An “Appointment” with the Baroque

The word “baroque”, widely used since the nineteenth century, comes from the Portuguese word “barroco” meaning “misshapen pearl”, a negative description of the ornate and heavily embellished music of this period (circa 1600 to 1750). The name has also come to apply to the architecture, sculpture, painting, literature, dance, as well as fashion of the same time period.  The Baroque style is characterized by exaggerated details and sensuous richness used to produce a sense of drama, exuberance, and grandeur. 

There is no better example of this rich style of dressing in our modern fashion than the two designer lines of both Dolce & Gabbana and Versace.  Am I a too much of a rebel to admire both enough equally to combine their distinctive elements into one self-made interpretation of Baroque dressing?  How about adding some Hollywood inspiration to the mix as the base for my creative efforts?  The film industry and designer clothing goes together quite often after all!  In this dress, I will pretend to be a wealthy aristocrat strolling to the music of Bach in my private rose garden for a true Baroque experience.

THE FACTS:

FABRIC:  a polyester scuba knit in a large scale paneled print, with the bodice edges faced in a beige cotton-poly broadcloth (which ends up being interfaced, too); the button placket edges are of a heavyweight cotton sateen (leftover from this blouse)

PATTERN:  Advance #5550, from July of 1950

NOTIONS:  All I practically needed was a lot of thread and some interfacing.  The closures of the dress required one small skirt side zipper (7 inch) and lots of buttons.  Luckily, back in 2011 I had bought two packs of “Dress It Up” buttons, and I used some from both the “Victorian Miniatures” pack as well as the “Nostalgic Treasures” pack.

TIME TO COMPLETE:  This dress was finally finished on September 9, 2020 after about 30 something hours spent to retrace and grade out the pattern, assemble the dress multiple times to make up for the bad fit, and then all the finishing details.

THE INSIDES:  left raw as scuba does best

TOTAL COST:  This material was sent to me in April 2018 for free.  It was part of my prize from “Minerva Crafts and Fabrics” for winning the 2017 Vintage Pledge sponsored by Marie at “A Stitching Odyssey”.

A recent purchase of a new-to-me vintage pattern had interesting features that I saw as a probable compliment to my paneled, oversized scuba print.  All the scallops along the bodice edges and the basic blocked bodice and skirt pieces were a natural pairing to my prize fabric and worked well with the rolling print and oversized scale of the fabric.  The scuba knit made construction a bit easier (no edge finishing needed, either) and provided the dress some ‘body’ without stiffness.  After all, this was my excuse to get around to using my amazing supplies of both pattern and fabric sooner than later!  Besides, after the previous post, I can still stay on-topic by continuing to explore the possibilities of neoprene material for something that is true vintage, designer inspired, and a movie style all-in-one. 

As is alluded to on the pattern cover, the dress’ design was first worn by the actress Jan Sterling, designed by Mary Kay Dodson, a costume designer who worked under Edith Head at Paramount, under contract between 1944 and 1951.  (If you’re feeling curious, just look at this fantastic chartreuse suit Dodson designed for another movie!

The dress from my pattern is out of an old Noir genre movie which tells the story of a fictional peril to the United States Postal Service, titled “Appointment with Danger” starring Alan Ladd.  The film was lucky to have just be seen by audiences – having gone through several names and stalling for almost 5 years before being released.  (This is why the pattern cover has a different title for the same movie!)  Besides the sultry Jan Sterling, there is no other real female fashion inspiration to “Appointment with Danger” so it’s a good thing her few dresses were fantastic when compared to the only other woman in the film, a religious nun, Sister Augustine as played by Phillis Calvert.   

Dolce & Gabbana have a religious flair to many of their creations, paired with the frequent Sicilian influence (the cultural roots of Domenico Dolce), and so for me the gold scrollwork often calls to mind an old church or Renaissance opulence.  One of the pieces from their fourth collection was labeled “The Sicilian Dress” by the fashion press, and was named by author Hal Rubenstein as one of the 100 most important dresses ever designed.  Rubenstein described the piece in 2012 by writing, “The Sicilian dress is the essence of Dolce & Gabbana, the brand’s sartorial touchstone.”  

Yet, at the same time, the 2018 Met Gala theme of “Heavenly Bodies” solidified the manner by which the house of Versace could also mimic the same vein as Dolce & Gabbana, as seen on the late but great Chadwick Boseman.  Versace is commonly known for its striking use of chains as a print and large scale panels.  However, both do frequently use the primary colors of white, black, a golden yellow as well as interesting textures and feminine styles. 

