Snow Bunny Bomber

There is a certain energy I, my husband, and son all feel when it snows.  It is a cheerful bust of fresh insight and renewed vivacity.  We HAVE to get outside to be in the middle of the weather, too.  However, I for one do not in the least like the cold so I love the challenge of dressing up in the utmost fashion while still staying cozy and warm.  Hubby calls me a “snow bunny” when I am so perfectly put together in my handmade wardrobe for the snowy weather.  All I know is that when I feel fabulous in my chic, me-made items that in itself brings on bonus energy…and compliments from others.  Yes, you really can wear something other than boring, practical clothes for the snow.  After all, it is the prettiest of weather occurrences, in my opinion, for where we live! 

So, here is my latest, greatest, and newest “snow bunny” sewing project for our most recent winter storm – an 80’s era faux fur bomber jacket.  It has an integral scarf feature to keep me ultimately cozy.  The “fur” has a thick knit base for comfort and ease of movement.  The hem bindings and scarf are soft, matching fleece.  It has dramatic batwing sleeves and an unexpected asymmetric closing.  Best of all, it is a designer style from my favorite couture creator, Emanuel Ungaro! 

The soft texture and icy light blue color suits as a proper follow up to my previous post, my Snow Queen inspired “Pandemic Princess” dress.  Not that this is actually a part of that blog series, but I certainly had my recent princess dress still on my mind when I whipped this jacket together, you can tell.  It is related, but separate.  That Snow Queen dress was my last project for 2020 and this related jacket was my first for 2021.  Crown or no crown, the inner modern princess in me delights in the practical luxury of this fun and warm little coat.  The falling snow is the best backdrop visual compliment to it I could have possibly wanted.

If you notice the details, there is a lot of older pieces from on hand which came together perfectly for this outfit.  For keeping my scarf in place, I included a giant snowflake pin, which I have had for many years now.  The beige boots and Isotoner brand gloves are 80’s vintage pieces from my mom back from before my time.  My skirt is something I had bought RTW from the early 2000 decade but has a nice touch of vintage reference to it, I think.  It is almost 30’s style with its fit-and-flare design and suit inspired herringbone acrylic knit material.  Yet, the 80’s rehashed many decades successfully and besides – a slim fitting bottom separate is the best option for a poufy jacket like this one.  I’ve always wanted something me-made and dressy to match with this skirt ever since I got it so many years back.  Finally, that idea has come true and it is glorious.

THE FACTS:

FABRIC:  One yard of a polyester faux fur combined with scraps of a polyester anti-pill fleece leftover from making this 60’s inspired Burda Style cocoon coat.

PATTERN:  Vogue Paris Original Design #1620, year 1985

NOTIONS NEEDED:  Just thread and a two hook-and-eyes, which I had on hand. No interfacing needed!

TIME TO COMPLETE:  This was made in 15 hours and finished on January 4, 2021.

TOTAL COST:  I got the fur on sale and the fleece was remnants (thus free) so the total was only about $10.

I had been holding onto the materials used on this coat for 2 years.  Only recently did inspiration suddenly strike as to what to do with the faux fur and fleece remnants.  I originally though a puffy vest might look good, or a princess-seamed moto jacket.  I only had one yard of fur to work with after all and scraps of random sizes.  Then I suddenly thought of how unconventional fashion choices appear so much more tasteful when using designer inspiration.  There is almost no one designer I favor more than Ungaro for killer coats, jackets, and suit blazers.  This is my second jacket design of Ungaro’s that I have made (see the first one here) from my pattern stash. I have many more patterns of his in my cabinets yet to make, so, after how much I like the two I have sewn, consider this the beginning of an obsession. 

Anyway, I figured, as I wanted this to match with a particular blue skirt (as I mentioned above), I had certain styles to figure which would complement but contrast with its slim silhouette.  I also wanted something new and different, something unlike what I currently have.  This wide and generous bomber jacket style was a happy guess-timate on my part.  I like bold fashion choices and I know it, which is why the 80’s is so appealing to me.  It would be such a relief if only I could get past the crushing self-doubt I have to deal with every time I create such a project. 

This faux fur is really sparse in loftiness or the ‘hair’ and therefore was easy to work with.  It reminds me of the kind of fur that is used for the ‘skin’ of such characters as Elmo, Grover, and Oscar who are on “Sesame Street” or Animal from “The Muppets”.  I only had to do minor parting of the fur at the minimal seams that were on this jacket.  I did no clipping of the fur as I prefer the long nap of it.  I also used a ball point needle in my machine to sew it and that worked out smoothly as there is a thick chain knitted backing.  It is soft underneath and not scratchy so I followed the instructions and did not line the coat.  I don’t need convincing to keep a simple project, well…simple. Amazingly, this is plenty warm being one layer.  

