Agent Carter’s “Body Raid” Outfit – Burda Style Trousers and Jersey Satin Blouse

I realize this is a bit late for our recent civil holiday (in America) of Presidents’ Day, but nevertheless I will now share the outfit I made to wear for it…better late than never!  America’s sweetheart and Captain America’s crush, Agent Peggy Carter of Marvel, was of course my go-to girl for inspiration here because when you stand behind the super soldier defending the freedoms of the stars and stripes, your wardrobe naturally ends up being very patriotic!  As February is a short month, I am sneaking this post in between my dual posts on historical lingerie.

This outfit is part of my quest to have all of Peggy Carter’s wardrobe (as seen in both seasons of her TV series), as well as looking for something brightly patriotic, wonderfully 40’s era, and supremely comfy.  You see, I wanted a special set with all of those qualities to wear during our traveling weekend, and a trip gave me a good reason to buck up and finish a Burda Style project for the month of February (meaning the pants)!  I have been supplying myself with a nice and varied collection of trousers and pants, and this one is definitely another kind of ‘different’ to do – all baggy yet still tailored, and definitely vintage-inspired.  The blouse half of my outfit satisfies my current “thing” for making tops, and it is sewn with a knit, which is both easy care and different, too, for my 1940s wardrobe.  Also, it is made using a vintage Advance sewing pattern, a brand that is not seen as much, with leftover material from a past Agent Carter project of mine, for even more special connections.    

This outfit’s original inspiration can be seen on the Agent Carter television series by Marvel, specifically Season Two, Episode 5, “The Atomic Job”, when she breaks into a morgue to steal a body that holds the evidence her and her friends so desperately need, before things end up taking a much more dire turn.  In our pictures, my version of Peggy Carter’s outfit is seen in the historic Union Station of Kansas City, Missouri, for a much less heavy reason – a destination trip to see some exhibits.

THE FACTS:

FABRIC:  The blouse – a polyester interlock knit with a satin finish is the primary fabric (same as what was used to re-fashion this dress), with cotton broadcloth scraps to line the inside of the shoulder panels for stabilization; The pants – a half and half linen rayon blend in a purple toned navy blue (same as what was used to make my turn-of-the-century Walking Skirt) with a fun rayon challis print (leftover from this dress) used for the pockets

PATTERNS:  A vintage original Advance #3182 pattern, circa 1941, was used for the blouse and a Burda Style #102 for the pants – view B is the “Marlene Trousers”, while view A is the “Button Tab Trousers”, both the same and both from September 2013.

NOTIONS:  I had all I needed on hand – thread, interfacing, bias tapes, hook-and-eyes, a metal jean style zipper, and vintage pearl buttons.

TIME TO COMPLETE:  The pants took about 20 to 30 hours of time to finish on January 17, 2018.  The blouse came together in about 10 hours and was done on February 14, 2018.

THE INSIDES:  The pants are as professional as I could make them – all tiny but fun bright red bias bound edges.  The blouse’s material doesn’t fray so it is left raw to make my work easy for a change!

TOTAL COST:  maybe $20, at the most $30.  Both fabrics were bought at Jo Ann’s Fabric store

This set was a wonderful mix of sewing things I’m used to, with an added element of difficulty.  I’ve sewn many pants and trousers by now, but this pair was labor intensive and required dedication to finish.  I do feel it brought some of my skills to the next level and perfected others.  This was by far the most challenging Burda pattern I’ve tackled yet, besides this coat, but it’s so worth when it comes to what I end up with having!  The blouse was not far off from any other traditional blouse, but the fine, lightweight material in a knit made it slightly tricky to sew, besides the fact it has very unusual front shoulder panels.  I splurged on this blouse and used some prized vintage notions from my stash, just to be close to the inspiration Agent Carter blouse, with its pearled square buttons, so this was an added special touch a bit out of the ordinary from my “normal” sewing.

Both patterns had their aura of mystery when it came to getting them to fit.  The blouse was a vintage unprinted pattern, marked with a code of dots, but as I have done so many of these by now, it was no problem to cut and it fits beautifully.  Yet, I was dubious about the pattern because every time before this I have sewn with an old Advance pattern, they have run small in size.  Thus, for this pattern, it is happily a size too big for me already, and it fits.  With the knit fabric, I actually could have brought the blouse in a bit, but I’d much prefer a bit generous than too small.  For the trousers, I realized (correctly) that they probably run a bit big due to the generous silhouette and wide legs.  However, I figured it’s easier to take a garment in than work with it when it’s way too small, so I stuck with my “normal” size that I always tend to make in Burda Style.  Yes, the trousers do run big and I probably could have went down a size, after all.  However, because of the way these pants are finished in the back center waistband, sewn up there as the last step (very similarly to menswear, actually), these were easy to take in an extra bit for a size that is better than they could have been, not as good as I would like.  These are so comfy being roomy, and I do love the style, so I can’t really complain with all that much energy!  Perfection in an art (and I include sewing under an art form) is relative to one’s contentment with one’s work and the either unknowing or appreciative eye of the beholder.  Both pieces turned out great and taught me more than I knew before.  There’s something good achieved, beyond the fact I have another Agent Carter set! Squee!

Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced from the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that I pick out my chosen size and add in your choice of seam allowance width (I normally add in 5/8 inch allowance), but others do this directly on the fabric as they are cutting out.  A scissor with a magnetic ruler guide attached helps immensely for adding on the seam allowance easily.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t.

Burda patterns do frequently get the bad rap of having terrible instructions (they’re words only), but I did find these to be quite good…except when it came to the front fly and its self-placket.  I was lost, but that was okay.  I looked at my husband’s existing pants, and remembered the last trouser fly I had made, and sewed it how it made sense and was practical.  You know what?  These turned out great.  The side pockets smartly have a panel extension that continues towards the middle to connect (inside at the facing) with the zipper fly.  This is a wonderful detail that helps out taming the front pleats, but made it confusing to sew.  It did turn out a very smooth and flawless inner waist and tummy area this way.  The side pockets stay nicely in place and balance out the bulk of the fly by those extensions pulling it in.  I did a lot of invisible hand-stitching, though, to make sure the front fly looked quite nice.

