Revamp

It’s a new year, and there are another 360-something days to come of fresh memories, novel occasions, unexpected changes, and general happenings to be made for 2019.  In my experience, where we begin the year is normally quite interesting and different as compared to when it ends.  Thus, I thought it would be appropriate to start a new year of posting with a project similar to the way the world rolls from one year to the next…a refashion.  Every refashion is a new beginning for something from the past which is remembered in a different manner by the time it is reworked.  A refashion is a fresh start.

This particular refashion is quite basic and fancy at the same time.  It has been – and now continues to be – my basic “little black dress”, which now takes a very classic vintage spin from the basic modern piece it had been!  This is my fanciest refashion yet, I believe, as well as my most used.  It is comfier than it ever has been thanks to my re-vamp, and it is versatile enough for a funeral, wedding, night out, or fancy party (such as this!).  You name it, and in all probability this dress can step up for the occasion.  To think…all I did was use something I already had on hand!

Of course, the happenstance of finding matching material was the only reason this refashion was possible.  What I needed practically fell into my lap.  This good luck does not come around often!  When such an event does pop my life, I listen and act.  It’s these good chances that help let me know I’m on the right track, especially when they come without my trying too hard to make things happen.

THE FACTS:

FABRIC:  some sort is polyester knit, thick like a Ponte with limited stretch and more of an open mesh finish at close inspection

PATTERN:  the few skirt pieces I added were based off of a year 1948 vintage McCall’s #7226

TIME TO COMPLETE:  several hours were spent on one afternoon in the summer of 2017 to do this refashion

THE INSIDES:  The original dress was serged stitched (overlocked)…but even my new additional seams were finished to match

TOTAL COST:  $5 for one yard of new knit – the dress I’m counting as free!

The original dress was something that my mom had bought for me through a ready-to-wear catalog when I was in late teens.  I appreciated the fancy neckline and the dressy but forgiving fabric that washes, wears, and packs like a breeze.  She correctly figured that a “little black dress” was something I would find indispensable going into young adulthood.  Now that I am a full-fledged adult (and mother to boot!), these last few years I realized my favorite dress now longer fit me as well as I remembered, but I loved it nonetheless.  Thus, after coming across the perfect material, I took the ‘cue’ given me but still hesitantly cut it open and put it under my sewing machine to make it work for the “me” I am today.

Luckily, the bodice still fit so it was the only part of the dress (besides the armscye) that I left alone for my refashion.  It is an awesome, well-designed upper half, anyway, for being an affordable RTW item!  The square neckline was made with the pleated front middle that I have not seen the likes of again.  The whole bodice was double layered, fully lined in the same fabric as the rest of the dress, and ends at an empire height.  The skirt portion was an incredibly basic two piece skinny and short style which fit like a second skin, probably at least two sizes smaller than the bodice proportions.  I suppose having kids really makes ones hips fill out – I remember the dress fitting like a nice pencil skirt when I first had the dress!  The sleeves were also very basic and extremely small fitting for a ¾ length.

Firstly, the original skirt was cut off (keeping the bodice seam).  I needed – wanted – a skirt that actually sits at a waistline for my idea to work.  Thus, I drafted my own midsection panel to be the in-between connection to the bodice and skirt.  This way there is a defined middle which is more complimentary and classic than an empire dress.  The midsection is double thickness like the bodice, because it has to support a lot…this is a pull-on garment.  The dress is all knit so a zipper would only mess up the fabric, anyway.  I stitched everything in a zig-zag “lightening” stitch so everything wouldn’t pop – only stretch – putting this on.

Next, I cut a whole new skirt back half using my newly bought fabric from the most available vintage pattern…McCall’s #7226 happened to be out at the time so I used it.  It has the basic, common 1940s three-piece skirt rear which I wanted for my dress’ refashion because such a design provides wonderful booty room and hip shaping.  I re-used the original front half cut off of the dress and, after sewing the sides and hem, the new skirt was sewn to the bottom of the midsection.  Now the hem falls at my favorite just-below-the-knee length.  The skirt is the same length as on the original garment but between the better fit and added middle panel, it suddenly hangs better and has more swish in it.  Perhaps this can be a swing dance dress, too!