What adds to the warmth of the jacket is a combo of the fact that the front is a double-breasted wrap and there is an integral scarf collar.  My hubby said that the features of this coat reminded him of the 1950s, and turns out he wasn’t far off.  I have found several instances of integral scarf collar jackets and suits coats used on designer fashions of the late 50’s to early 60’s.  I did not interface the collar because you want it to be more like an attached scarf you cannot loose (so handy).  The pattern for it was all one piece that is folded in half, ending in an angled, pointed seam just like all those vintage original examples I show.  I love how the collar scarf follows the asymmetric neckline, closing on the left shoulder.   

The chest of the coat is double layered because it completely wraps around to close at the inner shoulder seam, oppositely of the scarf closing (right side).  I sewed in an oversize hook-and-eye in this spot and it is almost hidden in the plushness of the knit underside.  This way my jacket is just as neat if I choose to leave the scarf neck open instead of closed.  It is kind of similar to a moto jacket when worn with the neck scarf undone, a style I had a mind to possibly choose anyway.  There is a still a little room for versatility here.

One look at the envelope cover and you can see the one major detail I did leave out – the peplum.  Especially when paired with the matching skirt, I just could not like the peplum on the jacket.  I cut them out, and made them, and pinned them to the bottom of the otherwise finished main body.  I don’t know how the models made the original design seem so appealing, but the peplum made my jacket seem to drown me and become frumpy in style overall.  Part of my issue was that my peplum was cut in the same contrast fleece I chose for the scarf collar.  I had no other choice working on such limited cuts of material!  I believe the peplum issue comes down to the fact it added too much of a different color and texture to pair well with the fur of the main body.

This jacket was originally supposed to be a wrap closing at the waist but with the peplum gone, that would no longer work.  I cut off the long ties I had sewn into the side seams and unpicked the longer of the two.  Then I turned it into a hem casing and added a hook-and-eye at the corresponding spots along the new waistline.  (The front waistline pleats match together.)  Later I turned that second shorter tie into something worthwhile, so my tweaks to the design after the fact I were not a complete loss.

As the exterior fur is slightly itchy, I adapted the sleeve hems to match with the new waist hem.  I luckily had some pre-made fleece blanket binding which happened to be the same color as the fleece I was using.  I hand sewed strips of that over the wrist hem underneath the fur.  Just enough of the binding is sticking out to both be noticed and prevent the fur from touching my skin.  Hand sewing was easy because the wrist openings were skinny fitting and the fur covers up the thread nicely.  This is why I also hand stitched down the facing inside along the front jacket openings.  Designer inspired projects always deserve fine finishing.

Ungaro’s year 1985 jacket was an incredibly easy project for being a Designer Vogue pattern. This, coupled with the unused waist tie and peplum, led me to take the extra step to whip up a small accessory for myself out of the leftover remnants.  I made a little headband out of the tubing of the one waist tie left!  I cut the length of it in half, wrapped those two halves around each other, then hand tacked the joining fold where they meet in the center.  Finally, I stitched the ends together to a small cut of brown elastic (to match my hair).  It was easy, impromptu, and fun with no pattern needed!  I can always use a cute winter accessory.  I am still left with challenge of finding a good way to reuse the peplum’s fleece.  Should I try handmade gloves, maybe, for something very different and novel?  Or maybe a pair of 1940s era house slippers?  I have a pattern for almost anything here on hand.

What is commonly seen as inclement weather, is merely an opportunity to for me to keep off the chill in self-made style.  ‘Warm but fashionable’ is a combo I do not see most RTW fashion offering unless it is in a higher end price range.  If you can sew, though, those boundaries do not apply.  I made this on one yard and some remnants.  It was designer made in under 20 hours.  Send your worst, winter.  My wardrobe is prepared for you and my pocketbook is not on empty either.  

I hope you enjoy the snow as much as I do…but perhaps you don’t even get to see it at all where you live.  It transforms the cold into a visual delight (that is only good until you have to drive in it).  If you have made an item to counter your inclement weather, something that you feel great in but is useful at the same time, let me know!  I want to see how others interpret such a challenge of overcoming the elements in style.

Cold Shouldered

An ice queen wouldn’t really feel frigid temperatures, I would assume, so she can dress purely for beauty, aesthetics, and the power of her position, right?  Okay, we have that understood.  It wouldn’t be too assumptive either, would it, for the next step to be automatically suppose that character also has certain affectionless traits of a queen who has the capability to freeze water and produce snow?  Perhaps.  However, Disney’s animated “Frozen” movies both 1 and 2 (2013 and 2019, respectively) counter some of such widely set understandings of such a particular fantasy female character.  Ice queens are almost always given a villainess arc in other related stories and films, yet Disney’s version becomes (dare to say) thawed by love and warmed of heart yet still upholds her powers and magical capabilities.  It’s weird and kind of a disappointing change for me, but hey – Elsa does have some awesome cold-shouldered fashion in common with her fellow more malevolent ice queens, so I can definitely roll with that!

Because I am not really a frosty temperament nor am I tolerant of the cold weather, I am happy to have found a way to make an open shouldered gown warm to wear, vintage styled (of course), and practical all at once for a personal interpretation to an ice queen character.  Of course I needed the proper crown and jewelry to match the part, so I also crafted a crystal crown and ring for my set, too.  This is part two of my newest 2021 blog post series called the “Pandemic Princess”.  Part one can be found here – it is my remake of a dress worn by Anna, the sister of Elsa from “Frozen”, so this is kind of like a sequel post to that one. 

