Excuse the lack of new posts recently but an extended weekend trip to Chicago has eaten away at my free time for blogging. However, you know what a trip away for home means for me? New outfits were sewn! This equates to fresh new material to share on my blog for you to enjoy! Here is the most recent outfit project hot off my sewing machine – a summer silk hooded blouse from the 1990s and a linen early 1940s Clotilde brand jumper dress. I couldn’t have wanted a better set to wear for enjoying my day in cheery, luxurious comfort and style.
I have learned from many visits to Chicago’s surrounding Lake Michigan beaches that not all beaches are equally temperate. I find Chicago’s beaches to be pleasant and enjoyable to be sure, but quite windy with a cool breeze and not as warm as a Florida beach. Lake Michigan has water that can feel like it’s refrigerated, even in the summer! From previous visits to Chicago, I knew what to expect and mentally pictured exactly what was needed out of my outfit for our day at the beach. I’m happy to report, my set was every bit as wonderful as I had anticipated!
When 1940s meets the 1990s things are bound to get interesting! All my garments are in lightweight, soft and breathable fabrics which kept the wind and the sun from turning me into a crisp. The color scheme is richly saturated and elegantly cheerful. The fiber content is natural and sustainable in linen blended with rayon, and silk with coconut buttons, all finished using vintage notions. The styling is versatile and unexpected, which I love, with a fluid vintage vibe which is also timeless. Having a hood handy kept my hair tamed for beach time or when we drove our convertible car through downtown Chicago with the top down. I love an outfit that has some good eye-catching features with lovely tactile qualities.
I paired my me-made items with a 20-something old RTW cotton stretch tee as my base layer under the jumper dress this time. However, the billowy blouse included in with my jumper dress’ Clotilde pattern strongly reminds me of the 40’s chiffon blouse I made to wear with these 1991 NY NY “The Collection” McCall’s trousers. If you visit that post, you’ll see that this is not the first time I’ve combined the WWII era with the age of the Internet.
FABRIC: a linen and rayon blend for the jumper dress and an all silk satin for the blouse
PATTERNS: Clotilde sewing pattern #3559, estimated to be from the spring season of 1942, and McCall’s NYNY “The Collection” #5640 from January 1991
NOTIONS NEEDED: thread and a bit of interfacing (I used the cotton iron-on), bias tape as well as one vintage 1950s era metal zipper for the jumper dress, some vintage rayon hem tape for the blouse, and finally a pack of coconut buttons from my local JoAnn fabric store
TIME TO COMPLETE: The blouse and the jumper together were a combined time of 16 hours and were finished at the end of this month of May (just before our trip) 2022
THE INSIDES: All French seams for the hooded blouse and bias bound edges in the jumper
TOTAL COST: Both fabrics are from my local JoAnn Fabric store, but only the linen blend is still currently in stock. The silk was something I found many years back now when they sold limited amount of fine fabrics in the physical stores and not just online. It was on deep discount being as it was a one yard remnant of something the store no longer wanted to carry. My entire outfit all together cost me under $40.
Clotilde patterns, such as this one, were often for what was considered the average woman (not talking about body size average) or for the on-the-go teenage girl. I have noticed that Clotilde patterns through the 30’s and 40’s were often knock-offs of small designers or downgraded versions of Paris fashions for the woman who wanted a practical taste of the current styles. They were pitched in ad write-ups as easy-to-make (especially when they offered a line of notions and haberdashery to match) with design details to make them appealing enough to have an edge on the market. The company began offering patterns circa 1925, continuing to do so through the 1960s, and expanded to become a giant in the sewing catalog industry for many years. Ms. Clotilde passed away in November of 2011 and the Company was sold to become “Annie’s Quilt and Sew Catalog”.
Seeing as my Clotilde pattern was ordered through The Chicago Tribune newspaper, I researched through an archival site for that publication and was able to pin this design down to somewhere between the fall of 1941 and the spring season of 1942. As this pattern’s blouse is so similar to the sheer bishop sleeved one I already made (posted here, also intended to be paired under a jumper dress), I am leaning towards thinking both share a date of early 1942. Jumper dresses – intended to be worn over a blouse or top of some sort – were incredibly popular offerings through the mail order sewing pattern companies of 1941 to 1942, mostly tailoring their appeal for teenagers but also for young adult women. Jumpers are so good for beach time because it is easy to hide some shorts underneath, he he. This jumper has a very pre-WWII influence with the full skirt with a longer mid-calf length. Even still, it required just over a full two yards of material.
This jumper was simple and quick to make – except for the double sets of ties I had to make (I hate sewing them). Yet, as is the normal “quirk” I find for vintage unprinted mail order patterns, I had just a bit of trouble getting this finished. I correctly predicted it ran a tad roomy, as many old unprinted mail order patterns do. This sizing generally worked in my favor because I took advantage of it to do a modern 5/8” seam allowance. Even still, some of the quality to the pattern drafting was lacking, as is another normal “quirk” for many old mail order patterns. I had to taper in the side seams smaller up to almost 2 inches on each side, only from the top edge down to the hips. Luckily, I had greatly simplified the design so that the fitting efforts I had to do didn’t really set me back. The biggest change to the original design was that I eliminated the back button placket closure and opted to lay that pattern piece out on the fold for a smooth, seamless look. A vintage metal zipper was installed in the left side seam instead.