Finally, the sleeves were shortened.  The original ¾ sleeves were uncomfortably confining around the elbows and the length seemed weird compared to the rest of the dress in its partial refashioned stage.  However, to match the little bias edging along the pleated neck front, I added the same detail to finish the sleeve edges.  The sleeves were cut to end at the horizontal middle between the top of the midsection and the pleated front neck detail.  It’s my mathematical geekiness coming out, sorry!  The short sleeves really make this an all-season dress.

Accessories worn with this dress change literally every time I wear this, but for this picture I chose items I have from some of the people dearest to my heart.  My husband had given me the amazing vintage hat you see on my head last Christmas.  He picked it out from my very favorite vintage shop in town, which happens to be the same place my vintage Cordé handbag is from, as well.  My hat has the label of the esteemed Henri Bendel brand, a women’s accessories store based in New York City which was open between 1895 and 2018.  There is an amazing quality and design to this hat, but it also happily happens to be in pristine condition.  The rich red velvet wraps around, over, under, and through the hat so that it looks different but still lovely from each and every angle.  The thick, black wool is a wonderful contrast to the velvet, lending a richness to the whole hat.  Of course, I did a twisted, complex, fancy hair up-do to match the hat and help keep it on my head!  My necklace and silk scarf (filling in as my bracelet) are from my dearest Grandmother on my dad’s side.  My mom had bought me my earrings (black jet in the middle of a twisted gold rope) as a Christmas years back to match with this black dress.

I have had plans on my backburner of sewing projects to make Marvel’s Agent Carter’s Season Two deep purple dress.  It’s the one with the lattice detail at the neckline and sleeve hems that she wears to meet Dr. Wilkes at the nightclub for some dancing and a little undercover information.  The way this refashion has turned out, however, secretly yet strongly reminds me of that dress, and although it is not the same, just might fulfill my frequent “need” for yet another Agent Carter look-alike.  Do you see the similarity, too?

A refashion holds a memory of the past yet starts off with a fresh face and another beginning. A refashion makes the most of what we have and presents a challenge which is only an opportunity for us to shine.  I hope all of you have a fantastic year ahead, with good wishes for some awesome sewing, fun fashion, and creative enjoyment as well.  I have some exciting projects lined up for the next few months, not just for myself either, so I have a feeling my sewing skills and personal style will be taking an interesting turn this year.  You might not see it on my blog just yet, but I wanted to let you know that it’s there and I’m excited.  What are some of your inspirations and motivations for 2019?

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Being a Spectator

“Being is always a two-way street: as soon as you are aware that you can see, you will also know that you can be seen – and judged.” (From “Why is Caring About Fashion Considered So Unserious?” by Madison Moore.)  Now this is a rather harsh way of looking at a basic human reaction, and it does make us sound rather vain and self-conscious, but it’s unavoidable.  All the way back to Adam and Eve in the Bible story, who covered themselves because they were afraid of being seen by God, clothing ourselves is intertwined with self-awareness, personality (hidden or manifested), inner or outward expectations, and scrutiny under the sight of others.  This is all the more prevalent today, in our world of Instagram and Pinterest, which feeds off of and provides a seeming endless sea of images.  There’s no harm in such digital age resources, in my opinion, provided one gets out to see and experience real people in real life more than one spends the time to observe remotely via a computer or phone screen.

Public events happen to be the best places for bystander watching.  This sounds bad, but let’s face it – we’re a curious race.  It’s where people come to be entertained by the main attraction of the moment as well as find amusement in turn watching those who are present.  Everyone’s a spectator.  This makes me think – is there a style for being a spectator?  Why don’t many people even bother to dress our best anymore when going out in public, especially for fancy, special events?  How much do we dress for ourselves compared to how much we dress for others or for society?  Whatever does this have to do with my normal fashion-history-sewing blog postings, you may be wondering, too.

Well, there is a style of vintage garments and footwear which is labelled as “Spectator” fashion, and I have taken the Marvel’s Agent Carter interpretation!  In the very first episode of Season Two to the television show, “The Lady in the Lake”, she sets off the plot with a bang in a very striking, post WWII year 1947 rich red dress outfit.  She wears this fully accessorized set to the ultimate place and event for the sport of both being a spectator and watching them – horse racing!  To mirror her location, I had my own visit to a Clydesdale horse ranch.