Yet, this princess post’s outfit is inherently different since I do not relate to Elsa (as I discussed at the end of my previous post).  Inspired as well by the old Hans Christian Anderson “Snow Queen” tale, I however, mainly incorporated strong references of my preferred ice queen, one who is just as enthralling as she is scary.  She jumps off alive from the pages of C.S. Lewis’ Chronicles of Narnia…the White Witch called Jadis.  She is a not a true queen of course (those who know the books understand) but she still reigns over her spell of an eternal winter with such an iron hand that there is no Christmas.  She is not a character to ‘like’ necessarily but I find her captivating as appalling in her mystery and importance to the story.  The seven Narnia Chronicles are just about my favorite books ever and the strong character of Jadis has formed my idea of a snow queen.  Disney did do a fantastic job at outfitting actress Tilda Swinton to become a great visual interpretation of the White Witch in the 2005 “Lion, the Witch and the Wardrobe” movie

One of the White Witch’s trademarks is her wearing of fur to symbolize her ruthless brutality to the creatures of Narnia.  A polar bear may be pulling her chariot one day then become a coat the next…ugh.  (See several examples here.)  After all, Jadis did wear as a collar the mane of the great Aslan the day after killing Him.  My outfit gave a further nod to the character of Jadis in a fair and humane way by wearing either my Grandmother’s vintage 50’s era fur coat collar or a cut of white polyester faux fur, leftover from a coat my mom made me as a child.  These added items were my refuge to keep such a dress with an open neckline warm to wear in the cold, anyway.  Such a style is called cold-shouldered for a reason, but it only becomes literal when the wearer is also frigid in personality.  I was doing my best at looking the part of a stern snow queen in many of these pictures, but it is really hard not to smile in an outfit this fantastic.

Both Elsa in “Frozen” as well as Narnia’s Jadis only wear open shoulder dresses.  The White Witch prefers dramatic, heavyweight dresses though while Elsa of “Frozen” sports lightweight, sparkling, elegant finery.  Both queens incorporate elements of the Hans Christian Anderson Snow Queen, who looked “as if (her dress) had been made from millions of star shaped flakes.  She was beautiful as she was graceful.”  (The classic Anderson Snow Queen also has a chariot and is portrayed in images wrapped in furs like the White Witch.)  All of these ladies gravitate to pastel blues, greys, and white tones (with exception of “Frozen Fever”).

Being worn with bare shoulders, I realized early on that my snow queen creation had to be a dress yet still be closer to a coat.  I wanted it out of a warm and sturdy material to channel Jadis, yet something soft and lovely in sheen to incorporate Elsa.  An all-cotton textured chenille which was found in the decorator’s fabric section on clearance at my local JoAnn store was just the ticket.  It has a white, frosty overtone to the dusty blue because of the fluffy nap (similar to a quality velvet).  Yet the substantial ‘hand’ to it, being a decorator material, is perfect to hold up a strapless dress.  You don’t see much of chenille anymore, both in stores and in fashion today, and that’s a shame.  It is lovely fabric that I remember liking a lot back in the 80’s and 90’s as I was growing up.  This flashback gave me an idea of what direction to look for choosing my pattern design.

Off shouldered vintage dresses are almost every time something super fancy, for evening wear, or not remotely utilitarian.  This was not something I wanted for my “Pandemic Princess” collection, as I said in my announcement post.  I need a “pretty princess” dress I can wear anywhere and everywhere, as often as I want!  I remembered how the 80’s and 90’s (cue the tip from the chenille) were so good at attractive avant-garde fashions which took unexpected creative spins on many ‘traditional styles’.  I found a “New York New York, The Collection” Designer pattern, a McCall’s #4442 from 1989, that hit all the right buttons for me.  It is part body fitting coat, part feminine dress, but altogether powerfully asymmetric enough to suit placing myself ‘in the shoes’ of an intense queen character.  Except for my shoulders, I could be covered up in the cold, too, in the ankle length and long sleeves – just like Elsa!

As weird as the pattern pieces for this looked on paper, the making of the dress turned out fantastic!  The fit was spot on, instructions were clear.  My dress is remarkably easy to move in, as well, and comfy.  It has raglan sleeves.  Pleated darts in the front from the neckline down which shape the bust yet open to give ease in the hips.  There are also pleated darts in the back which are sewn in from bottom to waist to give an amazing bloused back but fitted booty.  As proof, just freaking check out that silhouette the dress gives from behind!  There is a tapered skinny skirt and skinny long sleeves.  The front cover did a horrible job at portraying all of these fantastic details, and the back only gives tiny, limited line drawings.  Under the cover of the loosely sketched fashion illustration, it hides a gem inside.

