’t like the feel that my clothes are falling off of me.  With high-waisted pants, there is no awkward bulge in the wrong place (muffin-top, anyone?) just smooth waist and hip complimenting.

Hips are an excellent pivot point in women’s garment design and the decade of the 1950’s used that point to perfection – that wide spot we all love to hate comes in handy when you think of it as an anchor point.  A garment with a central mainstay above hips will stay in place…on ‘em, style has more of ‘sliding’ effect without the right styling.  Now granted, if you want something that sits at the hip, that’s fine too.  I wore everything at my hips as a teenager and still wear hip-hugging pajama bottoms.  I just think store offered RTW generally doesn’t offer much that will be most complimentary to an individual figure when it comes to a variety of pants’ fit, at least not like something made for oneself.  Only you know your body the best, and embrace that in whatever you feel makes you the best.  I like to go with my hourglass shape, and let my hips and high true-waist anchor my pants on my body, whatever the negative connotation for this fashion.

Keep in mind the fabric I used for my pants are non-stretchy – the twill material has little to no give like a knit might.  A really good, sturdy, quality twill that feels and performs like a denim that will hold its shape is what I wanted and used – especially since a material like this is impossible to come by in any in town store.  A non-stretchy woven is what the pattern called for anyway.  I can definitely see this pants pattern being much easier to make in a knit and turning out fabulously, so there’s a lot of versatility here.

The real secret to my fitting technique was to sew the center front (with the zipper) and the center back seams, then turn the pants inside out and have the side seams and inner leg seams pinned to fit around me.  This was a bit more challenging than it had to be because I was working on it by myself, but I really think this is the easiest, quickest, least painful way to get a body fit.  It would definitely be even easier with someone else’s assistance.  Once a good fit is pinned into place I marked the seam lines on both sides with water soluble disappearing ink pen, following that line for my stitching and washing it away afterwards.

As my fabric has no stretchy ‘forgiveness’, just to be on the safe side in the unforeseen chance that my body changes and I need to refit these trousers, I left a wide seam allowance…not a whole lot, but 5/8 to ¾ inches along the sides and inseam.  The thick denim would feel and fit a tad better I believe without the wide seam allowances, but having the possibility to keep what I made (and love as a wardrobe staple) for the long-term is something more important to me.

Speaking of items that endure from one’s wardrobe, I’ll move on to the top re-fashion.  My first step was to cut off the elastic empire waist for the tunic.  The body of the tunic became the bodice for my new top while the bust and sleeve sections managed to also be the new top’s sleeves.  Only because of the skinny princess seamed panels was this able to be fit in on what I had.  I did have to shorten the length of the hemline by two inches, but luckily that was the only way I had to “give in” and make a change for this re-fashion to work.  I like a shortened length anyway!  Too much fabric in the body might distract from the lovely off-shoulder sleeves.

The sleeves are really made of interesting pattern pieces of small rectangles curved dramatically on one side…and it turns out just wonderful!  I can completely adjust where I want the sleeves to sit on me for a slight change of look – I can pull them completely off the shoulder, or pull ‘em up like “normal” sleeves, but where they naturally sit on me is right over the angle where my shoulder ends and my arm begins.  Now, the back neckline did turn out a tad generous and it sometimes looks like a draped neck, but I’m okay with that.  The one major caveat is that strapless lingerie or a bandeau bra is needed with this style.

Both of these pieces can be similarly found in vintage patterns and some vintage reproduction garments, which why this is included as part of my ongoing “Retro Forward with Burda Style” post series.  The pants are already vintage from 1957, I know, but I’ve seen several patterns that remind me of their same style (see McCall’s #9221 from 1952 and McCall’s 4024 from 1957) so I just had to share!  In fact here is an interesting article to read, making me think that my pink trousers are technically “cigarette pants” or “stovepipe pants”.  The blouse seems to be a recurring style in the decade of the 50’s except they seem to call it, “a scoop neck, with cap sleeves set into armholes”.  See Vogue 8100 from year 1953, Vogue 9643 year 1958, an unidentified 50’s playsuit pattern, and “Unique Vintage” company’s 1950’s Marilyn top in either plus size or misses size for a few examples.

Ever since the most recent total solar eclipse several months ago (we were in the path of totality), I can actually look at this set’s inspiration in a whole new ‘light’!  That afternoon for us was truly a starry night in the daytime!  On a factual level, did you know Van Gogh actually painted “The Starry Night” from mental picture, as it was done during the day?  So my title is right on!  Do you have any artwork related creations!

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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.)

DSC_0771a-compFor this pattern, everything matched together beautifully, the fit is engineered brilliantly, 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!