The welt pockets – to me – are actually the best part to the pants, even though I detest sewing them and find them exhausting to make.  There’s something about cutting into the middle of a perfectly good garment that makes me doubt my capabilities.  One welt pocket took me just over two hours to complete…but I’m so much happier with it than my last attempt!  The instructions for the welt, and its markings were right on and helpful.  I wasn’t sure if I really wanted the pocket flap, but now, most of the time, I keep it tucked into pocket.  If I ever feel like wearing it out of the pocket more, I might feel obliged to stitch on a button and buttonhole to keep it down, like the instructions recommend.

I did add plenty more belt loops than the pattern called for, mostly because my pants (as I said) are still a bit too big on me.  The more belt carriers, the better the trousers stay up, for there is a darn lot of fabric here to wear anyway!  The side tabs on the waistband were left out in lieu of the extra belt loops.  I fear that the wrinkling in the waist and back pants legs are not due only to the properties of the linen material, but also from the fact that the waist buckles a bit from bringing it in under the belt.

The complete indulgence in excess fabric to these pants make them very much like pre-WWII menswear styles for women.  Burda aptly labels them “Marlene Trousers” after the woman that channeled her own taste for the masculine-feminine dressing for the empowerment of others to do the same in the face of society – Marlene Dietrich.  She certainly started something when she appeared on January 12, 1932 at the opening of The Sign of the Cross movie, wearing a masculine tuxedo, wing collar, soft felt hat, mannish topcoat, and a pair of men’s’ patent leather shoes! Dietrich, who had been wearing trousers publicly as early as 1929, and Greta Garbo were the 1930s pioneers for menswear styles for women.  Yet, “I wear them to be comfortable,” Dietrich is quoted as saying, “not sensational!”  1930s ladies’ menswear borrowed heavily from what guys were wearing especially when the materials were woolens and other suiting, but women also found their own interpretation in the super-wide legged, flowing beach pyjamas of summer and resort scenes, skirt-like Singapore trousers, and other unique interpretations of bifurcated bottoms.  These were also, no doubt, part of the luxury that was the mindset of the 1930’s, especially for Depression times.  Fashion counter-reflected what society was really going through, so from the boom of bling with costume jewelry to the luxurious evening gowns, the trousers, too, had every added feature that used as much extra fabric as possible – cuffs, deep pleats, and generous pockets.  Check, check, and check…these Burda pants have all that aplenty!

My own pants are somewhat a mix of the heavy men’s suit style with a little female influence with the lighter weight linen blend, non-suiting material.  This is a kind of trouser style that could have been worn throughout the 1930s and well into the early 1940’s.  This pattern definitely deserves to be included in my ongoing post series, “Retro Forward with Burda Style”.  A good pleated pant of this style is hard to find.  Vintage pants were always ironed, or sometimes even stitched, with center front and back pleats on each leg.  Most pants that I see nowadays which attempt this “look” end up fitting so tightly past the hips there is no point in having a vertical running pleat, it cannot continue down due to the tight fit in the thighs and below.  Now, I know my pants do not show as crisp a pleat as I would have liked, but it is there and they can hold it quite well when I am not traveling in them.  Nevertheless, these pictures show the reality of my pants being used and worn for real living, well-traveled in and time tested…and I think they prove themselves quite well, especially for being linen-rayon!  (See? You can travel in and wear linen!)  I’m really surprised that bloggers and seamstresses in the vintage community haven’t discovered these after all the 5 years this pattern have been out.  These are like rare gold!

To match with the whole pre-WWII style, my blouse is from 1941, before America had been completely committed to the war effort.  Besides, Agent Carter herself was a woman stuck in the past, due in no small part to her fond yet painful memories of both knowing and losing Captain America.  These were two of the reasons for using this particular Advance pattern.  I know it is not exactly alike to the inspiration garment, but it is perfectly her style as she has a penchant for blouses with small yet stunning and beautiful details, whether it’s in the top-stitching or design lines.  This one certainly fits the bill with its special pointed front shoulder panels, square buttons, silky finish, and menswear-style back shoulder panel.  It’s simple at first glance, yet more complicated the further one looks.  This is one of the few blouses I have made that has this much all over gathering…here, there, everywhere!  Most of the times I use menswear inspired, professional-style pleats in the sleeves nowadays, but this flowing feminine fabric deserved a departure from my norm.   

Yet, there is one more detail that deserves to be told.  The front buttons came from one set that was bought (intact on a lovely decorative card), while the other two for the cuffs are a size bigger, from a pair that were in the stash of hubby’s Grandmother.  Not too often have I come across two separate vintage button sets that actually match up with one another.  Button serendipity sometimes does happen.

Both of the bottoms and top are made from various leftovers, as I mentioned above.  Besides the whole “reduce-and-reuse” sensibility of it, and the way it whittles down my ever growing fabric stash, I do like how the connection with the previous outfits these fabrics went towards is perfect for a new Agent Carter set.  The Agent Carter dress re-fashion from exactly one year ago had just enough left over to make this post’s blouse, bringing together two of my Peggy creations. 

The linen of the pants is the same material as my 1905 Walking Skirt, the first power separate, much like 1930s and 40’s trousers, from an earlier era for a self-reliant, independent, and active woman.  After all, Hayley Atwell, the actress who plays Peggy Carter, also plays a similar character led by both her heart and mind in another television ministry taking place around the turn of the century, “Howard’s End”.  The small, almost worthless leftovers from my 60’s wrap dress became novelty pockets in my pants.  It would just be like Peggy, who had a photographic memory for detail and the mind of a true government agent, to remember some little scraps to hide a secret in her clothes.  Now if it really was Peggy wearing these, there would be some coded message or handy tool inside my pockets as well!  Contrast pocket fabric is a fun, personal touch that only I really know about (well, not anymore!) but just knowing it makes me smile inside!