I made a few slight changes to the design.  An asymmetric closure ends in a pleat which opens up into a walking slit (which I moved from being a kick open style in the back).  After all, Elsa’s “Let It Go” song dress has that infamous thigh-high front slit and sensual fit!  As I didn’t want to deal with closing all those buttons nor try to stitch in buttonholes through the thick fabric, I sewed the buttons down permanently to have the front be a mock closing.  They are silver foiled mock crystal squares to nod to the ice queens who inspired me. Then, I added a left side seam closing invisible zipper to compensate for the faux buttons.  Due to a small lack of fabric (buying an end-of-the-bolt on clearance meant I was ½ yard too short for what I needed) the sleeves are indistinguishably two-pieced along the elbow.

As chenille frays like crazy, all seams are finished inside with a double zig-zagged stitch to imitate overlock stitching from a serger, while the bottom hem and sleeves has vintage rayon hem tape in turquoise.  The instructions impressively called for very fine finishing techniques similar to what I see in Vintage Vogue Special Design patterns or modern Vogue designer ones.  I felt the chenille just couldn’t handle French seams or an additional edge binding, though.  I can wear a slip in lieu of lining and the fabric is not scratchy.  It was important to keep such an odd but fantastic dress simple. 

Speaking of simple, when prepping my supplies for the making of this dress I was prepared to tolerate the possibility of adding in an internal structure (boning or horsehair trim) to either the body or neckline of this dress.  I honestly had no idea going into this if it would just end up a nightmare of a project.  Luckily, it was not – only remarkable easy.  This was so different a style, I didn’t know what to anticipate!  I soon found that as long as I properly interfaced the front placket and the wide neckline facing as the pattern recommended, as well as found a snug fit for the waist and below, the dress stays up and in place. 

The pattern called for little shoulder inserts if a full cold-shoulder is not wanted.  I actually cut out these pieces of a skin-toned power mesh and had them ready to sew in, only to try on the dress and love it as-is with a fully bare neck and shoulder line.  The pattern has a wide facing which stabilizes the ‘collar’.  It was a weirdly wonky piece that I cut out of a dark green cotton and ironed heavy interfacing to the wrong side.  As crazy as that piece looked flat on tissue paper, it did the trick.  I adore the way this neckline frames my face and is low-key drama.  Without being snug, the wide neck opening is also not sloppy on my body.  It stay perilously on the curved ends of my shoulders so perfectly.  This is a mysterious wonder of a design. Did I say enough times already that I love this dress?!? 

Unlike the White Witch in the Disney film, my dramatic up-do is ALL my own hair!!!

Mirroring the way ice forms into defined faceted, geometric shapes, I chose natural crystal quartz to make my own crown and ring set to match my outfit.  Sterling silver findings give it that cold shine.  Back when I was at my local craft and hobby store buying the crystals, I was walking around the section for findings when I saw an ad for wire wrapping.  I liked the appearance of that technique and figured it might be a way to attach the quartz stacks to become jewelry.  This was my first try and I know there is vast room for improvement but I am happy my crazy idea was a success. 

I wound the wire in and around one quartz column then wrapped the rest of the frame to become the ring.  The crown’s crystals were wrapped around the center of a necklace wire.  This way I have not only made a crown, but also something I can wear as around the neck to make the most of my time, money, and supplies.  There are screw off nobs at the ends so I can even slide off the crown’s quartz crystals and reuse the necklace if I ever want to.  I’m all about splurging on something as superfluous as crown, but at the same time I’m also incredibly practical, you see.  What carat is the rock I am wearing, I wonder?  To match, my earrings are vintage 1950’s faux diamond pieces from my Grandmother.  My dark beige boots from my White Witch inspired photos are of the 1980’s era from my mom.  

Hey, Olaf! “Do you wanna build a snowman”

All of the ice or snow queen characters are so inherently sad, so I hope my version of such a role is a much happier, brighter spirited one.  A kiss of the Snow Queen blinds the mind’s eye of the little boy Kai – another kiss from her would have killed him.  Jadis only shows a mock kindness to Edmund so that she can later kill him and his siblings.  Elsa finds herself alone internally due to her powers, even after the power of love allows her to physically touch her family and friends.  Most all of us now know the crippling deprivation of seclusion in some manner since the pandemic of 2020 hit. 

As frosty as these queens are, they have now become easier to empathize with through the bitter loss of social contact in today’s society.  This post’s pictures were taken around Christmastime decorations and after a long-awaited snowfall.  Thus, combined with my fantastic new outfit and the company of my immediate family, there was a lot of fun to be had behind the scenes.  This makes for a joyful, novel understanding of the snow queen persona I undertook by creating this outfit.  I hope this shines through to you as you read this post and enjoy the images.  Let’s not turn into snow queens ourselves, but work on finding ways to let love break through the icy solitude and cold seclusion of the world today.

“Even if there is no Narnia, I will continue to live as a Narnian!” -quote from The Silver Chair. We had fun playing out the parts from the stories with our son!

Anne Klein Design

“Clothes won’t change the world. The women who wear them will.”