I heavily referred to Dolce & Gabbana directly by my details – choice of buttons, the red rose hair corsage I made, and my Sam Edelman brand leather platform heels in animal print.  I really don’t have many sets of 12 buttons, and none of them paired well with this dress, so I went with the showy and eclectic answer of using all different buttons on this unconventional dress project. (See the “Notions” section of “The Facts” above.)  All the buttons luckily need the same size button hole and all are fully workable buttons (and button holes) – no fakes just for show. The most interesting ones – a cherub’s head, a Fleur-dis-lis, and a sun – are all along the shoulder while several miss-matching round golden buttons are along the sides under my arms.  I love the subtlety but unusualness of it, but in reality doing so helped clear out my random buttons from my stash and stayed true to the “more is more” spirit of Dolce & Gabbana. 

My Versace tribute is in my fabric’s print and by wearing vintage chain jewelry.  My jewelry is from my Grandmother and by a well-respected small Italian designer who came to America at the end of WWII.  “Jewels by Julio” items are said to be are hard to find today.  Such marked pieces are by Julio J. Marsella, who created high quality jewelry from 1946-1957. He was a perfectionist who sang Italian Opera with the same skill that he created jewelry. His jewelry was considered to be on par with Hobe, Hattie Carnegie, and Dior (by Kramer) pieces for quality and desirability.  It is most likely only plated and has a warm authentic gold color that has aged nicely and pairs well with my dress.  Even though the actual print of my fabric is more Dolce & Gabbana, the colors and the way it is laid out is very Versace.  There are still chains in the borders to the panels, after all.   

My heart will always be tied to Italy, especially Milan, the founding place for both companies.  My first trip out of my country and into Italy was a 3 day visit to that town!  Thus, this outfit takes me back in sentiment to a place I remember so vividly as the experience of a lifetime.  As a 19 year old, I was unfortunately not equipped with the pocketbook to splurge on things I had then admired in the store windows.  Yet, now I can sew whatever I set my mind to.  This outfit is my hometown, homemade version of a replacement!  Thus, my post’s outfit is also my submission for Linda’s “Designin’ December 2020” challenge at the blog “Nice dress! Thanks, I made it!!”

For the 2 ½ yards of fabric which were gifted to me, there were 3 ½ panels for me to work with for my dress.  Two of the panels immediately went towards the front and the back of the skirt respectively.  The last full panel went toward to the bodice, both front and back.  I added a center front vertical seam to accommodate the way I wanted the print to lay.  With the main border running up either side of the front center seam, the torso is lengthened visually to offset the full, wide skirt.  The angled, radiating front bust darts nip in the waist perfectly – just as I hoped – by creating the image of the sides to the bodice wrapping over the center border.  The back bodice reminds me of a glorious chandelier the way the scrollwork seems to drip down from my shoulders.  I wanted to widen my shoulders from behind with this layout, and thereby complement the waist in a different manner than what I employed for the front.  I had to get inventive as I had limited fabric to work with.  I do love a good sewing challenge…with exceptions.

After all the raving and seeming glowing words I have given my outfit so far, reaching the point where the dress was actually wearable and properly fitting me was a very frustrating journey.  The proportions to the dress pattern were so completely off whack that I was mind blown.  Yes – I love the final result of my dogged determination to see this project perfected.  Yet, what was shown on both the cover drawing and the line art specifics was something so very different than what the actual tissue paper turns out.  All the details shown were still there.  However, where the skirt and bust landed on me were all wrong.  I should have listened to my gut instinct when I noticed such on the tissue…only I’ve never seen a pattern this far off and considered that I must have been the one measuring wrong.  Nope!  This one pattern has both a sizing and proportions problem, the likes of which I have never seen.  If I hadn’t been using the very forgiving and easy-to-work with scuba knit, this dress would have easily become a sewing project straight from hell.  

The actual size of the pattern was very tiny (a 28 inch bust!!) and so I graded up an inch less than what I assumed I needed due to working with a stretch knit.  Width wise grading was the only adaptations I traced out when prepping this pattern, and my work was not the cause of my issues with the design.  I did notice right off the bat when laying out the pieces and checking measurements on the tissue pattern that the waist length from shoulder to skirt seam was really quite long…and I only trimmed off 2 inches because even that much taken off seemed extreme, right?!  I also lengthened the center-radiating, French-style bust darts to actually come up to where they should on me.  I sewed up most all of the dress, stitching once and tried it on.