Most people know the shoe version of Spectators – what we also call “Two-Tones”.  Perhaps the most well-known spectator style footwear might be saddle shoes or the quintessential “Lindy Hop” lace up flats of the Rockabilly 1940s and 50’s youth.  But Spectator styles were for fashion too, mostly in the form of a nice, collared dress, which was comfortable yet tailored and easily fancied up or down as needed.  I cannot find anything more definite than these consistent trait details, besides the fact they seem to have been quite popular in 1950 (here’s one example), petering out by circa 1954 (see this pattern), and are seen mostly in solid colors or low-key prints such as tiny polka-dots, for one example.  I need to do more research digging to be more specific on Spectator fashion, but it was certainly “a thing”.

Each piece to my whole outfit is very much a red and white, two-toned spectator-style item.  My only real variance from my inspiration was gladly changing the details to a more authentic and personally pleasing hat and shoe style.  Yes, I could have done a mirror-image “copy”, but opted not to follow exactly the Agent Carter outfit as seen in the program.  As with the rest of my Agent Carter “copies”, I ride a fine line between adhering to the movie inspiration and being true to history, but being authentic to my own taste for the 1940s always wins out for me.  I work so hard to find true vintage patterns that are strikingly similar, capturing a recognizable essence of my inspiration, and luckily the costumes are generally so good at being authentic themselves I really don’t have to sacrifice much at all to have the best of both worlds!

My Spectator dress is completed by one of my favorite millinery hat making projects.  A dingy, stained, and unwanted true vintage late 30’s or 1940s hat was rescued, refashioned, and spruced up into a new, bright life as a dramatic late 40’s/early 50’s style to match my outfit.  Hats, after all, are something not to be without when it comes to showing up at the horse races I know, such as Churchill Downs in Louisville, Kentucky.

My shoes are – of course – spectator style in red and white.  The ones seen on Peggy (of Chelsea Crew brand) are more of a 1920’s style spectator with the T-strap and pointed toes and quite expensive to buy everywhere they are found.  I personally prefer the likes of a true 1940’s heel on my feet, so for myself and for the outfit’s sake I went with a platform, peep-toe, and sling back heel from B.A.I.T brand footwear.  I think these are much more of a power shoe to bring this outfit up to the commanding and flashy woman that Peggy Carter needed to be for the occasion of her visit to the races.

This is my second entry to the “Sewing the Scene” sewing challenge sponsored by the “Unfinished Seamstress” blogger.  After all my efforts to mimic my inspiration outfit, this is still more than just a Hollywood copy for me, and not cosplay either.  This outfit will gladly be worn as part of my vintage-inspired wardrobe because Agent Carter is something which is part of my everyday life.  In fact…I wore this dress to get my official driver license picture for my renewal!  How’s that for bringing my inner Agent Carter into my ordinary duties!?

THE FACTS:

FABRIC:  a polyester suiting fabric from JoAnn’s Fabric store for the dress and a poly felt for the hat

PATTERN:  a “1st Place Prize” mail order pattern No. 1993, which I can date with confidence to year circa 1947

NOTIONS:  I used two zippers I had on hand, a true vintage metal one for the back neck opening and a modern matching red one for the side closure.  I had on hand the interfacing that I needed and plenty of thread otherwise.  The piping I made myself of leftover satin blanket binding and macramé cording!  The satin blanket binding went towards the hat as well as me-made bias tape of dress fabric leftovers.

TIME TO COMPLETE:  Ugh!  After way to much hand-stitching to remotely tolerate, about 40 (probably more) hours, this dress was finally finished on July 12, 2018.  The hat was refashioned in one afternoon/evening soon after, in about 5 hours.

THE INSIDES:  All clean in either French seams or bias bound seams

TOTAL COST:  about $35 was spent of the dress fabric, about $5 for the hat felt, and $20 to buy the vintage hat.  If I count the $10 deal I got on the shoes and the cost for my other accessories, the total outfit cost is about $100.