This is a very famous fashion quote which is attributed to the American designer Anne Klein.  Coming from someone whose talent and livelihood revolved around creating fashion that has influenced women around the world, this is a beautiful, powerful, and impressively truthful statement.  It celebrates the women that bring to life clothes, which carry no personality on their own until they are enlivened by the charisma coming from inside the body.  Just as her clothing is timeless and visionary, so also her quote is still so very touchingly appropriate today.

All of this I have mentioned – and inspired by the Anne Klein trends at the recent New York fashion week – are reasons why I am ecstatic to present something I made using a vintage Anne Klein designer Vogue pattern.  Unfortunately, my sewing project is not one of her famous separates but more a symbol of the year 1987 date on the design – a one-piece jumpsuit.  Vogue American designer patterns seemed to offer many chic and on-point jumpsuit styles in the mid-to-late 80’s, and this one seems to be a common-to-find release by the number to be found for sale over the internet.  It is a very Anne Klein version – classic yet a product of its times, tailored yet simple, and complimentary yet comfortable.  I absolutely LOVE having this piece in my closet!  Also – it has pockets!!

THE FACTS:

FABRIC:  a heavyweight rayon/cotton/spandex printed knit. It is about 1/8” thick, printed in the black and blue plaid one the right side while plain white on the wrong (inside) side, and a tightly stable weave.  It has a wonderfully soft feel and supple ‘hand’ that reminds me of a cross between a scuba knit and a brushed flannel.  I did use some leftover black poly scuba knit remnants for the neckline facing.

PATTERN:  Vogue American Designer pattern #1871, year 1987

NOTIONS NEEDED:  lots of thread, some strips of interfacing, and a long 22” zipper (which is of the vintage metal variety)

TIME TO COMPLETE:  This was whipped up in about 6 hours, and was finished on July 6, 2020.

THE INSIDES:  This knit does not unravel so I left the edges raw

TOTAL COST:  The plaid printed knit was from JoAnn, and was about $40 something for 3 yards.  The scuba knit scraps for the facing as well as the zipper were all on hand so are as good as free. 

There is so much that can be said about the life of Anne Klein and the way she impacted history, but I will only give you an overview.  “Anne Klein designed classic casuals with every woman in mind.  She was a visionary designer who originated the concept of a fully coordinated closet, providing a uniquely American point of view to the global fashion industry. Her trademark separates became the hallmark of a purposeful and stylish wardrobe – one that has informed trends for decades” (from anneklein.com).  “Recognized as one of the groundbreaking designers to put American fashion on the map, Anne Klein wasn’t just a designer, she was a champion of authentic style and empowered the way women dressed. 50 years later, her legacy continues to influence contemporary elegance and inspire the modern woman.” (from the Harpers Bazaar article “Anne Klein: The Legendary Designer Who Changed The Way American Women Dressed“)

Anne Klein was born August 3, 1923, in Brooklyn, New York, as Hannah Golofski

It was while studying art at Girls’ Commercial High School (now known as Prospect Heights High School) that Anne discovered her talent for design. Within a year’s time, she was employed at her first job in the garment industry with Varden Petites. There, she worked to redesign the firm’s collection and introduced a new style of ready-to-wear clothing for young, smaller figured women that would come to be known as “Junior Miss”

She spent the early part of her career creating petite-size clothing, elevating the category from girly frocks with Peter Pan collars into sophisticated sportswear.  This was in 1937 when she was awarded a scholarship to attend the Traphagen School of Fashion, which led to her first job as a sketcher for dress firms on 7th Avenue.

Anne Klein in her studio, 1950s

In 1940, Anne Klein began making a name for herself as a designer. She first began designing for Maurice Rentner at his business, Maurice Rentner, Inc., which produced ready-to-wear designs for men and women.

In 1944, Anne Klein joined with the two great women of fashion, Bonnie Cashin and Claire McCardell, to form a female design trio who laid the foundations of American sportswear.

In 1948 she married clothing manufacturer Ben Klein and they launched the “Junior Sophisticates” label. “Junior Sophisticates” offered elegant styles to younger women with smaller figures.  Anne Klein was the principal designer at Junior Sophisticates until 1960.

In 1964 she was awarded the Lord & Taylor Rose Award for independent thinking, an award first given to Albert Einstein.

In 1967, she patented a girdle specifically designed for wearing with the miniskirt.

She co-founded Anne Klein & Company in 1968 with Gunther Oppenheim, with a focus on separates, not suits – an innovation at the time – and within ten years her designs were being sold in over 750 department stores and boutiques in the USA.

In the 1960s and 70s, Anne Klein set the standard for professional, grown-up style. The company didn’t just dress women for the workforce. It epitomized their independence, confidence and multifaceted lives.

It was during this time (late 60’s and 70’s) of ready-to-wear fashion, “modern” designs for women, and an increase in the number of women in the workplace that Klein was one of the first to introduce, and to become known for, “separates”: individual pieces which work together as a whole, as opposed to dresses.

March 19, 1974, Anne Klein died of breast cancer at the age of 50.

