Blue Rose of Unattainability

If there is anything that symbolizes the impossible, it is a natural blue rose.  A true color blue just isn’t genetically possible for the thorny flower.  The closest color naturally or scientifically created ends up as a lavender, or violet, or a sort of mauve-ish pink.  Sure, you can dye or paint a rose whatever color you may want, yet science has been beat so far when it comes to growing a rose in an azure tone. 

This is why a blue rose mural is the perfect backdrop for a finished sewing creation which was so very challenging for me to make.  I seriously had the “what if I can’t figure this out” thought during the construction process to my dress.  I was terrified I had met the project which would beat me.  As you can see, I ended up working through it successfully!  Besides, this dress is also another 1950s Disney’s “Sleeping Beauty” motivated outfit as a follow up to my previous post.  I cannot just have one princess inspired garment, when it comes to my favorite Disney film, for my “Pandemic Princess” series!  The blue rose theme also lets my choice of color for Princess Aurora’s gown be quietly known.  As much as I love the color pink, her enchanted sleep was taken and awakened in her blue dress.  With her blonde hair, Aurora needs to leave the pink dress to Ariel, the Little Mermaid, in my opinion. 

White may be thought of as a ‘neutral’ or blank color but the funny thing is, I find it hard to find a pure white fabric that doesn’t have a blue undertone. This is a true rarity from a sewist’s perspective!  Only recently have I found out this occurrence is either due to a fabric treatment called “bluing” or an accumulation of acid in the water from deteriorating pipes.  It is hard to escape the frequency of blue in my wardrobe, even when wearing white apparently.  I went along with the theme and wore my blue tulle 50’s poufy slip underneath for full vintage drama.  With the subtle blue tint to the white, the wild rose flower all-over print of the fabric, and the elegant lines to this full-skirted, pretty frock I have an outfit that makes me feel like a princess in more ways than one.  The fact it is a hard won accomplishment to even be wearing this makes the wearing of it so much sweeter of a treat.  I found a different kind of ‘blue rose’ that is attainable…and I absolutely love it. 

THE FACTS:

FABRIC:  a super soft but thick Indian cotton bedsheet set

PATTERN:  Burda Style pattern #121 “Jacquard Dress” from February 2020, a ‘re-issue’ of a July 1957 “Burda Moden” design

NOTIONS NEEDED:  lots of thread and one zipper

THE INSIDES:  cleanly bias bound

TIME TO COMPLETE:  Not counting the time to trace and assemble the pattern, this dress took about 10 hours to complete.  It was finished on August 7, 2020.

TOTAL COST:  This bedsheet set was picked up at a thrift sale for $1.00…pretty awesome, right?!?

From the get-go, there are a few hurdles that set this dress pattern up to be challenging even before reaching the sewing and construction stage.  Firstly, the pattern pieces for this dress are out-of-control ginormous.  They are rather awkward shapes, too.  This was a big, exhaustive deal for me to trace out the pattern pieces form the small and cluttered magazine inserts.  I spent way too many hours bent over on the floor, tracing lines onto see-through medical paper, and taping pieces together.  The larger the pattern, the more I get confused over the lines, and there were several mistakes along the way.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a Burda Style pattern prepped because I add on the seam allowances as I cut.  An online version of the pattern would be a downloadable PDF that then needs to be printed out and assembled together, and this option sounded like too much paper for me to want to deal with. 

Laying out the pattern pieces on the bedsheets took up ALL of our living room floor.

Of course, all of these facts also mean that this design is a complete fabric hog.  You can only choose a fabric at least 60 inches wide (or more) and need about 4 yards.  A directional print or plaids were discouraged in the Burda info, for good reason.  My use of bedding with an overall print was perfect here.  It offered a lot of fabric in a wider width with a print that doesn’t overwhelm the dress’ design lines and all at a cheap cost.  Opting for a reasonable material rather than using any of the nice fabrics from my stash eliminated any extra stress on me to not mess up on this project.  The fabric was such a dense cotton it does have some structure to it – something very necessary for this dress – yet at the same time it is broken in enough to be so very soft and supple.  Yet, being a bedsheet, I could not tell grain line, just the bias, so I just followed the hem as it seemed the tightest woven direction of the fabric.  For this dress, cutting the bias correctly is almost more important than choosing a fabric with body, as the most interesting panels to this design are on the cross grain.