Agh!  The ‘waistline’ ended at my high hip, the front bodice was still huge, and the neckline was so small I couldn’t even button it closed.  After lots of unpicking of thread, cutting of new seams, and even some crying, I started fresh again.  I cut off another 2 inches from the bodice length, stitched in the vertical center bodice seam making the front smaller by 2 inches, and cut the V neckline lower by 2 inches as well, then finally sewed the uber-gathered skirt in again and called it good.  Let’s realize I took out a total of 4 inches from the length of the bodice!  The line drawing shows the ‘waistline’ should have where my hips are…so weird!  Something went wrong with this pattern because even a long-torso woman could not be 20 something inches from the shoulder to the waist. 

I lost each one of the bottom side scallops in the process of re-fitting.  See how the movie dress has four on each side and I only have 3 on each side.  That worked for me because I didn’t have any more buttons anyway.  How in the world did the four button arrangement work on the movie dress with actress Jan Sterling still having a naturally placed waistline for the dress?!  Were the scallops drafted smaller, maybe half the width as the Advance pattern’s?  Did Ms. Sterling have an impossibly tiny Barbie sized neck?  Perhaps the Advance pattern wasn’t even directly drafted from the movie dress at all, like I am assuming. I’ll never know.  Nevertheless, all is well that ends well, as the saying goes, and the good thing is no one would ever guess the troubles and frustrations it took to finish my outfit.

There was a nearby companion to my photo shoot who did not have to go through the bother I did to look so striking.  It was a Yellow Garden Spider, waiting it in its web for an evening snack.  This is a larger spider than what I am used to seeing around town – several inches in diameter when you include the long legs – and it was rather creepy to see an arachnid in the garden which would take up the whole palm of my hand.  It was matching me in color and was too dramatic of a creature to not appreciate, though!  This is exactly the kind of thing I could see becoming inspiration for a designer dress.  Let’s talk about the killer print that spider is wearing on its back!!  Its scientific Latin name translates to “gilded silver-face”.  For having a plain term for its English name, this spider could be baroque by the way it has drama, loads of interest to its details, and it still respectfully regal.   

This is a fun and different thing for me to make that is still so very wearable.  Dressed in this, it brightens my day, brings a smile to my face, and makes me swish around feeling imaging myself a princess for the moment.  The fact that I have on some higher-end brand, extreme 5 inch heels feeds my unreasonable enjoyment for tall shoes.  (They not only lengthen my legs but bring me up to my hubby’s stature level, he he).  Being a modern scuba print and not something heavily embroidered or fine silk like a true designer item keeps it more akin to ‘normal’ – albeit fancy – clothes.  Upon arriving at the first place I wore this dress, I immediately received compliment.  Apparently my dress must share with its viewers the same happy feeling I have when wearing it!  This is proof that making my own spoof on something designer I have admired for years ends up doing good all around, much more so than if I had broken my bank account to splurge on a true Versace or Dolce & Gabbana.  Dolce himself has said, “A dress should live the personality of the woman who wears it.”

There is still time to create your own designer inspired ‘copy’ for “Designin’ December” since the challenge runs until the end of the year!  

You Can Spot a Dachshund Lover…

…by what they wear!  Weenie dogs are now in the popular spotlight more than ever.  Crusoe the Celebrity dachshund won the 2018 People’s Choice Award just the Sunday before, Lou Lou the mini dachshund has been featured by Ellen DeGeneres and Snoop Dog, and Harlso the Balancing Hound is getting big attention with his talent for using his head.  We even enjoy racing the little things!  Dachshunds are on greeting cards, home products, and every sort of wearable item from socks to bow ties.  Of course, this is nothing too surprising to me – I am a proud dachshund owner myself, just as my last three generations have been on my mother’s side!  It seems that I mostly get the wiener dog goods, so this time it is my husband’s turn to show his taste in dogs with a subtle vintage style made for him by me!