After Anne Klein died in 1974, Donna Karan and Louis Dell’Olio took over the design direction of the company. Donna Karan, who had been Klein’s assistant, preserved the company’s aesthetic voice for a decade. But in 1984, Karan set out on her own.  Today, it is still an American company (privately held as of July 2019).

(Above information from this wikipedia article as well as this “Saving Anne Klein” article from the South China Morning Post.)

Now, after reading this timeline, it becomes obvious that this jumpsuit pattern I have sewn from comes after the death of the real Anne Klein, and also after the direction of her successor Donna Karen (who kept the company quite true to brand).  However much the designer line has lost its direction in the decades after Klein’s death, luckily, this pattern seems to be very much in a matching idealism of her namesake.  How often can a design from the decade of the 80’s be a classic wardrobe staple?  How often can an 80’s garment not be identifiably dated?  Since when does something from the 80’s not include an outrageous style, bold colors, and memories you’d rather not relive?  When it is done by Anne Klein design.

I think the saving grace here is two-fold – the tapered leg pants and the softened shoulder line.  The pattern recommended adding rounded shoulder pads inside, but I haven’t so far…I might come back and add them in for a change in the future.  The only thing I found is that the booty and the back shoulders were only generous in room, but some of that may be because of the supple knit.  The deep 4 inch hems to the sleeves and pants were handy at shaping and weighing down the jumpsuit at strategic places, and I stitched them down by hand for a nicely invisible finish.

For being a designer style, this jumpsuit was incredibly easy to make.  Of course, that is partially due to the fact I greatly simplified the construction by eliminating a full body lining.  When working with such a soft yet stable knit as I was using, I wanted to take advantage of feeling the luxuriousness of the rayon material and not over complicate it by adding the lining.  If I had been using a suiting material or some sort of wool blend, then yes – I would have totally lined the jumpsuit.  Even with a full body lining, sewing it would have been relatively easy because there are just a handful of pattern pieces, a few darts, a few pleats, some smartly strategic seam matching, and voila!  That is all!  I found the sizing to be spot on and I didn’t have to do any fitting tweaks so that also saved on time.

Eliminating the button back bodice placket in lieu of an exposed zipper back made me sad (I liked the look of it) yet it also saved this project in many ways.  I avoided the extra stress of figuring out a way to support several large buttonholes in this supple knit.  Sure, interfacing will always help stabilize such a spot.  Yet, the knit I was using didn’t seem to take well to small detailed stitching, so I was glad both that this was a simple design overall and that I found another way to close it besides buttoning.  Using the zipper helped keep the surrounding knit in the proper shape, which is important since for a jumpsuit the center back seam receives the most stress due to movement necessary upon wearing.  Besides, a back zipper is so much easier to handle when it comes to having to take bathroom breaks than the complicated possibility of both a zipper up the waistline and several button closings behind ones back.  That sounds so fiddly to accomplish on one’s self but looks great in the line drawing!  I guess that is the flair of designer fashion…to be a bit superfluous for the sake of visual aesthetic.

I suppose I might have downgraded the design by merely adding a zipper down the back but it is a really good one, though – true vintage, with metal teeth, a self-locking pull tab, and a blue cotton twill tape base.  I am guessing it could be as old as the 1940s.  Finding one in the wilds of a rummage sale at this 22” length is not that common, thus it has been a true gem in my notions stash that I have been so reluctant to use.  What good was it going to do me saving it when that zipper was just what this jumpsuit needed, and was going to give it a really great way to have a moment to be worthwhile?  Vintage zippers – even with their metal teeth – are much more pliable and bendable than any modern metal zipper.  This old notion was going to be much more comfy to wear and flow much better with the rest of the jumpsuit than any modern one could.  Sometimes you just have to take a breath and go use the good stuff for those really good sewing ideas.  When the right project come along, splurging on the good vintage notions usually ends up being worth it for me.

The only major change I made to the pattern design was the relatively small step of eliminating the sewn in belt-style waistband.  I am on the shorter side, not quite petite technically, and so getting rid of the extra few inches that the belt would have had gave me the perfect proportions.  Also, I did not want to define the jumpsuit with a contrast color for the belt waistband piece, nor did I want to complicate it with more of the plaid.  I prefer to add in whatever color and interest I feel like for the day through my choice of belt, shoes, necklace, and earrings.  I sometimes like this with beige tones, sometimes black and silver, but here I paired it with brown leather and gold (all vintage belt and earrings, by the way, and Charlie Stone brand flats).  I would not have had this versatility with an attached belt piece, but most importantly, I would not have had the proper fit.  I know I could have just taken some inches out of the body of the dress at the pattern stage, but this little change up was easy and catered to my taste all in one step.  This might be a designer style, but if I’m the one sewing it, I am going to personalize it, for sure!

