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.

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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.

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.

“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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