The outfit was quite a challenge to make – by far one of the hardest outfits to make, Peggy Carter related or not.  For the dress, I blame the crummy fabric I chose for a lot of my problems.  The fabric was the right color red to be sure, readily available in a local store, with a nice slightly textured finish, and a good multi season weight.  It was just too man-made in the way it acted, as if it was such an unnatural fiber that it was fighting being made into something worthwhile every step of the way.  I had to do meticulous hand-stitching for almost everything to get the dress to turn out halfway decent and not messy or cheap looking…I mean the fabric was rather pricey after all!  I was convinced into believing anew the need to go on a personal strike against polyester and other man-made materials.  For the hat, the main issue was dealing with something wonky and beat up and trying to revive it.  The man-made felt I used is again “man-made”, yet it worked out well for this refashion.  This hat could not be cleaned and it was the wrong colors but the right shape…when looking past all of its faults from the wear and tear of time.  Polyester felt was a weight which was thin enough to not make covering the existing hat too bulky, and I don’t think it is obviously an imitation of wool.  When making one’s dream outfit, sometimes price, budget, and available materials sure does make things more of a challenge than it need be!

The pattern itself presented its own challenges along the way.  From the very beginning, though, a big chunk of the extra time it took to be finished with this set was even before I could cut.  The sizing needed such a major change (it was for a tiny 30” bust).  I traced out the entire dress onto sheer medical paper so I both wouldn’t have to ruin the original and could gradually, in small segments, add in the 4 inches I needed widthwise.  Besides resizing, the only other design change I made was to the reshape the neckline.  I widened out the top angle of the neckline so that it would be more squared off and the two corners would land at the middle of my collarbones.  I raised the bottom drop of the key-hole neckline higher by just a few inches, so it would at least cover any cleavage (unlike Peggy’s dress, which shows way too much in my opinion).  Even still, it turned out quite low.  What would the original neckline have been like at this rate?! 

In order the finish the neckline edge, anchor down the piping, and accommodate the newly shaped neckline, I drafted my own facing accordingly.  This is really a dress about visible facing after all – that is the quickest, cleanest, and reasonably easiest way to do the neckline.  The whole of the dress is about the decorative chest, anyway. I made the new facing a replica of the neckline shape and made it an even 2 ¾ inches wide all the way around.  Then I made my own piping and stitched that along the outer facing edge.  Keeping the curves and corners to this step was so tricky but extremely necessary to the design.  Finally the facing was sewn onto the neckline, wrong side (dress inside) to the right side (visible facing).  This way the edges are finished (as I mentioned) and the piping is both covered and regulated in width away from the edge all in one step.

The finishing to this step was the hardest part because everything was invisibly tacked down with tons of hand-stitching which was tortuous to do.  So many pins were needed to keep everything in place in between the episodes of stitching, and my hands and arms became so scratched up and wounded.  The back neckline zipper was absolutely needed but only complicated things further with the piping ending there, too.  Sorry to complain!  In the end, though (after much steam ironing) I do believe the detailing turned out well, but not as perfect as I had hoped.  All those layers and the piping makes the neckline quite stiff, and it puckers slightly sometimes.  However, I do believe the proportions of the key-hole neckline are quite the same as Agent Carter’s dress, so I’m happy.  Yet, I feel now as if I can say I passed some sort of “trial by hand stitching”.  I definitely have a greater respect for the costume department of Agent Carter, now.

The criss-cross straps that finalize the drama of the neckline are shown to be more like a woven design right at the bottom of the key-hole according to the original pattern.  I merely repositioned them to match with Peggy’s dress.  The X over Peggy’s heart is a recurring theme throughout Season Two, as you can see in another copycat dress I made already here.  It is used when she is vulnerable – caught between needing to finish her hardest mission yet while being emotionally torn at the same time.  Love has come into her life again in a whole new way she didn’t see and didn’t expect. With Peggy however, it often seems that love is intertwined with heartbreak.  So – this dress is a strong statement of her both moving on to another chapter in life yet still staying the same strong woman as before she lost ‘her’ Captain America.  She still seems to receive more than her fair share of grief, in my opinion.  I suppose all it does is go to show just how strong and resilient she can be…though not tough enough to refuse to open her heart.

Only the year before this design, the bombshell actress Lana Turner had popularized decorated keyhole necklines when she wore several in the sultry 1946 movie, “The Postman Always Rings Twice” (see fashion pics here).  One of the only times she isn’t wearing white in the film, her black dress has white trim a few inches out from the edge to outline the shape of the keyhole neckline.  It looks all too similar!  Agent Carter was apparently only keeping up with Hollywood to wear this neckline style.