It’s these little personal touches in one’s sewing, especially when it’s not something publicly noticed, that makes one’s work a very individual art. Using up every bit of what you have and having all of your projects go to ‘help’ out other projects, can make you proud and feel like you are doing something bigger than yourself (and you are!) by making your own clothes. 

Be like Marlene Dietrich (or Agent Carter) and wear what you want, without fear of judgment or scrutiny.  There is no better way to do that today than sewing one’s own clothes or even buying second hand, whether vintage or not.  I for one feel my best self in something vintage, and/or handmade, and especially Agent Carter related.  You know, there is almost nothing more lovely and catching than the self-confidence that comes of being assertive in who you are and the clothes you are wearing!  Find that sweet spot and change the world.

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“Alley Espionage” – a 1945 Glen Plaid Suit Set

There are many, many old movies that I absolutely love, and then there are others that I like just as much in their own way for being interesting, inspiring, or having actors/actresses I enjoy seeing.  The 1945 noir film “Escape in the Fog” is one of the latter.  Actress Nina Foch plays the part of a mentally battered war nurse who had a frightful dream of a future event while on leave for rest.  She disturbs the hotel guests with her screams, bringing her to meet one of them – the actor William Wright, a mysterious but friendly (and handsome) double espionage agent whose future she had foreseen.  Nina Foch becomes an important part to William Wright’s mission, but later she becomes a desired pawn for those w ho would seek to sabotage his efforts.  I hope I didn’t give away too much of the plot here, but I find the details of this movie enthralling (the conversations, the subjects, etc.), as it was made during war time.  Although it is not as good as Marvel’s “Agent Carter”, I enjoy seeing the lovely Nina Foch take on a significant role for a woman trying to actively aid world events, besides enjoying her alongside William Wright, to me one of the most dashing and little known Hollywood men of WWII times (next to John Hodiak).

What this chatter amounts to for this post is the fact that I made a suit set inspired by the fashion on the “Escape in the Fog” movie.  It all started with finding and buying a $5 vintage beret-style wool hat, really.   Soon after the hat was bought, I watched “Escape in the Fog” for the first time and I saw an almost exact style hat worn on Nina Foch.  A few years back I had also made the skirt half to a 1945 suit set, and seeing all the finely tailored suits and trench coats both Wright and Foch wore in the film inspired me to finish up the coat half of my set.  Now I have the perfect year 1945 outfit to relive “Escape in the Fog” by watching the details of life down darkened city alleys and warily wind my way home in the gathering dusk in a complimentary muted grey Glen plaid.  It’s really the perfect suit for anytime, but a girl can dream, right?!

THE FACTS:

FABRIC:  a rayon and acrylic blend brushed Glen Plaid suiting with a grey cling-free polyester lining the coat blazer.

PATTERNS:  a vintage year 1945 Advance #3964 pattern together with a year 2006 Simplicity #4044 reprint of a 1941 Simplicity #3838

NOTIONS:  The buttons for both the skirt and blazer came from the stash of hubby’s Grandmother.  The bias tapes, interfacing, shoulder pads, and thread I used were already bought years back and on hand.

TIME TO COMPLETE:   The suit jacket was made in about 20 hours and finished on October 25, 2016.  The skirt was made pretty much a year before, whipped up in only a few hours.

THE INSIDES:  The skirt is all bias bound finished and the suit jacket is fully lined.

TOTAL COST:  Well, I sure stretched out only a few yards here!  I only used about 2 ¼ yards for this suit – true 1940’s rationing smarts – which leaves me with about ½ yard leftover for another project!  This suit set probably ended up costing me $10 because the suiting was bought on clearance from the now defunct Hancock fabrics, while everything else was from my stash on hand.

Well, this suit might be vintage but it also happens to be right on trend this cold season.  Suit sets are the new “thing” it seems and popular in all styles and variety (see this recent post from Simplicity)!  There is a suit style out there for every body and every taste – vintage or modern!  Yet, I love how 1940’s suit sets are strong but womanly, simple at first glance with details and fitting that is top rate.  This suit was originally intended to be entirely made from one vintage pattern, but as my old Advance #3964 was missing significant body pieces for the suit jacket, I had to improvise and use a modern Simplicity reprint to supplement.  New pattern and old pattern combined, same wonderful details with a result I love!

Some of the older Simplicity reprints have disappointed me before when it comes to fit so I was wary about Simplicity #4044.  I’ve already made the arch-waisted pants (blogged about here) and the skirt (yet to be blogged), and they turned out great.  Thus, I had high hopes for the jacket, and I was not disappointed!  It was as easy as a suit jacket is going to get, and the fit was spot on…no bad surprises.  I do miss the two piece, true suiting sleeves but the front closing and the general silhouette was strikingly similar to my old original Advance pattern’s jacket so I just had to try it out.

My favorite features to the suit jackets are a combo of the pockets and the bias front shoulder panels.  Look how they really make such a simple design have some character that elevates!  I interfaced both of these pieces in heavy interfacing, while the front facing along the edge of the jacket opening is reinforced in a slightly lighter weight interfacing.  I feel this use of two different interfacing weights is a good idea for this jacket pattern.  The bias shoulder pieces need to be stable to keep the strong shape of the jacket, and stiff pockets on lend a crisp, matching flawless air.  The wide curving front closing edge isn’t quite supposed to be limp, nor like a poker, so something in between seems to be the right body.

Yes, I did slightly cheat as to the closure and made a fake button hide the snap closing front.  Sometimes when I am undecided when it comes to what button to choose for a project, I am so reluctant to make something as permanent as a buttonhole.  However, I did make this snap closing very nice and use it as an opportunity to try something new!  With a tiny fabric remnant, I covered the exposed half of the snap before stitching it onto the jacket.  It is fun to have such lovely features as this fabric covered snap on my sewing…it makes me feel so proud of what I can accomplish, and gives me what I feel is a small taste of the amazing attention to detail and fine finishing which is on couture garments.