The Burda Magazine page sums this dress up as “a masterpiece” with its “couture draping at the neckline and waist…shaped in the fashion of a French triangular scarf.”  This is not just bragging on the part of Burda as I have come across a few designer couture dresses that have similar design lines with the ‘wrap-around-to-the-front’ skirt pleats that are part of the back skirt’s fullness.  Here is a 1950s Mingolini Guggenheim Italian couture gown and a golden 50’s cocktail dress from the RISD Museum of Costume and Textiles

The old original Burda Moden summary is a hilarious but still wise call back to 70 years ago in the way it warns “Never wear it in the morning, never combine it with a sporty coat and only wear it with at least mid-heeled pumps!”  To match, I am wearing reproduction “Miss L Fire” leather snakeskin and suede bow pumps and a vintage 50’s era netted hat. The earrings are vintage from my Grandmother and my pearl necklace is the same as the ones I gave to my bridesmaids for our wedding.

Let’s dive into the dress’s details, starting with the trickiest ones first!  There is a full ¾ circle skirt, with two pleated panels on each side that are seamed in with both the right and left back skirt panel.  Those panels wrap around horizontally from the side back, along the side waist, into and around the front draping.  The paneled strips are on the bias and actually one piece (cut-on) with the back skirt…and thus there are no side seams whatsoever from the waist down here.  At the center front, half of the back skirt’s incorporated panels (two on each side, remember) end by joining in with the waist seam.  The other half suddenly opens up to become unrestricted, individual tube-like ties.  These are then wrapped under and through the incorporated neckline drape, which is itself seamed into both the dropped shoulders and center front waistline. 

The skirt panels eventually end under a deep front skirt pleat on each side of the center front.  This way the entire front draping affair is one big interconnected “give-n-take” game, equally pulling on all parts of the dress and keeping everything in place.  My brain is still blown away over all this, and also rather stretched thin trying to explain how magical this Burda retro design is.  Not since I sewed this Jacquard dress using another Burda retro re-issue, which also happens to be from 1957, have I experienced this kind of intricacy in a pattern.

Under all of this complexity, the bodice is a basic dart fit.  A good starting point, a blank canvas, is needed for every masterpiece, right?!  There are several knife pleats in the back shoulders that open up to provide fullness for ease of “reach room” movement.  They also then become a low-key mimic to the more ostentatious origami-like folds to the front drape.  The center back waist has a pointed, lowered, dipped seamline, with an invisible zipper coming from that point up to the neck.  This dress has a slight ‘train’ to it and dips longer in the back by a few inches, nicely countering out the weight of the front and opening the pleats.  

I personally am not a big fan of the slight train.  It almost looks like I merely hemmed the dress wonky.  The train looks really odd when I wear this dress with a poufy petticoat, which I do on occasion when I desire a less of an over-the-top vintage appearance.  However, wearing a fluffy slip underneath is the only way to do this dress justice, otherwise I would suggest horsehair braid or another stiffening method to be added in the hem.  This is a couture dress – there’s no way around it, even though my version is in a fine cotton.  This dress requires plenty of time to perfect its details and master the silhouette.  There is no room for a half-hearted effort here, otherwise the dress will only turn out messy.  This is not a project for the faint of heart!   