Otherwise, there is not much to say about the rest of the dress.  It has very basic shaping and almost boring darts and seaming.  That’s okay – the body of the dress needs to take a backseat to the neckline.  I kept the sleeves as they were designed, even though they are so different from my inspiration dress, because not only did they turn out cute in my opinion, but they are very easy to move in and provide a great 40’s shoulder widening appearance.  They are quite loose around my arms, but the rest of the dress also had a giant amount of ease to match.  I had to pare off about two inches from each side seams, and take off several inches from the hem.  This brand of pattern company must run really generous.  I guess I didn’t need to do all of that massive resizing after all.

Enough said about the dress – now I’ll talk about the hat!  Originally it must have been quite stunning – to me it has an almost sea-faring pirate feel and the back tassel bumble is an interesting addition.  Many late 30’s and early 40’s hats were similarly obnoxious in style with wide brims.  As I found it, there was an ugly black stain on the crown, and the brim had some rips or moth holes.  The brim edge wire was terribly twisted and kinked, too.  It needed a re-fashion, or else I cannot see anyone wanting it in that condition.

I hate seeing vintage items on their last leg, and I really didn’t want to make a hat from scratch to match my outfit…so I fulfilled both in one step!  Now I know my refashion tuned the hat into the bowl or platter style popular in the early 50’s, but it evokes the post war fashion of 1947, the year Dior unveiled his “New Look”.  It also shows how little details in shape and finishing can change a style so much!

My very first step was to unpick the stitching of the grosgrain ribbon along the edge, to then be able to unpick the millinery wire stitched on the edge.  Next, I took the tassel bumble off and stitched up the back brim slit opening.  Then the hat received an all-over steam ironing!  This flattened out the wavy brim and freshened it up in both smell and shape.  Now the hat was ready to be covered.

I started by covering the bottom underside of the brim using the dress fabric.  I made three rows of stitching from the edge for decorative looks and to keep it in place.  Then the crown was covered by gently stretching out my felt over the existing hat, and my knee was the best thing to put inside to keep in shape while I was doing this.  Stretching the felt made the two layers stick the one another better than stitching the two layers together.  If I was working with a wool felt, I would have soaked it in water before stretching it, but the polyester felt wasn’t going to work like that.

Finally, the top crown was covered with more felt, hand stitched down along the inner and outer edges, then my self-made bias tape, made from the same dress material, was stitched along the edge for the finishing touch.  The last thing was to make a tube of the leftover white satin left over from making the piping, and gently hand-tack that from the inside to where the brim meets the crown.  Agent Carter’s original hat had two different colors and textures of red just like my hat, but I just could not bring myself to copy the trim.  The original hat in the television show hat grey velvet trim with a matching bow, and to me it looks too much like a costume that way, and too over-the-top.  I like the classy simplicity of how I decorated my hat – again, not distracting from the dress, but definitely part of it by sharing the same materials.

It is remarkable how much this outfit forces me into a new outgoing spirit that is almost more than I can handle if I’m not quite feeling myself.  It’s all good stuff, though.  I’ve never really been a girl who is all about a red dress…it comes from reading the book “The Scarlet Letter” or watching Scarlett O’Hare show up at Ashley’s birthday party in the movie “Gone with the Wind”.  Besides, my mom never let me buy outfits in red when I was growing up.  I had only one fancy red dress, and that was reserved for a Valentine’s Day father-daughter dance to attend as a pre-teen.  Now, I’m rediscovering the empowerment of the color.  I even went all out with the color by treating myself to the complete Agent Carter red accessories as seen on television, too – cheaper copies of her Ray-Ban sunglasses, Besame brand “Red Velvet” lipstick (from the Agent Carter collection), her same mother-of-pearl flower earrings, and a true vintage alligator leather handbag.  If I’m going to enjoy the shade of crimson, and go all out in one of my most time consuming Agent Carter outfits yet, then it has to be absolutely awesome from my head to toes and everything in between.