Now my skirt was the necessary half to my finished suit but definitely the most simple and useful.  Without the matching jacket, this skirt can go with many other items in my wardrobe – navy, ivory, green, and brown blouses, tops, and sweaters as well as a true vintage forest green 40s blazer (see this set put together in this post for Emily’s Fall Color Challenge).  In this post I am wearing the whole set with a creamy pastel yellow blouse (not me-made, from a resale store years back) to brighten up the set and contrast with the black accessories.  With the lofty thickness of the suiting and its brushed, cozy finish, this skirt is incredibly warm – like being wrapped in a blanket – yet with a light and manageable weight.  I really don’t know how I made it through the winters before without this skirt!

I love how the pattern simplified the box pleat by having it all-in-one with the skirt.  There is merely a center front seam and center back seam that nicely lines up the center of the folded sections which make the box pleats.  I do find it sort of unusual that there is a center box pleat in back, too. Usually it’s only on the front.  Sitting on a skirt back box pleat rarely ends up other than a mess, but surprisingly this one keeps its shape really well.  Maybe it’s a combo of the fabric and a thorough steaming job from the iron.  Whatever it is, it works!  The fact that the folds of the box pleats are on a slight bias does give them a slight squiggly appearance, however

Making the skirt was a bit frustrating for as simple as it was because it ran so very small!  Most of the time patterns outside of the “Big Four” (Simplicity, Vogue, McCall, Butterick) tend to run on the larger side with a few random ones being true to size.  Not this Advance pattern!  I even graded up so it should have been slightly roomy on me, but no – it turned out mysteriously too snug.  Luckily, I had extra room to give myself by letting out the side seam allowances as far as possible for the perfect fit.  However, I would have preferred not to have to do that because there’s now no leeway if I need more room yet.  I suppose it was a good thing after all that I did not use the suit jacket half of the same pattern because it could’ve run on the smaller side as well.  I do see a good number of these Advance #3964 patterns for sale all over Etsy, Ebay, and various other pattern market sites, so if you pick one up for yourself, you’ve been warned about the sizing.

Sorry, but if you would like to see the “Escape in the Fog” movie for yourself, it is frustratingly hard to find.  I just happened to get lucky and catch it on our local station which shows old classics.  For being a movie from 1945, it is rather like one of the early pioneers of the Film Nor genre which hit its height post WWII.

However foggy and dreary my suit is in color, it is certainly not bland but useful and exciting to me.  Actually, it is only the beginning of a small spell of suits that I have lined up for the next few months, most of them from the 1940’s.  Will you be joining in on this suit trend, too?  For me, it’s pretty much an excuse to make some of what has been languishing in my want-to-do project queue!

1941 Convertible “Pinny”

Sorry, but this is not a name for an unusual kind of motor vehicle, it’s just referring to an unusual, yet very useful and attractive kind of garment which I have made!  I now have a pinafore dress whose “top can come down”.

Don’t take that the wrong way – all I mean is that this 40’s pinafore has been made so that it can come apart to be two separate wearing pieces if I so desire.  After all, as much as I unabashedly wear this pinafore set out and about, I’ll admit it’s not something I’d want to wear in its entirety in every social setting.  This way, I really don’t have to change completely…just change tops for a new and updated look.  Such a dress, made the ‘convertible’ way, completely transcends the almost 80 year time gap, making it truly something that is ultimately useful and sensible…the goal of a pinafore anyway.  I believe I have nailed a way to bring the pinafore to the modern wearer.  I managed this outfit all on 2 measly yards, too.

Guess what makes this even more up-to-date?  There is a hidden division to this pinafore where the top and the skirt attach at the waistline – above it is authentic to year 1941, below it is a modern Burda Style pattern.  Together, they both complement one another to the point that they even the other out, like a good marriage.  I see the modern bottom making the vintage top more like a trendy “Shabby Chic”, and the ’41 pinafore top bringing out subtle past references from the current design.  Separate, each of the two pieces work well with others (in my wardrobe I mean) making sure one or the other sees the light of day more frequently than not.  As much as I make what I like, I do always try to make garments that are still practical on some level to keep things from just hanging in my closet.  After all, there’s no use in making something to wear if you won’t wear it, right?  And remember – having the gift of sewing open up the opportunity for limitless ideas and customization.

If you haven’t seen my previous post, or if you haven’t encountered this weird ‘thing’ I’m calling a “pinny” (which is short for pinafore), I’d recommend you head on over a read it, please, for an explanation. Face it, a pinafore is smarter than modern clothes anyway, because at least it has giant pockets that really do fit a smartphone (little would a woman of the 1940’’s have guessed such a use)!  It’s every bit just as comfy, probably more so in my estimation, and a lot more fun!  Finally, the way I made it, all I can say is thank you to the person who invented snaps and hook-and-eyes, however, because otherwise this two-piece dress would not have been possible!

In most pictures, I am pairing the pinafore with a vintage rayon scarf to keep my hair in place, and a vintage necklace of mother-of-pearl oblong beads with matching mother-of-pearl carved earrings from my Grandmother.  My newest favorite shoes, lovely Re-Mix “Dara” 40’s style wedge sandals in burgundy red, are a comfy and colorful option for casual class!  I am also sharing some other photos of just a few of the endless outfits that match with my new favorite me-made – this pinafore!

THE FACTS:

FABRIC:  2 yards of 100% rayon challis floral in rose garden print, with a solid navy 100% cotton broadcloth for lining the skirt pockets and underside of the pinafore top body

PATTERNS:  Advance #3152, year 1941, for the top pinafore bib half, and then Burda Style’s “Pocket Skirt” #105, from February 2017, for the bottom half

NOTIONS:  I used a card of size 2 snaps as well as 4 of those flat, slide-closed, waistband-style hook-and-eyes around the waist.  I used PLENTY of navy thread, and a little interfacing along with some mesh netting as another kind of stabilizer (more on this down later).  There is a vintage metal zipper for the pinny bodice, and a modern zipper for the skirt (even my zipper choices attest to the fact of which part of my dress is vintage and which is not).  Everything I used was extras on hand and came from my stash.