The pattern gave little to no direction as to where to place and button the shoulder straps. Mysteriously missing markings are another frequent occurrence to old unprinted mail order patterns. I guess it is obvious from looking at the original design that I simplified the shoulder straps by leaving out the ruffles to them. I pared things down to the basics even more by merely stitching the straps down to the jumper dress edge. Why bother to make them adjustable when the pattern didn’t help me out and I’d have to figure all the buttonhole settings out myself? The waist ties already add a level of fussiness to the style so stitching down the straps helped keep my travel wardrobe simple. However, the pattern did call for ridiculously simple bias strip edge finishing. I knew this design needed something more stable along the top edge, so I drafted together my own interfaced facing for the bodice. It was two steps forward and one back during the construction process, but this was not intended to be a perfectly fitted garment…so all is well that ended well!
The loose fit is sort of a design element based on the fact that there are waist ties to pull in the fit on this jumper dress. I love how they are like little pointed arrows that sit at the waistline where they are top stitched down. They help to visually slim the silhouette. To gather in and control some of the center back waistline fullness, I stitched in a strip of ¼ inch wide elastic to the inside. I picked a 3 inch horizontal segment at the waistline and sewed it into a 1 inch length of elastic, shirring the difference into gathers. This was not part of the pattern but my own addition. I also finished off the tie edges with a hand sewn buttonhole stitch for a little bit of a fine touch.
My hooded summer blouse pattern is by far the standout piece to this outfit. It is from my favorite NY NY “The Collection” line of McCall’s designer patterns which stretched between the late 1980s and the early 2000’s. This will have been the seventh NY NY “The Collection” McCall’s item I have sewn. There is a lot going for #5640 with lots of options to each and every item it offers so that an entire wardrobe of separates could be sewn of this one pattern. The hooded blouse has the option of instead being sewn up as a wing collar and was originally supposed to be long sleeved. How could I pass up something as uniquely amazing as a hood blouse, though!? My amazing silk satin was just begging to me to be used to full dramatic effect and this design hit my creative happy place.
Such items as hooded dresses or blouses were popular in the 1930s and 40’s for evening wear or resort occasions and now are rarities that sell for big money in the current vintage market. Fashion designer houses of Valentino, Givenchy, Max & Moi, as well as Aurora De Matteis all offer their own silk satin hooded blouses today. If I ever start my own business of offering couture finish custom-made ready-to-wear (not promising it will ever happen, though), a summer hooded silk blouse like the one in this post would be included in my collection. It is amazing to wear and truly a useful statement piece.
As I only had one yard of silk to work with for the hooded blouse, I overhauled the design to accommodate both my shortage of material and desire to personalize this amazing design for myself. The oversized print needed minimal seams so as to not disturb it. This was perfect for that because there are no darts or tucks, and the entire shirt is made of only three pattern pieces. Yes, you read that correctly. The hood was configured to be cut on with the blouse fronts – a one piece design! So cool, right?
The original pattern called for the front center but, as you can see, I altered this idea. It was intended to be a pullover top with a generous box pleat giving room across the one-piece front between the buttons and buttonholes which were to be worked onto the folded edges. I was not doing this plan with my reiteration, which has an open front like any other blouse. It is more versatile to me this way. I can tie the waistline together to cinch the boxy, oversized silhouette in and keep it from flying around in the breeze like a flag. I can still let my outfit underneath be visible, too, if I keep the blouse unbuttoned. I don’t have to risk messing up my hair or smudging the blouse with makeup by having it be a pullover. A hoodie is one piece, and that to me becomes more like a jacket. I wanted a hooded blouse and adapted the pattern to be such. However, it is loose fitting and rather makes a better overblouse anyways than being worn on its own.
My silk satin was so luxurious like insubstantial butter and a cooling delight to touch…I wish you could reach through the screen and feel it with me. Such amazing fabric deserved my bringing out the high-end finishes along with such a good design. There are solely French seams inside, which sort of makes it hard for me to tell the right side from the wrong side out for this blouse!
Then, I used special rayon binding to hem the bottom edge for a clean yet decorative inside. Such a notion is not manufactured anymore (to my knowledge) and it is a joy to use. It is like a piece of tangible happiness to see when getting dressed so I see it as worth it to use rather than hoard. I luckily have a few whole rolls of such notions so this was not the last to be had in my stash. Even still, you can tell which projects are more prized by me when there is rayon tape as part of the inside detailing. I hand stitched down the front and hood cut-on self-facings as well as the hem because I couldn’t stand to see obvious thread lines anywhere else but along the shoulder line.
Why highlight the shoulder line? I absolutely love the way the hood is one piece with the bodice front. I am proud of how well I achieved a perfect corner down and around where the hood angles into the back bodice. This way the dropped shoulder line can be noticeable, too. Might as well bring attention to how creative is the one major design line to the blouse! I chose to use an all-cotton thread to compliment the silk material, but it is a fluffier, chunkier, duller thread when compared to the satin finish. As I said at the beginning of this post, I was going for sustainable and natural fibers here.
Trips away from home especially give challenging incentives to my sewing plans. Now that we have traveled again after a long span of staying at home, I am remembering anew how trips inspire me to treat myself to exceptional hand sewn pieces (those over and above my everyday wardrobe) so I can rock my self-expression while creating wonderful vacation memories. Do you bring your own handmade wardrobe on trips with you? Please let me know I am not alone in this. My most comfortable, favorite pieces are necessarily also the ones I have made for myself so there is one basic reason to bring me-made items on a trip away. Seriously, though – can’t you tell by my glow that the beach is a special place for me? Just think of what an amazing new outfit added to that!! There will soon be more to come of our Chicago trip – hang on to this thread.
So – next time I have a break in my regular postings, just know that it means I am either taking personal time for recharging myself or at least working on some great new content. I truly have the best readers and you all are the best audience! For your information, if you only knew the amazing projects already sewn that are in my backlog of things yet to share, you’d flip. This post’s particular outfit had a special day out so recently, I had to share it right away. It was just too good, and I hope you are glad I didn’t let this outfit wait in queue to be posted later than sooner!