THE FACTS:

FABRIC:  100% cotton shirting

PATTERN:  Advance #9414, year 1960

TIME TO COMPLETE:  This was sewn up in about 6 hours and finished on May 4, 2018

TOTAL COST:  $15 or less

The back envelope description is the weirdest summary of a design that I have yet to see.  It speaks about the shirt pattern in a titular first or third person voice, as if it were a real living thing.  “Shirt is especially good for the sports lover…” and “Shirt loves many fabric looks” are just disturbing and confusing sentences while totally laughable at the same time.  If the writers for Advance were trying to be cool, they fell so short.  It they were just being overly brief, well, it sure does make this pattern memorable!

Besides the text oddity, there isn’t much to say about this shirt except that the print and a good fit really make it pop.  I was lucky with this pattern – it has a perfect fit and proportions for my husband.  The sizing on men’s vintage shirt patterns tend to be generous in a size medium and up so I merely took out the given seam allowances to this design to end up with a slightly smaller fit, just right for him.

Even though there is no polyester or spandex in this shirting cotton from the local chain fabric store, it is really nice, with just a touch of sheen finish.  When it comes out of the wash, however, the shirt is a wrinkled mess yet a light steaming of the iron takes care of this easily.  This is the second time I have used this line of cotton shirting – the first was this Burda polka dot blouse for myself.  I may be hooked!

In order for him to feel like he is getting the star treatment with his handmade shirt, I finished off the inside with all French seams, even for the sleeve armscyes.  The hems and facing edges are covered in a pale yellow bias tape for a fun and clean finished contrast.  He always has to pick out his own buttons for everything I make for him, but this time I definitely swayed his decision into choosing some muted toned beige-brown swirled buttons, vintage items from the notions stash of his Grandmother.  They are still the basic four-holed shirt style buttons he likes, but I love how the colors match with the dachshund print to be noticeable but not be distracting.  Men’s clothes can have ‘matchy-matchy’ elements, too, right?

Speaking of matching, this print was a pain to line up.  The dachshunds are small enough that I didn’t bother the match up the sleeves and the side seams, but otherwise the rest was a bit of a challenge on only 1 ½ yards of material.  I am pretty happy with how my matching attempt turned out, especially across the back shoulder panel where I needed to line up the staggered alignment of the print.  Of course, with the little pleats in the main (lower) body of the shirt it only matches up across the middle of the back, but pleats are an infinitely better feature than gathering below the shoulder panel…one of the reasons I chose this pattern.  It has simple, clean, classic design lines that make it the best option for a print.  A solid would look really classy in this pattern, too, but I always associate the fun novelty prints as befitting for 50’s and 60’s menswear.

This was a really good birthday present to whip up for him, because he has been wearing this so much!  There seems to be just as much dachshund fabric to be found as everything else, and I do have a small stash of such prints so there will be a slow and steady flow of more wiener dog makes to come!

The silhouette of a dachshund is pretty silly, cute, and unmistakable all at the same time.  I’d like to think this may be one basic reason for the popularity of such prints, but many of our neighbors have dachshunds or dachshund mix breeds so they are a popular modern household pet, anyway.  Scottie dogs were all the rage in the 1930s with their images on feedsack prints, purses, and the like.  Models would pose walking a Scottie and they could be spotted in movies back then.  (A Scottie was chosen over Otto the dachshund in the famous movie “Wizard of Oz”!)  Their silhouette is every bit as unmistakable as a dachshund.  Eddie Bauer is known for their yellow or black Labrador prints. Elsewhere, other than a beagle print here and there, it is dachshunds that I see for every season’s product releases today!

Our own little dachshund!

Dachshunds were much belittled and stigmatized over their cultural association during the time between WWI and WWII.  They were stoned in streets.  One graphic WWI poster shows Uncle Sam’s hand choking to death a Dachshund wearing a Hun helmet and an Iron Cross because everything German was the enemy.  “Waldi” the dachshund helped bring back the public, universal acceptance of the breed by being the very first Olympic mascot at the 1972 Summer games in Munich.  The dachshund Waldi was designed to represent the attributes described as required for athletes — resistance, tenacity and agility.  These little loyal lapdogs could do without all the R-rated jokes on their account, though!