TIME TO COMPLETE:  This was made in July 2017 in about 15 to 20, which is not bad at all for all the gathering and extra trouble to make this into two separate garments.  This sound cliché, but to tell you the truth I wasn’t really counting time because I was enjoying myself…until it came to the snaps and hooks…ugh!

THE INSIDES:  So nice and clean!  All seams to the whole dress are either covered by fabric facings or in bright, rich burgundy red bias tape.  I do love the flash of color the bias tape gives when my tiny hem is seem as my skirt blows or I sit and bend over.  Surprise!

TOTAL COST:  This fabric was bought from Jo Ann’s store for about $12 and the cotton was just a few dollars more.

After my recent jumpsuit that I divided up into two pieces, I kind of knew the premise of how to make my pinafore a two-in-one.  The biggest complications were the facts that both top and skirt of my pinafore needed zippers, and the droopy challis wasn’t going to cut it as stand-alone ruffles without a supple support.  The skirt was whipped up first – practically a few hours in one afternoon – and then the pinny came in second.  As I was making this pinafore, I was severely doubting whether this was a total waste of time.  I’ve never really made a pinny before, unless you count my Dorothy from “The Wizard of Oz” apron, so how did I know that I would love it once it was done, tried on, and accessorized?

The pinafore pattern I used was in a size too big for me, and, from my experience, smaller brands like Advance run on the large size.  However, as this should also have the capability to be worn over a blouse and be loose and comfy anyway, I only cut off 3/8 inch (the seam allowance amount) from the side seams and it still ran roomy with my sewing in ½ inch allowances.  I went a size up than my “normal” Burda Style skirt size, to match with the roomy waist of the pinafore top.  The generous waist pulls in nicely with a belt when worn alone, and doesn’t need pulling in when it’s attached as part of the whole pinny.  The awesome belt loops save the middle of my divided pinafore.

Technically I could count this as part of my ongoing “Retro Forward with Burda Style” blog series because the skirt’s lovely arched pockets have continuous cut-on belt loops for the waistband much like several 40’s patterns I have come across.  Advance 4344 or Vogue 7519 have very similar pockets.  I faced the entire wrong side of the pocket in the navy lining cotton, and it’s a good thing because the pockets have a wonderful flare out to add shape to the skirt silhouette besides also making sure they don’t get lost amid the rest of the busy print.  I added a center back belt tab to the waistband as well, to make sure wearing a belt actually keeps things in place.

Those awesome ruffles are hiding a neat trick I tried out for a new kind of interfacing.  In order to make the rayon challis keep its shape without the stiffness or fuss of applying interfacing, I used wide mesh tulle netting.  I’m talking about that see through stuff that is in a million different colors, and is formed in honeycomb design.  I bought some already to use as crinoline for another project, and it worked well.  For the pinafore, navy tulle is in the front center and back center panels of the bodice, sandwiched in between the rayon and the navy cotton lining, giving the body a nice semi-firm bib fit which would gently keep its squared off shaping.

There is a layer of tulle in each of the over the shoulder bodice ruffles, as well, in between the lining and fashion fabric similar to how I did it for the body panels.  Because I under stitched the ruffles’ outer seam allowances to the lining cotton, the outer edges are thread free, clean edges.  I was initially worried at how the tulle would gather along with all the layers in the ruffles, but sewing them was no harder than any other gathering I’ve done.  The trick to having the ruffles lay perfectly over my shoulder, away from my head, was to direct the seam allowances the right way for this on the inside and then invisibly “stitch in the ditch”, through all layers – floral rayon, tulle, and cotton lining – at the base of the ruffles to keep everything in place.  Keep in mind the pattern never said to do most all of these steps that I’m explaining – the tulle interfacing, lining the ruffles and bodice, and even stitching through the seam lines – but my pinafore top is so much better for it.  Sometimes overthinking can get me into trouble, but this was a case of merely thinking a project through, I believe, from how well my ideas worked to improve some potential ‘problems’ with my fabric choice.  Sometimes, I do believe sewing is truly a branch of engineering.

I can find no clear explanation for the very frequent use of ruffles on pinafores, other than the fact that it probably comes from their relation to both the child’s garment as well as the folk-influenced fashion of the dirndl.  1940s pinafores, peasant styles, and dirndls all can employ ribbons, lace, rick-rack, felt appliques, or embroidery for optional decoration so ruffles on a pinny were probably added for the same reasons as the rest of the embellishments.  Remember that even though a fashion dirndl is officially a skirt, the Germanic form does include a bib-suspender combination which unifies the whole thing, and the blouses to be worn under them could have the frills instead.  Peasant blouses and dresses can be somewhat obnoxious, oversized, and frilly like a pinafore, too, besides the shared fact that the adolescent crowd made them popular.  Even if adults wore these fashions they were supposed to bring on a ‘youthful’ connotation.  The cross-over is unexpected perhaps, but worth consideration, I believe. I’m guessing, though, the use of these embellishments for a pinny could merely stem from the simple desire to jazz up a basic garment meant for work and maybe play.

The system I devised to close and connect the waists of the two-individual pieces into one might look and sound like a convoluted mess – but really it’s not!  Both the top and the skirt each have their own side zippers, with a hook closing tab at the end like any garment.  The bodice closes on the right while the skirt closes up the left so that the two zipper wouldn’t end up overlapping each other.  In between the two sides of my waist, is a predictable pattern of two snaps and two hooks as well for each front and back, with one extra under the center back skirt belt tab.  That’s about 9 extra closures!  All of this hand sewing and measuring needed for this finishing of the horizontal waist band connections was such a pain in the neck, I really was gritting my teeth not to give up on my idea completely.  Finished now, I’m in no hurry to do this again but as much as I love the versatility of this divided set, my guess is that I’ll do this kind of thing again soon enough.  Many bib-style pinafores were button on and off in the 1940’s, but I wanted something that would give a stronger hold like the combined effort of hooks and snaps.