Now I am truly a classic spectator…dressing up in my best, decked in a flag-your-attention set of red, sticking to two tones, and definitely realizing I am seen.  I may therefore be arbitrated, too, but then I am not afraid of it because I feel great in what I wear when I make it.  Besides – I am not afraid of others judgment in this outfit in particular.  I have a sneaky suspicion that it will get favorable opinion from others anyway.  I’ve already had someone drive buy and offer a compliment to me the very first day of putting it on.  There must be something with spectator fashions, because here I am talking about the self-consciousness, personality, and preparedness for scrutiny arising just from what I am wearing.  Clothing certainly adds a necessary complexity and interest to the human existence.

A Pink and Brown Power Peggy Dress

Power dressing is not something invented by 1980s fashion, even though that is the decade with which it’s frequently associated.  No – people have been doing it for as long as clothing has been around.  It’s not just a showing of status or wealth anymore, though.  Somewhere along the line power dressing has become a manifestation of character, confidence, and personal taste.  Power dressing is empowerment that we put on in the form of fabric.  It is a silent but commanding declaration.  The trick is to find a balance between having it being a cutting edge statement yet tasteful enough to last through more than just a passing fad.

I don’t know anything more basic that can empower women than an awesome dress which combines the best of style, design, comfort, and classiness.  If you don’t know what I mean then maybe you haven’t found something like this for yourself yet.  Every decade in fashion history has had its own version of a power dress, but since the turn of the previous century, this is what the 1940’s had down to an art!  There is no other woman I can think of than Marvel’s Agent Peggy Carter to look up to as a vintage inspiration for these kind of dresses.  Peggy Carter of the post-war 1940s had the basic fashion needs of life that we have today (speaking for myself) frequently have – an on-the-go necessity to look put-together in something comfortable that suits more than one occasion.  Some things never change, and a vintage frock that looks as good, and fit as well as this one (if I do say so myself) is every bit just as stylish and practical today!

This dress is my copy of something seen in Agent Carter Season One television show, episode2, “Bridge and Tunnel”.  My shoes are vintage leather originals, but my purse is a 1940s style make of mine, as well (see post on that here) to complete a period ensemble (which I don’t always have).  In my previous post, “Just Call Me Agent”, I had shown my make of the Peggy’s Season One dress from the episode before, “Now Is Not the End”.  Even though it has now been 3 years since Agent Carter first was on television, I have been occupied with remaking the clothes from several of the ladies on Season Two.  Since 2015, I am still busy filling in my now rather extensive Peggy wardrobe with inspired outfits of Season One.  Look for more to come!

THE FACTS:

FABRIC:  Kona 100% cotton for the dark brown part of the dress, and a poly stretch satin for the pink sections

PATTERN:  Simplicity #8050, a 2016 reprint of a year 1941 Simplicity #3948

NOTIONS:  I had all the thread and interfacing needed on hand already, but I ordered the true vintage buttons from an Etsy seller especially to match with the pink tone in the dress.

TIME TO COMPLETE:  This took me about 25 to 30 hours to make, slightly longer than the average dress for me (mostly on account of the bodice stripes), and was complete on November 7, 2016.

THE INSIDES:  bias bound, which was tricky at some points!

TOTAL COST:  The fabrics for this were both bought at my local Jo Ann’s store, and although the pink satin was expensive I only needed half a yard, and the dress pattern is from the 1940s so it is economical.  This pattern probably only cost me $20 or less.

I love how the fashion of the decade of the 1940s doesn’t take women for granted.  Rather, from what I see, it empowers them.  There are the strong shouldered, sharply tailored suits to show they are every bit a confident, formidable strength in the world while being as productive as the other sex.  There are the sweet, feminine styles that are generally the most comfortable and easy-to-move in for all their puff sleeves and gathers.  Then there are the separates – tops, blouses, and bottoms – that can create a flawless yet endless versatility for a casual chic.  Don’t forget the crisp power trousers that society could not frown down into oblivion!  Free of confining body shape wear worn in the previous and following decades (30’s and 50’s, I’m looking at you!), women were instead equipped with bras akin to armor and comfy underthings.  In all, between the these points and the attention to detail, the plethora of tailored looks, the thriftiness, and practical economy of the 1940s, I do believe this decade in fashion had it all going for the ladies…war or no war!