Hidden Opacity

There is so much “extra” that goes into completing an outfit, especially with vintage styles because that can include a bunch of things that are overlooked today.  This might include gloves, jewelry, hats, and even more hidden and not so noticed items such as lingerie…proper slips and the like.  Necessary, matching underclothes and accessories often came with vintage garments originally, yet, most sadly, a large number have these items missing today.  There must be some mysterious gremlin or just some badly run estate sales which misplace those matching slips for vintage sheer dresses, or those self-fabric belts which somehow are sadly missing to complete an outfit!  Perhaps their former owners wore such items to death and they didn’t survive.  Anyway, this leaves one who can sew plenty of extra work to make items that will not be seen and be underappreciated (as a whole), yet just as necessary to bring a vintage original piece back to life.

What cannot be seen doesn’t mean it is not important.  Take this lovely vintage late 50’s or early 1960’s dress which came into my possession.  All I got was just the dress. Now, I am not in the least complaining!  It fits me, is in perfect condition, has wonderful details, and has my favorite colors.  However, it is missing its belt and definitely needing more than just your average slip to be complete it.

Now, the ‘trick’ of a classy, ladylike sheer dress is to be revealing yet not show enough to look like a tart.   So, that opacity which is needed can be an opportunity for fun – you can make that slip naughty, add whatever details or go basic, and even have fun with the color.  What is great about making an underslip is that, firstly, it is all about you – it is the most indulgent selfish sewing which is still justified because of its necessity.  It is all for your viewing (unless you post a picture of it) and your intimate wearing.  Secondly, I love the irony in that you are wearing it but yet it is both seen and yet not detected!  Such little things as a slip or a belt is also a great way for one who sews to make a little extra effort and both put your personal touch on a vintage piece and restore it at the same time.

After all this chatter, what I did make to go under my vintage dress was a deep burgundy-tinted purple satin crepe slip.  Any shade of purple is my favorite color, but I love the way it prevents any see-through and adds an interesting tone of color to the sheer dress over it at the same time.  I do like going darker than lighter with my underslips (as I did for this 1930’s dress) – it makes the dress more obviously sheer yet still highlights your underwear discreetly.  The print on this vintage dress is so busy you can’t notice the dark slip here, though.

The funny thing is, that on its own, my slip actually looks like a sundress to me.  It has nice details, but it still is rather basic overall and provides full lingerie coverage.  Oh well, I wanted something that rather looked like a dress actually because I had other plans for this slip.  There is another sheer outfit – one that I will post in the coming months – which I like wearing over this slip as well.  The neckline on this outfit is a deep V, so I want the slip to fill in the décolletage for me.  I love making one piece become a useful, working staple in my wardrobe.  Already this slip has proved its worth and is used more often than I had imagined.  Yay – so many times the simplest projects are the most useful.

THE FACTS:

FABRIC:  For being a polyester, this fabric is soft, flowing, and very good quality.  It has a darker, more burgundy color satin side, and a lighter, purpler buff crepe side.  I used the satin side facing out on my slip.  This is the second time I am using this fabric – the first time was to make the ‘pocket’ flaps and the belt for my 1955 Redingote jacket (post here).

PATTERN:  Advance #5552, year 1951 (I’m dying to make the dress from this pattern as well!!!)

NOTIONS:  Nothing but thread and bias tape (to cover the raw edges inside)

TIME TO COMPLETE:  This was whipped up in only 4 hours and made in one afternoon (on May 11, 2016)

TOTAL COST:  as this was clearance fabric, and I only used under two yards, this is a $3 slip.

Just a few posts back I mentioned that circa 1951 is one of my new favorite time periods for fashion…well here’s another one to add to that count!  This slip does have a classic 1950s “New Look” shape of the times to it with the full skirt and trim waistline.  I’m supposing the cover drawing is slightly deceptive the way the woman is so tall and the skirt is so full.  I have to wear a poufy petticoat, but without that I would have to sew horsehair braid to the inner hemline to get my version to actually copy that image.  Many times the idealism on drawn envelope covers makes us think our projects will turn out differently than they really do…but that’s okay to a point for me – we all love a good and glamorous pattern image, but the line drawing to a design are the meaty reality at the end of it all.

There is a waistline zipper in the side seam – there was no other way to get that trim waist shaping.  A zipper in the side seam of a slip seems really odd today, doesn’t it?!  I learned from sewing this 1940s slip that such a closure feature isn’t really a problem until I wear another garment which also has a zipper on the same side.  A zipper on top of a zipper is not comfortable.  This was the 50’s though – fashion was above comfort.  My Grandma has told me the corsets from that time were torture.  At same point I might re-install my slip’s zipper on the opposite – the right side – as clothes so that there is no overlapping.  It feels odd when I get dressed to find my zipper on that side but it turns out better for the overall comfort of wearing.  This is not the 50’s anymore and after all this is my sewing, so I am darn well going to customize it however I’d like!