You might be wondering, “How does she get this thing on like that?”  Quite simply, much like any dress, except that the front waists are hanging separate and the back waist is still connected as one.  Once on me, the bodice is zipped up, the front waists are connected together around over to the other side of me where the side skirt zip is then closed.  Nothing quick, but it’s not complicated or fiddly – just methodical and definitely sort of a unique experience.

If you follow my Instagram account, you might have seen back on March 14, I posted a picture crushing over this dress’ fabric right after I bought it.  Then, I planned on pairing it with an orange/peach coral toned polka dot cotton for a matching blouse.  Yes, I still am holding to my plan – it’s just that with so much else to pair this dress and its separate pieces with, I’m in no hurry now to make the polka dot blouse.  When I do sew it up, which I plan on that being no later than spring of next year, it will be made using a vintage Simplicity #4734, year 1963 “action-back” bowling blouse, to totally see how far this set can work with any decade of fashion.  I have high expectations it will work…this set keeps amazing me.  It literally works with just about anything and has unlimited styling capabilities.

Hollywood has not shied away from using pinafores on their best actresses with amazing, complimentary success.  The 1940’s seems to have the most instances so I will focus on actresses and films from this era, with half of my inspiration in this pinny post, and the other half in my next.  First, the cheery and beautiful Donna Reed can be seen in a 1940’s picture wearing a pinafore dress very similar in style to my own.  Next, there is a lovely Loretta Young who wore a classy and dignified long length pinafore in the political version of a Cinderella-story movie, “The Farmer’s Daughter” from 1947.

Finally, the best I saved for last – the 1942 movie “The Major and the Minor” with Ray Milland and Ginger Rogers.  This hilarious film has the best and the most examples of pinafore wearing in any movie I’ve seen yet – I counted at least 5!  What I appreciate about the pinafores in this movie is the persona Ginger Rogers puts on with the pinafores she wears.  Most of the time her pinnys are worn when she attempts to be mistaken for a 12 year old, but towards the end of the movie she dons a pinafore smock to be mistaken for her own mother!  Being an awkward, no-makeup wearing pre-teen is not something anyone can think of as being the elegant Ginger Rogers, but her talent is supreme, so her pinafores ended up giving me a good idea of how a pinny is youthful, but still can be styled well enough for an adult woman to be charmingly complimentary.  I see the sheer plethora of pinafore styles (each of them is different) as a tribute to her face and figure, the costume designer, and the fun, playful theme of the movie.  I am amused at how a slightly different style of pinafore is used to designate her as being dignified, comfortable, and respectable older woman – different pinafores for different duties and different places in life.  How interesting – I wonder if this was the case in real people’s social world, too!  Either way, thank you, Hollywood for helping my inspiration!

For some modern options, Simplicity Pattern Company has recently been offering pinafores, smock dresses, and apron-style garments with the Dottie Angel patterns, such as #8186, #8230, #8438, and #1080.  Even Burda Style has an apron-style top – Pattern #132.  For more pinafore inspiration throughout the past decades, please visit my Pinterest board.  Until then, my next pinafore post will be following soon!

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“Atomic Jacks” 1955 Set of Redingote Jacket and Dress

I’ve sewn it again…here is another look-alike to the fashion of the corrupt character of Whitney Frost on Marvel’s TV show “Agent Carter”, Season Two.  This time I have an outfit to show you of a dress and redingote jacket, inspired from episode 8 “The Edge of Mystery” to be precise.  I am so proud at how this outfit turned out better than I’d imagined it for myself, and it’s so wonderful to wear!  I even found an eerily similar silk scarf and leather-like driving gloves, all vintage, to properly complete my Whitney outfit.

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Both garments are absolutely great, however the dress was a bit overwhelming to make as it had a huge amount of ease on top of generously large fabric-hogging pieces.  The jacket is so amazing I want to convince everyone they need to brace themselves for the challenge of making this pattern – the most lovely design of outwear I could possibly want.

DSC_0860-p-compBe prepared for some dramatic poses, and a disturbing crack down my face opening up a force to be reckoned with…just like the villainess who wears my inspired outfit.  Yeah, it sounds weird to put myself in the shoes (through an outfit) of a megalomaniac with powers from another dimension, but Whitney Frost, like many women, was on a quest for purpose and respect…she just went down the worst path imaginable.

THE FACTS:

FABRICS:  The Dress: a Gertie brand 100% cotton sateen, The Jacket: a 100% Kona cotton for the exterior, a basic poly lining for the inside, a buff poly satin for the pocket flaps and belt, and a 100% cotton for the bias binding. 

PATTERNS:  The dress comes from an original 1955 Advance #7095 pattern and the jacket comes from a Vintage Vogue #8875, a re-print of a year 1955 and 1957 pattern (originally V#4771).  The pocket flaps were added on from an original year 1948 pattern, McCall #7354. McCall 7354, yr1948 & Advance 7095, yr 1955-comp

NOTIONS:  I had the interfacing that I needed, as well as the dress’ thread, zipper, and packaged bias tape, but the jacket needed thread to be bought and I made my own bias tape.  The buckle is from my stash and it is vintage carved shell.

THE INSIDES:  All nicely finished.  The dress has all bias bound seams and the jacket is fully lined.

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TIME TO COMPLETE:  Both the dress and the jacket were a bit time intensive.  My dress was made in about 10 hours (not counting maybe three hours for cutting and laying out) and done on June 8, 2016.  The jacket was made in about 30 hours (with about 4 hours for cutting and laying out) and finished on July 1, 2016.

TOTAL COST:  The dress took so much fabric (5 something yards) I’m not sure of the total anymore, but I think it is about $25 to $30.  The jacket was less because half of my supplies (the lining, satin, organza, and some thread) were on hand so my total for 4 yards of Kona cotton on sale with one yard of a remnant for bias tape comes to a total of about $23.