Now, as much as I am for the 1940s, I must say I have normally had a mixed love-hate relationship with reproduction patterns, especially from Simplicity…until the last few years.  Since then, Simplicity has supposedly changed its vintage patterns to be closer to being re-issued old originals than modern re-drafts of old styles (as they had been, hence the funky wearing ease and fitting irregularities I found aggravating).  Now this doesn’t take away from normal sizing frustrations or difficulties of achieving the right fit, but I must say that this Simplicity #8050 pattern is the first from them that actually felt like a true 40’s style pattern.  Ever since 2016, I have had dramatically less issues with as many of their vintage patterns than I used to have.  Simplicity has been impressively standing tall among Vogue, Butterick, and McCall’s now, after all, when it comes to offering the best designs, the most variety, and amount of new vintage patterns.

This leads me to say that I am so freaking pleased with this dress pattern, Simplicity #8050, I cannot rave about it enough.  It fit me as-is, after cutting out my size following the size chart (not finished garment measurements), and there was no special tweaking needed to make it comfortable to move in, besides me doing a precautionary “extra reach room” adjustment to the armscye.  I am sort of ready for a fail, when it comes to repro vintage patterns from the “Big Four” companies, so I added in reach room, because that’s what I always used to need with their reprints and it’s easier to take excess fabric out than it is to be stuck without it in later!  Turns out, this finished up great.  I love the details to this dress, especially the cool front bodice points with lovely body seaming, and found the instructions to be very good – speaking from a vintage point of view and not just a modern one.  Either way, someone used to vintage patterns should like this, and someone not used to vintage patterns should have a good, albeit learning, experience, too.  I am impressed, and not just because of the clear reference in the color and styling choices of the model dress on the envelope cover!  Yes, the ubiquitous red Stetson says it all!

The inspiration dress from the “Bridge and Tunnel” episode is very similar to my own (except for the cummerbund difference) but this pattern could not be a better base to make an Agent Carter outfit.  Besides the clear reference in the model dress, as I have mentioned before, Peggy Carter was a woman of the 40s who had the tendency to wear styles from early in the decade, mostly on account of on her struggle to move on after Captain America’s ‘death’ as well as her bother Michael’s passing (from Season Two) early on in the War.  This is a year 1941 style.  It strikes the perfect balance between femininity and functionality, comfort and class, and standout style that does ‘standout’ in any era – so perfectly Agent Carter, but also great for a woman of today!  Granted, from what I have heard about the original inspiration dress, the brown sections were a flowing wool crepe, while mine is a stiffer, more basic cotton.  I was mostly focused on finding the right color brown and making sure my version was practical for more than just winter wear (and it is)!  All it really took was a little extra flourish (speaking of the shoulder striping) and adding cuffs to the original pattern to have my copy of one of Peggy’s most popular Season One dresses.

Before I made my dress, I read several other reviews from bloggers who had already tried this pattern, and they mostly mentioned quirks that needed to be worked out in regards to the front button closing and the neckline.  Having loops on one side of the front in the right seam edge and buttons on the other side of the front opening can naturally end up with the buttons looking off-kilter, or asymmetric down the front.  It’s not that this ruins it in the least – no, one who sews would probably be the only person to notice such a thing.  However, someone who sews is often his or her own worst critic.  If a true center button closing is what you want with this dress, you cannot just whip it up as the instructions tell you.  I did not sew the loops into the seams as instructed, but sewed them to a separate fabric strip, like an anchor piece, and sewed that further in (by hand) under the right edge so the button loops would not hang out so far over the other side of the front opening.  Then, the buttons were sewn quite close the left edge.  Big buttons especially need big loops, and moving the buttons over on the extreme left edge to center the closure, necessitated the loops to be beveled in underneath.  Making the loops wider like the letter “U” also helped not make them as long as a loop which is snug against itself.  This is probably not the best way to fix this ‘quirk’ of the design, but from an engineering standpoint, it was the simplest, most direct way to correct the centering of the front button closing.