The bust shaping here was also definitely tailored for a 1950s bra, maybe even a bullet bra or one-piece corsetlet.  There was sooo much extra room!  I brought a lot of the extra in by sewing a much larger seam allowance in the top half of the center bodice seam.  Otherwise, the little trio of radiating horizontal tucks did a fine and unusual job of allowing room for the bust.  I have seen this manner of shaping once before on the Simplicity #8252 (originally #8270 from 1950) but the reissue has French darts, too, which my slip dress doesn’t have.

Advance patterns have funky sizing issues in my experience, so as much as I wanted to make the sheer dress from this pattern, too, I felt that making the slip first was a good way to test out the proportions.  Many Advance patterns run small, and this one kind of held true to that.  The overall length (unhemmed) was evening length (remember how I said the cover drawing made the model too tall?) and the bust was generous (expected because of the lingerie popular for the time) but otherwise the waist was inhumanly small.  I sized up for the waist and hips for this slip from looking at the pattern tissue on me beforehand.  It’s a good thing I did, otherwise this would not been a success…only a headache to fix.  Now I know what to expect when I make that wonderful sheer dress that is the rest of the pattern.

From the best estimating I can do, I am guessing that my slip is a bit early for the actual dating of the true vintage dress that I wear with it.  As I mentioned in the beginning of my post, I am estimating this dress is late 50’s or early 1960s after finding a few sewing pattern covers and fashion photography images.  There is a year 1958 Simplicity #2411 pattern with a similar back neckline drape, kimono sleeve, and rounded neck.  There is an unidentified late 50’s Butterick with an even more exact back neckline sash drape.  However, the closest and classiest look-alike to my vintage dress is actually from Nina Ricci of 1960 – this has a similar silhouette and fabric colors and print.

However, my dress has a label of “Marcy Lee of Dallas, Texas”.  Marcy Lee was one of the over 100 blossoming clothing companies that began in the mid 1930s (circa 1933, actually) of Dallas, and this line capitalized on the marketability of low-cost cotton housedresses (info from here).  For being an affordable “housedress”, this is still a lovely dress, with amazing details, a classic style, and appealing design.  I really can’t say the same about the cheap and basic cotton knit clothes that are sold today!  Even though this dress is made of the most delicate cotton gauze, somehow it still was made well enough to hold up all these years so I can wear it today.

The details to the closing of this dress gave me the inspiration to adapt my own sewing.  When I was making my 1951 wide collared dress and I couldn’t figure out a front closing method to replace the side zipper, I used the front fly method off of this dress to know what to do.  This was a gift to me in more ways than one because it actually taught me how to do something in my sewing I would not have known otherwise.

As much as I do not advocate wearing vintage garments as a clothing source, because such regular wearing without constant care and respect can render these old clothes torn, destroyed, and eventually non-existent, I do think it is important for everyone to handle, see, and experience at least some kind of old clothing on their back at some point.  Just seeing such clothes confined and displayed from a distance in a museum does not have the same personal effect for people as being subjectively tactile with them.  Find your local shop or resale boutique and enjoy yourself, open your mind to the new details you will see, and start trying things on!  It might take awhile to find something that both fits and looks good on you, but find something that you absolutely love and care for it like a good friend.  It will give you a whole new insight on the clothes of today, help any sewing skills you might have, and let you love yourself with a style as unique and individual as you are!  If you are up to it, you can even be a hero or rescuer for some of the ones that need some tender loving care (see this ‘save’ of mine), or be the one to fill in the missing parts such as I did here.  Finding clothes that earn your respect can help you wear attire which help you esteem your body shape as it is in way that I don’t see many modern clothes doing for the masses.

Yet Another “Leave Her to Heaven” Lumberjack Blouse

As much as I love so many old black and white movies and films, there is something significant missing in all of them – true-to-life color.  It doesn’t really bother me, and I feel no disconnect with the stories because of it, but when a really amazing outfit is spotted…well, I am racked by the mystery of what that garments must have looked like in reality.  I have a suspicion this curiosity of mine is a major factor to why I am so drawn to the movie “Leave Her to Heaven”, from 1945.  Yes, the tale also has an eerie way of getting under the skin and staying in the mind from the excellent acting of a disturbingly intriguing storyline, but the outfits are spectacular – and all filmed in full color!