For these times in which casual (aka. lounge attire) seems to be the 2020 work wear, fancy wear, and everything in between, chic sportswear is just the thing we need for today.  This jumpsuit is as comfy as wearing pajamas, but much more stylish.  No matter if I haven’t a reason, I refuse to forget the joy of dressing up, the delighting in fashion, and the creativity behind sewing.   I need all of this and daresay so many others do, too, no matter what the circumstances of the day.  This knit jumpsuit is as close as I have yet come to spending my day in yoga pants and oversized tee.  This is my kind of parallel.  I am so glad I could find out more about the great designer Anne Klein along the way to finding my interpretation.  Women of today need clothes that are as empowering, adaptable, multi-faceted, and 100% as capable as we are.  Sweatpants do not do any of that for me.  This jumpsuit is one of the many me-made pieces in my wardrobe that can, though.  Please, find yourself that perfect garment that can help you can the world – big or small…every little bit counts.  Remember – “Clothes won’t change the world. The women who wear them will.”

Picnic – Party of One

I don’t know about you, but I need to find time for myself more than ever in these crazy times.  A bit of self-care or at least a few moments of relation, or maybe even a little treat for oneself, is a respite necessary to get you through all the unending, demanding, crucial work that needs to be done.  A small, simple picnic – even if that means staying at home for it – can be just the remedy…especially when that includes a special adult drink!  I’m bringing the gingham and the linen cloth already with what I have on.

Looking to make the most out of small cuts of fabric floating around in my stash, I settled upon this fun 1980s era summer set.  Although this might look like just an interesting sun top with a basic pair of shorts, it is secretly more than that in intention.  It is a set that was a learning process for something bigger down the line…a sort of a training exercise on both how to do corsets and how to make something useful from even less than one yard of fabric.  I succeeded on both accounts here and ended up with a new summer outfit that I love unlike anything else currently in my closet!  What better reason to treat myself to a picnic, anyway?

THE FACTS:

FABRIC:  TOP – a polyester poplin in a golden yellow ‘tangerine’ gingham print from here at “Stylish Fabrics” on Etsy, with the body fully lined in cotton muslin and the peplum lined in a white polyester remnant (as I do these other peplums here and here); SHORTS – a heavy weight khaki 100% linen

PATTERNS:  McCall’s #8067 (from my personal stash) from year 1982 for the top and Simplicity #1887 from year 2012 for the shorts

NOTIONS:  Lots of thread, heavy interfacing, elastic, eyelet set, zip ties, seam binding and bias tape, and finally long lacing cord

TIME TO COMPLETE:  The gingham corset top took me only 5 hours to make, but an hour to retrace and resize, and an extra 2 hours to set the eyelets.  The shorts took me 5 hours to make from start to finish.  Both were finished around June 24, 2020.

THE INSIDES:  The top is fully lined, so there are no raw edges to be seen.  The shorts have all vintage bias tape with bright peach rayon seam tape for the hem.

TOTAL COST:  The short’s linen has been in my stash for so long I am counting it as free.  The muslin scraps and the poly lining for the top were also paltry remnants floating around for too long, so they’re as good as free too.  The rummage sale notions were pennies.  My only real costs were some of the special notions, eyelets + washers from here ($8) and zip ties ($3), and the gingham which I bought 2 years ago for $5.50.  Altogether I spent about $18 for this outfit set.

As simple as these two little pieces might look, they needed special supplies so they were a bit stressful to work with and challenging to gather.  I am dangerously low on certain sizes of elastic, and interfacing, basic cotton, as well as elastic are very hard to come by today so I was counting on this project being worth using my special supplies.  I also went ahead and ordered special corset specific eyelets, enameled in white (then had to wait for them to arrive, ugh) and had my husband pick up specific zip ties from the hardware store (which he needed to visit anyway).  I believe the lacing cord I use for the front of my top came off of a piece of clothing from my son that no longer fits into.  True vintage rayon bindings and bias tape (which my son helped me find at a rummage sale) were also used because I wanted these to be special from my point of view when I get dressed, even though they might not appear so from the outside.  So there were a lot of supplies from a lot of different locations and sources which involved creative thinking, anticipating the mail, and everyone in my household helping towards the cause.  Who knew sewing could be a family effort?!

Now, just like polka dots, gingham is my least favorite print.  I will avoid it at all costs.  So what possessed me to try this?  I’m always up for trying new things in my sewing, my husband said that tangerine color would look good on me, and bold, obnoxious prints always strike me as appropriate to the 1980s, to list a few reasons why I went for such a cheap little fabric splurge.  I needed a little bit extra to get free shipping on everything else I wanted to order from Stylish Fabrics at that time, anyway.  The big, obvious geometry to the print gave me just what I like, too – a challenge to see how well I can do some pattern matching.  I’m weird in that way…other people avoid prints that require too much effort to match, but for myself, I say “Bring it on!”  Luckily, I didn’t have to try too hard because this little top pattern was pretty basic, and there wasn’t any reason to attempt match with the bias cut ruffled peplum.  Yet, just look at those side seams!  Yes, they are hard to find because I matched up the gingham pretty darn well, if I do say so myself.  For the first time, I am liking gingham!