It might be complex and fancy but this is also a dress which is comfy and very wearable, making the time and effort invested into sewing it very worthwhile.  It could equally be paraded down a red carpet or worn to a nice outdoor picnic party depending on the fabric chosen or how you accessorize it.  My one and only complaint is that the pattern’s sizing seemed to run smaller than usual.  I had to let out the sides and center back seam allowances to a scant 3/8” for a close fit in the bodice.  Otherwise, I wholeheartedly recommend this pattern in every way possible, even with its difficulties.  It is not for a novice, or even an intermediate skills individual who needs more than a words-only instructional text.  Yes, it may be a project that presents a challenge, yet it is worth it in every way when you end up with a dress like this! 

What is your “blue rose” – metaphorically speaking?  Do have a goal that seems an insurmountable hurdle, but you aim to conquer it?  Good for you – that is a “blue rose” kind of aim.  Do you also get annoyed at how blue all the white clothes end up?  Also, what do you think a blonde girl looks better in – blue of pink?  The funny thing is, these two colors were the choices (out of availability of the chosen dresses) I was down to for my wedding’s theme…and my two bridesmaids were both blonde haired.  They wanted pink to wear over blue.  I happily chose a soft pastel pink as the color scheme.  I will be following up this post with one more (final) “Sleeping Beauty” inspired project…and yes, this time it is in pink!

My Husband’s 1950s Raglan Sleeved Cabana Shirt

I secretly suspect my husband likes sporting the vintage shirts I make for him more than I like sewing them (which is saying a lot).  Either way, the mid-century has some fantastic offerings for menswear and with Father’s day just this past Sunday, it’s time to show you what he received as a present for the holiday a few years back.  So here’s yet another 50’s shirt I crafted for my man, sewn in a cool-toned Madras cotton plaid.  

If I’m going to sew him something, I am determined that it not only will be vintage but also something different (and better) than what can be found RTW in the stores.  Luckily, my man happily obliges me in this.  How often will you see raglan sleeves on a man’s button front shirt?  Honestly, very rarely, if at all nowadays.  This is sad because they are comfy to move in, easy to sew in, and so fun to match when using a plaid fabric.  You see, just because a style feature isn’t done any more doesn’t equate to it being a bad idea. 

Take the fact that the pattern I used is for a “cabana set”, to present yet another example of a clothing feature that should have never disappeared (in my opinion).  However, as is the norm for hubby’s projects, there was barely over a yard left of the material he chose…only enough for one piece and not two as a “cabana set” implies…so this might not be the best example in actuality.  Let’s just stick to the origin pattern labeling for his shirt, though!  The FIDM defines cabana sets (see post here) as “a marketing ploy begun in the early 1950s with multi-purpose sportswear, suitable both on the beach and off, which had a matching or coordinating set of man’s swim trunks and sport shirt or light jacket.”  It was “an outfit suitable (for the) relaxed, yet sophisticated, indoor/outdoor lifestyle closely associated with Southern California.”  In the post-war period, as men found themselves with the time and means to sit by the pool or on the beach with their families, there was a booming business in leisurewear (info from here).

Cabana clothing was often in bright, fun colors which were the opposite of the bleaker toned, more formal men’s work wear of the era.  This pastel plaid is not as crazy as many true vintage cabana sets for men, which got into almost neon colors and very novelty prints as they continued to be promoted into the 1960s.  Some cabana shirts were lined in terry cloth to be a pool-side cover-up, as the pattern cover shows.  Even still, my husband prefers the breathable, lightweight, sweat-wicking Madras cotton for his summertime shirts that do not get worn at the office, so this is his perfect warm-weather, vintage sportswear for today. 

Some manufacturers even took the guys’ cabana sets a step above by offering children’s and women’s sportswear that would match his own as well, although I think this is a bit too over the top.  I will admit I have matched him before to take advantage of scraps (see this post for his, and this post for mine) although we do not wear our shirts together but only on separate occasions.  Either way, his new cabana shirt was first worn to enjoy some weekend afternoon miniature golfing as a family, thus fulfilling a 1954 advertisement for Arrow brand cabana sets, which declared them suitable for “dad’s loafing, puttering or beaching.”  The mini golf place had a Southwestern flair with lots of waterfalls and water traps, so this is sort-of close to a California resort for us land locked Mid-Westerners!