I’ve already ‘copied’ one lumberjack shirt worn in the movie (post here).  Thus, it was not like I was actively wanting to make another outfit from the same movie so soon, but when the right fabric happens to come along and fall right under your eyes…well, I couldn’t resist!  Besides, if I can channel vintage Hollywood with my casual wear (and I can always use more casual wear) and not just fancy stuff, I’m all in!  I do love a good blouse and the color pink.  So here is a short and sweet post about my second lumberjack shirt from “Leave Her to Heaven”.

Now, my first plaid blouse from that movie was a copy of one worn by the main actress, Gene Tierney.  This one that I am showing in this post had been worn by the “sister” in the movie, an equally beautiful and amazing actress Jeanne Crain, so it did not get as much screen time.  Jeanne Crain wore it to do the gardening (see pic at left).  My version is slightly dressier I suppose from the nice shirting material I used, rather than utilitarian flannel cotton like I used for my last lumberjack blouse.  Still, the mixed color plaid will hide any stains quite well and the fabric is pretty much wrinkle-free, so this is still a perfect casual day or outdoor work blouse which will still look so impeccable.  I love it!  This is why I make my own clothes.

THE FACTS:

FABRIC:  a polyester blend shirting

PATTERN:  a combo of my old stand-by Simplicity #3714 from 1941 for the body of the blouse, and Advance #3152 (from the same year) for the sleeves and cuffs

NOTIONS:  Except for the thread and interfacing, which was modern and on hand, I used vintage notions.  The buttons are true vintage bakelite from hubby’s Grandma in a rich burgundy and the bottom snap was from my Grandma’s box of notions.

TIME TO COMPLETE:  This was made in about 15 hours and finished on October 22, 2017.

THE INSIDES:  All clean with side French seams and the rest bias bound

TOTAL COST:  This was bought at JoAnn’s at about $15 for just over 2 yards.

This was such an easy-to-make project.  I have made both patterns before, after all!  I chose the vintage Simplicity because I like the collar and body shape…and it fits me perfectly.  It had already been used to make a basic brown long-sleeved winter separate to complete this suit.  There will be a third, solid color, dressy version coming in a few months, as well!

Different sleeves were chosen out of the pinafore set for this blouse version because firstly, it is from the same year (1941) and I wanted the arms of this plaid blouse to be more structured, masculine, and simplified.  The sleeve caps are a trio of darts and the wrist (above the cuffs) was adapted to have pleats, in a trio as well, versus having everything poufy and gathered as the Simplicity pattern called for.  The blouse sleeves and their cuffs are the only thing left to that Advance pattern besides the pinafore (which I posted here).  For some reason the blouse body was not in the envelope when I got it (that’s okay…it was only $3).  The two patterns matched up like they were made for one another.

With this version, I found greater appreciation for the pattern because the plaid brought out the design lines.  I wasn’t really trying to match up anything too much, mostly the side seams.  I remember being conscious in passing that the plaid was passing through the waist tucks and shoulder darts.  The finished effect is best when my blouse it untucked.

This blouse goes with so much in my wardrobe – anything brown, tan, or maroon, which I have plenty of in both trouser and skirt forms.  In these pictures, I am wearing it with my post WWII cuffed twill khaki pants (blogged here).  I do love how the bakelite buttons bring out the undertones to the plaid, complement the pink in a very unexpectedly bold manner, and make it work for rich red tones as well.  Such special buttons deserve to be seen and standout, anyway!

As my blouse is a ‘copy’ attempt from a movie, this is my first entry into the “Sewing the Scene” challenge sponsored by the “Unfinished Seamstress”.  I had meant to make it in time for last years’ same challenge, but I ran out of time making this outfit for it.  I went ahead and made my blouse later on in the year anyway so I could get some use out of it through our cold season and am posting it now.  It’s a challenge for sewing bloggers to get their priorities lined up when juggling a lot in life (don’t I know!).  I make sure to have thoroughly enjoyed an outfit before I even write a word about it.  Sometimes some outfits are so loved I don’t exactly get around to posting about them like I want because I am too busy enjoying them – but that is a good thing!  Life can get in the way of sewing plans, but at the same time, both life and sewing is best when it is a joy and not a chore.