In the future, I really want to finish some of the historical projects I have had plans for over the course of many years past.  Yet – as any costumer knows – you have to start from the inside foundations before you can create the lovely outer garments.  I have ordered a circa 1840s corset kit from the Past Patterns Company so I can complete the rest of the undergarments I already have and finish my dress that I started 15 plus years ago.  Thus, I figured this little summer top would be a good project to make me a bit more comfortable and acclimated to the idea of a making a corset.  I took cues from cosplayers who teach via social media how to make a comfortable, non-historical corset on a budget with items easily acquired.  Just like I have seen others do, I used zip ties in place of proper boning.  Then, I strategically placed layers of interfacing in place of an overall heavy material.  Specialty eyelets are the only notion I did not scrimp on.

I could just picture this little summer top being all wrinkled up across the body and puckering out along the laced front if I hadn’t decided to have given it lightweight corset structuring.  This was my idea, to be clear, and not part of the original pattern’s instructions.  Granted, I also know that a modern or even a cosplay corset is not quite the same as a historical one, and the eyelets and boning will certainly be more time consuming and precise on my 1840s one.  All the same, though, this little structured summer 80’s top help me wrap my head around a certain idea.  It is not at all uncomfortable to wear – rather it feels good to know it will keep its shape and look good no matter how I sweat, move, or sit.  It’s funny, though, how the complexity I took towards making it is disguised under the image of an easy summer sun top!

As my body portion was fully lined in cotton, I immediately eliminated the upper edge facings.  Instead, I lengthen the facing pieces to extend from the neckline down to the bust and cut them out of heavy interfacing which was ironed to the lining cotton.  The sides of the top got a lightweight interfacing strip, as well as shoulder straps and the front eyelet edge.  Where the eyelets were to be installed, the self-fabric facing was turned under so there are plenty of extra layers there for support without interfacing.  The eyelets were a pain to install, did not go in consistently (even with using a pricey setting machine), and the back washers do occasionally pop out (but pop back in again, thankfully).  I blame some of this on the channels of ‘boning’ (zip ties) which are on either side of the eyelets.  Nevertheless, the front turned out so well!  I was terrified I would make a mistake putting in the eyelets and completely ruin my project.  That didn’t happen (almost did, at one point) so anything wearable out of this experiment is a success.

The peplum was actually the real risky detail, in my opinion, because I was super skeptical of it from the beginning.  “Hey,” I thought, “I have worn several different peplums before and I don’t want this to be a belly top, so I will give it a go.”  You know what?  I still don’t know if I love it, but I don’t hate it.  The peplum is kinda cute.  It sure is different, I will give it that.   Yet, too many unusual and new things in one project might be too much for me to handle.  Maybe this is why my shorts pair so well with the top, the way they are pretty basic.

Sure, these shorts are a bit baggy, wrinkled, and a simple elastic waist – but, after all, they are super comfy, a delightfully soft linen, and easy to put on.  They are just what I need in my wardrobe, and something I find myself wearing again and again this summer, so they are a winning project even if they don’t appear as fashionable as I had imagined they might.  Even though this is not an 80’s pattern itself, it has all the marks of being one, and so I’m counting the whole set to be of the same general time frame as my top.

For the shorts, I chose the size which I normally go with for modern Simplicity patterns.  Although they have a good yet loose fit, I could have went down a size for a more body conscious shape.  In this design, there is a lot of booty room, which I normally need, yet this is almost too much.  I definitely want to use some rayon crinkled gauze to revisit this pattern again and make some pants, so I will keep my lesson in mind for next time!

I do love the front waistband detailing and the deep, generous pockets.  These are the saving features to this design.  The flat front waistband keeps the bulk of the elastic waist away from the tummy (much appreciated) and the deep pockets combined with the baggy fit let me stash my phone and all sorts of items…and no one will know the better!  Why is it I feel I have to sew shorts, pants, and skirts myself to actually have bottoms that have such practical and complimentary features?!  Why can’t RTW items take cues from what people might really need and offer amazing items such as this?  I am only glad it is so easy to whip together the handiest little items – like these shorts – that I find myself wondering how I did without before.

Even though I had only one yard of each fabric, I did not use the full yard of either.  Amazingly, I only used barely over ½ yard of each, but then again, you all know how extremely efficient I am at finding an economical pattern layout!  Thus, these two are true scrap busting patterns.  Anything close to a yard is often considered a remnant, but a half yard is an obvious true leftover.  I’m not yet sure what I will exactly do with the remnants from this outfit.  It so easy to burn through my scraps to make cute and useful face masks, but I really think I ultimately want to save these fabrics to go towards something more creative and unexpected.  We will see.

Hubby laid out his old great Aunt’s handmade quilt for the celebratory occasion of my first time in this set…and what could be more appropriate for a picnic?!  I am connected to a whole slew of makers through both sides of my family, both women and men who were not afraid to make a living at one point in their life by being equipped with a needle and thread.  I am proud and happy to carry on a part of that.  Just the same, knowing when to stop and recharge is equally important when you work for yourself, especially at home.  “Picnic – party of one, you’re place is ready!”  Yes, please.  I’ve got a sangria in hand, so I’m just fine.