THE FACTS:

FABRIC:  1 ½ yards of 100% cotton Madras woven plaid

PATTERN:  Simplicity #8659, a reprint of a year 1957 pattern, originally Simplicity #2080

NOTIONS:  The buttons were vintage from his Grandmother’s old stash, and I had all the thread and interfacing scraps I needed already on hand.

TIME TO COMPLETE:  The shirt was finished on June 14, 2019.  It took me only 6 hours to make!

THE INSIDES:  all French seamed, except for the back portion of the collar facing for which I used wide bias tape

TOTAL COST:  As this was bought as a discounted remnant length of material, and everything else was from on hand and therefore ‘free’, his shirt was about $10

It was easy and quick to sew together, and relatively the ‘normal’ amount of time to complete (for short sleeved shirts).  It would have actually been faster to make, compared to the other summer shirts I have made for him, but then it took longer because of the French seaming.  I’m not complaining!  As I mentioned above, I like to do better and different than RTW, which hardly ever has anything other than overlocked (serged) edges.  Fine finishing techniques when sewing for others really enhances the fact it is a treat and a gift, after all!

The shirt was simpler to sew, especially with the French seams, when you change the construction steps so you save the side seams for second to the last step (final step being the hem).  Raglan sleeves have softer shoulder shaping which is less defined when compared to set-in sleeves with a semi-circular armscye.  Thus, be prepared for some slight adjustments needed to the dart which runs down the center.  I don’t know who fits into raglan sleeves as-is, without needing some small tweaking to the fit of their unusual seams, but it not either me or my husband. 

Nevertheless, the greater issue I had with the raglan sleeves was attempting to match the one-direction plaid on so short of a cut of fabric.  I only exactly matched the front (across the button placket) and the collar.  The horizontal of the plaid match all the way around, even for the sleeves.  However, where the sleeves meet in the main body up to the collar was the most challenging.  I truly enjoy sewing a challenge…bring it on!  Yet I hate having to realize my “matching game” was going to have to be slightly off – so I focused on the predominant stripe color in the plaid.  It’s rather a busy plaid, and the many intersecting colors happily hide any little ‘mistakes’ I was forced to make. 

The sizing seemed to run roomy, but from what I see of vintage 1950s advertisements, old family photos, and other men’s patterns that are in my stash, it seems that is the intended fit.  He was okay with the comfy fit version, as I forewarned him before I cut the pieces out.  If you would like to aim for a snug fit, or if you’ve chosen a knit for this pattern (which I think would work out very well), I would suggest sizing down. 

Otherwise, do try this pattern for the man in your life.  It is a loose, forgiving enough fit that you might not have to tip him off ahead of time as to what present you are making by asking for his measurements!  It is still classic enough that with a great knit or modern print I think this vintage shirt would look very up-to-date.  I personally could see that this pattern would be a statement piece if it was colorblocked (sleeves, chest pocket, and collar in a contrast from the main body).  I always have more ideas than there is time.

I do have more shirts from other eras to make in the future for my man.  I have a 1930s blue striped shirt with a detachable collar to put together for him, a 1970s tunic, as well as a quirky 1980s pullover to mention just a few of my favorite “yet-to-make” projects for him in my sewing queue.  It just seems as if the 1950s are his fallback decade, for both his wearing preferences and for my sewing for him.  I just hope to eventually – one of these projects for him – have enough fabric to appease my inherent perfectionism.  I feel like I have said this before, but every very freaking time his preferred material is always too short of a cut to work with, being all that is left of a bolt, but somehow I still make the garment happen.  We will see…maybe by next Father’s day, or Christmas, or birthday I will sew him something from a different new-to-him era with a cut that is at least over two yards.  For now, this shirt is another happy success!

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!