Whitney at atomic siteFirst off, I need to vent…this is not a costume, in the particular definition of being something for cosplay, stage, theater, or an out-of-place garment.  It is clothing I want to wear in my modern living (the jacket is something I needed, actually) and was merely inspired by something on television to go the extra mile for a great outfit.  That’s good, right?!  I kept my outfit similar in shape, color tone, and style, but it is according to my own taste and personality because I intend to wear these pieces in my daily life, such as out to dinner, vintage shopping with friends, or to church.  However, I will admit this would be perfect for the next in town cosplay event and it is fun to understand a character by stepping in her shoes, besides feeling like I could be a part of my favorite television show (see the television still at left with Wynn Everett playing Whitney Frost).

To top off the irony of my rant, the Advance pattern envelope actually calls it a “costume dress”…don’t understand why.  This is an original pattern to make what looks like a very normal mid-50’s dress, albeit quite poufy.  I’m assuming the use of ‘costume’ here is meant in the term of “fashion of dress appropriate to a particular occasion or season or a set of garments to put together an outfit.” Honestly, this all confusing grammar particulars.

Of all the weird things I’ve found in pattern envelopes, the Advance pattern had double pieces, as if someone bought two.  Why just double of the bodice, the skirt side panels, and collar pieces?  To further complicate the mystery here, the skirt double pattern pieces were cut in half, like the previous maker intended on cutting those on the fold, and sliced accordingly.  All the pattern pieces are the same size as each other, so why buy another just to cut two pieces in half?!  After all the unnecessary pieces, the pocket top band is missing, and there is one of everything else.  Was somebody making a lining?  Oh the stories these patterns could tell…

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I expected the dress pattern’s fit to be normal or at least semi-generous, but this Advance dress had the most unexplained extra ease of any pattern I’ve made.  It was like a gi-normous fabric monster.  The skirt pattern pieces were so huge, I had to taper off several inches on each side of all of them and they are still incredibly full.  Several inches had been taken out at the bottom hem because it seemed evening length long, and also to help fit everything in.  I had bought 4 yards already and still realized I did not enough for all of the pattern pieces.  To top things off, I miss-cut on one piece and had to frantically search amid town to find the last remnant so I could finish my dress.  As it turned out, I hacked off 6 more inches from the hem to get my dress the length you see and even sewed up the duo of giant pockets (which I didn’t add), so I guess I sort of wasted a bit too much fabric here.  The pattern I had was technically in my size but I did add in 3/8 inch so I could have a little “just-in-case room”, but I ended up taking out a few inches all over any way, distributing it between the panels.  The empire waist down is still kind of generous on me but I can only take so much in before I give up on reaching that “perfect fit”.  What was the deal?! DSC_0857-comp

For all my saying how huge the skirt pieces were, this dress is such a feminine, swishy, perfect-for-twirling outfit made even better with my full ruffled petticoat underneath.  My petticoat does not remotely fill the skirt out though.  The wide, oval, shoulder-to-shoulder neckline does balance out the vertical seamed skirt, compliments the waist, and creates a lovely 50’s silhouette which I think works for me.

The ‘anchor’ of the dress is of course the dramatically subtle collar-like neckline.  It was quite fiddly, time-consuming, and difficult compared to the rest of the dress.  The combination of a curved, interfaced, skinny strap, faced with another piece and attaching to the full dress with four gathered sections, too, was stressful, requiring lots of pins and slow stitching.  The front tabs end at the same place at the neckline, which was also tricky, then flipped under one another

Whitney and Thompson making a deal-croppedWhitney’s dress had a remotely similar neckline collar, except hers was folded over (free hanging) and tied in the center front.  Her dress has quarter sleeves and center bust gathers while mine has is neither, but our dresses do share the same skirt shaping.  Also, her dress was a solid purple in some sort of jacquard (in maybe rayon or silk) while mine is not, but I prefer the printed cotton sateen to stay true to my taste.  Besides, the children’s’ toy jacks that are on my dress are a nod to the Agent that aims to get on Whitney’s “good” side to reach what he wants – Jack Thompson.  Furthermore, my outfit is titled atomic because a faulty A-bomb is the catalyst for the events in “The Edge of Mystery” episode and the reason both Whitney and myself are in an empty, forgotten dirt patch.  Hence, the “Atomic Jacks” title is now explained.

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Advance 8296, cleaned upThis style of dress seemed to be a common design around 1955 especially with the Advance line but also seen through other companies.  For some examples, see Advance 8296 (pic at right) or view Advance 6915, Advance 8047, Butterick 6988, McCall’s 9647, all 1953 to 1956.  I find it funny that so many dresses look alike in a handful of years almost to the point of being boring.  One could buy only one of this style dress and tweak it to copy all the other releases.

Compared to the neckline, the dress from the empire waist down was just single layer DSC_0933a-compfabric and incredibly lightweight, so I unhappily found out it liked to creep up on me and wrinkle in terrible horizontal folds around the natural waistline.  I had to get creative to combat this bad behavior of my dress.  What I ended up doing was sewing down about 8 inches of skinny ¼ inch ribbon to the dress starting at just below the waist to below the waistline, with a long tail of ribbon hanging down tied at the end to a weight of a ¾ inch washer.  I did this in three places down the two front skirt seams and down the center back skirt.  The weights don’t really get in the way of my legs because I keep them over my frilly ruffled petticoat and they are totally removable because they are tied to the ribbon ends.  The weighted ribbons help the waist stay smoother instead of wrinkling up and nicely keeps the dress in place on my shoulders.  This is probably the most unusual fashion fix I’ve come up with but it totally works.

Now, the jacket is an awesome pattern which makes for a silent showstopper.  A redingote jacket is guaranteed to be awesomely special.  The 50’s were the hurrah for the redingote, although you do still see a few in the 60s, too.  Wearing a redingote is the most fashionable way to have a coat on yet still show off your clothes underneath, besides being so complimentary to the waistline.  (More history on the redingote can be found on this ‘Witness 2 Fashion’ post.)

For this pattern, everything matched together beautifully, the fit is engineered brilliantly,DSC_0771a-comp the sizing seems right on, and it is nicely unique.  Yet, it is tiresome to make and quite challenging…there are eight tricky corners in total to make.  (See the pic at right which shows three views of the angled corners, inside and out)  Once I started on the lining I wanted to give up on the jacket and swear I couldn’t sew another one of those funny angle/tight point corners.  I’m not even talking about the wraparound collar, either.  Yet, as I was making this, I could tell I was going to love it, and the promise of a rocking outfit (as well as a very rainy coming weekend) gave me the guts to suck up my distaste and finish the jacket.  I’m so glad I did.

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There are just a few things I did to the pattern to make it slightly easier to sew.  I did not change any of the design (besides shortening the jacket hem by 4 inches).  My ‘tricks’ here merely have to do with construction changes to achieve the same result as compared to what the instructions show.  First of all, I disagree with the need to do so much cutting down of all the curved seam allowances.  I did not see any noticeable restriction to the sleeve curves as they were and I think paring them down might make a high tension spot a bit less stable.  A little snipping maybe but that’s all.  It is still very important, as boring and repetitive as it might be, to stitch and re-enforce all the points and corners you’re supposed to and, yes, you do stitch the stabilization squares over the corners on the right side.  I didn’t disregard these points but I did use sheer organza instead of self-fabric for the re-enforcement squares (much lighter but just as strong).

Furthermore, I did not use any interfacing anywhere, and also left out the extra add-on contrast collar.  The facing for the jacket’s front edge was sewn to the lining’s outer edge to make a one-piece inner coat.  This was then sewn, as one ‘inner’ jacket to the ‘good’ outer jacket, along the front edge, from one hemline, up and around the collar and back down to the hemline.  Now where the jacket facing joins the lining the meeting is much more stable, strong, and smooth…besides saving me a butt-load of hand stitching!  I know this is sort of ‘cheating’ (so I’ve heard), not very time-committed, nor couture, nor vintage correct.  Hey, when sewing is a chore it doesn’t give personal enjoyment, so anything that saves one’s creative sanity is good in my book.  Besides, ready-to-wear has got nothing on this coat!

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Perhaps the best part (besides the awesome pocket flaps) was taking the extra step for self-made bias tape.  I know, I might sound nuts, but making bias tape is incredibly fun – a total mood-lifter for me, especially with my Dritz tool won from my entry to the “Butterick to the Big Screen”.  Once you have made and used your own bias tape, it is quite hard to use bought pre-made bias tape…no kidding, you’re ruined, spoiled.  Self-made bias tape is 110% better especially when it is made to match out of fabric better than the stiff poly-blend available in the stores nowadays.

To make my jacket truly stand well in rainy weather, I sprayed it down with some “Protect-All” fabric and shoe coating.  This doesn’t stiffen the fabric at all, nor does it make the water bead or roll off, it only retards liquid from soaking into the fiber.  A whole can was used to spray my jacket with one generous coat of “Protect-All”.

Dr Wilkes flying into the rift, my look-alike combo

Did you ever have a film star for which you just had to have her wardrobe?  Well, I guess Whitney Frost is that person for me.  However, I believe I am not just making for myself her fashion.  I also try to put my own touch into it to make sure I feel like “me” in it.  Besides, since I do love purple in all its shades, and this is the color Whitney wears most often, I find it hard to resist.  No, but really – I do promise to make garments in other colors for your sake, and more Whitney Frost outfits for my sake!

If you’re interested in learning more about the vintage methods of make-up that were used to “make” Whitney Frost, see this article on ‘World News’ – and don’t forget to click on the full page option through the L.A. Times!  There is also a photo galley for this particular episode of “Agent Carter” (which you can find here) if you’d like to compare our outfits or just take a look!

 

My Entry into the “Fall Photo Contest” at “Emily’s Vintage Visions” Blog

100_4454a-compThis weekend, I submitted my entry to Emily’s “Fall Color Photo Contest”.  I was sorely tempted to submit a mid-1930’s outfit made from this pattern (see at left) out of a rust cranberry colored paisley with brown and gold tones.  I have yet to blog about this dress despite being very proud of it.

However, just like for Emily’s “Color Recipes for Spring” photo contest from earlier this year, where I submitted my 1942 Winter-Mint dress and Velvet Hat, I went for the 40’s again.  You can see my entries on her Facebook page.  Here is my outfit pictures with my summary:

“My outfit incorporates my sewn projects and authentic vintage, as well as several different recurring fashion ideas mentioned from the inspiration articles. Here I am channeling the mid-1940’s.

100_6327-comp“Brown Proves Popular” article was my main inspiration. Alligator ankle strap shoes were mentioned in the article, and so I’m wearing my dark brown, vintage, leather strappy platforms in what I believe is a circa-1946 style. To link in my shoes (like the article mentioned), I’m carrying a brown faux-alligator leather 40’s style purse, handmade by me from a free online pattern and blogged about here.  The straps fold over into one another to close the box top.

100_6341-comp“Brown Proves Popular” article’s mention of silver and grey hound’s tooth check, so I personalized the idea with what I had on hand and sewed a silvery grey Glen plaid center pleated skirt using an old Advance #3964 pattern from the year 1945. The skirt’s fabric is a thick rayon acrylic as warm as wool.

Green was mentioned throughout, so I am wearing a vintage heavy wool suit coat, with lapel pockets at the hips and turned back cuffs. This jacket was a gift to me from a close friend of mine who shares my vintage and sewing enthusiasm. Both jacket and shoes are “Famous-Barr” brand.

Kelly's Fall Color Challenge accessories combo pic - compThe buttons on my suit coat are golden, so I chose gold earrings, a gold watch necklace (from my husband), and a vintage golden dachshund dog pin as my accessories. Long, short dogs are a personal “thing” for me – for three generations now, my mom’s side of the family has always had one in the house as do I now, too. I love my sweet little canine companion and am wearing that sentiment on my jacket lapel!”

I have enough extra fabric to make a matching jacket for to match the skirt, and I’m hoping to get to that sooner than later and make a post on the whole outfit.  We’ll see!