After all the work and forethought I invested in the front button closing to this dress, as it ends up, I don’t really use it.  You see the neckline turns out really quite low.  I didn’t like cleavage showing because the top button wasn’t keeping the collar together.  Thus I sewed an extra little strip of the dress’ brown fabric and have that hand tacked vertically in place from underneath to close the bottom point of the neckline collar together for an extra inch above the top button.  I know…this defeats the purpose of the working buttons and loops down the front that took me so much time.  I know I should have probably just re-drafted the collar to close up a little higher to have one more button and loop at the top, and that would have fixed it.  Yeah, I should have done that – but I didn’t, and this works just as well.  Besides, having to get dressed in this was fiddly with the side zipper, too.  I can just slip it on over my head without unbuttoning the front anyway, leaving me with only the side zipper to remember to open and close when dressing – much easier!

The dress itself came together really quickly compared to the time I spent wherever there was pink – the entire front closing, collar, neckline, and sleeve cuffs.  The sleeve cuffs were self-drafted off of the existing sleeve pattern.  I traced out the last 5 inches of the long sleeve, and opened it up to have more of a curve with a wider top edge.  My dress’ cuffs are double thick, self-faced, and were sewn into the side seam of the sleeve so that they stay in place.  The collar facing was a bit of a pain being all in one piece – but I’d like to credit this to the awful slippery and slightly stretchy properties of the contrast pink satin.  The front buttoning took way too much brain power to perfect – but I’m happy with the result and love how it highlights my awesome vintage buttons, even if they’re mostly just for looks at this point.  Then, there was the last step to finish the neckline – the striping.

 I splurged on a ½ inch bias tape making tool to help me finish the dress more easily, but that only went so far.  The tool did make constructing the bias tape fun, and relatively quick. However, adding on the strips to the dress was hard!  I pinned them down to the dress, then would let my garment hang while I walked away from it, only to come back later and look at it again with a fresh view.  I thoroughly measured the heck out of the placement of the strips on the dress to make sure both sides were even and check my eye-balling of the trimming I was adding.  The area that the strips cover has a lot of curves and movement, and mine turned out sort of wavy-looking on the dress at times because the pink satin had a lot of stretch in it and I followed the existing shaping of the dress.  If I had hand stitched it down, I suppose it might have turned out better, but this step was going to be a pain either way, so I finished it by machine.  I did take my time to work out the placement of the stripes – I wanted them to pretty much be parallel to the bottom edge of the collar yet radiating out of the two top buttons.

I LOVE how much the stripes add to this dress.  This is a trim I would never think to add on my own, much less even try if it hadn’t been for Agent Carter looking so killer in it. Color striping, color blocking, and color mixing were all popular ways in the 40s of adding interest, fun, as well as practical use of small scraps of materials into a wardrobe.  This particular Agent Carter dress is one of the best examples of 1940s fun with solid colors in my opinion.  I can tell from the response it gets.

You see, this dress is one of the few in my arsenal of me-made clothes that gets compliments every darn time I wear it, from all sorts of people, in all sorts of places.  It really is a discussion starter, too, because most of the time, a compliment is followed up by the query of where did I get my dress and how they can have one too.  One woman was amazed that this dress was cotton, because as a quilter, she associated cotton with crafting and bed covers.  Ah, Agent Carter truly is an inspiration for the world today, and if her influence can spread through her clothes, then all the better.

In the episode Peggy wears this dress, she was inquiring about finding a place to stay at the Griffith Hotel, a single woman-only boarding house with strict rules on their occupant’s moral and personal life.  To match, I visited a place which boards young people as well, and is a place of well-established rules and expected conventions (at least supposed to be) – the local college known as “Harvard of the Midwest”, Washington University.  Both the Griffith Hotel and the University share stately architecture and long dreary halls!  Washington University has some sections that were built many years before he 40’s, but heavy stone work and corner gargoyles make for a slightly mysterious and dark feeling that I think is appropriate for an SSR Agent wanna-be!

Have I convinced you to try out this pattern?  If you have sewn something with it, what do you think?  What is your opinion of the Simplicity pattern’s vintage reprints in the last two years – do you think they are better than they used to be, too?  Is this a Peggy dress that stood out for you, as well, in Season One?

“Just Call Me Agent…” – The Classic Peggy Dress

Red and blue are Marvel Agent Peggy Carter’s default colors – and very appropriately, too.  As Captain America’s biggest believer and a staunch defender of liberty and equality, she is the fictional heroine that seems more historical for all of the stories on her life and times that have been on screen in the past several years.  Today is “Walk Like Peggy Day” in honor of her “birthday”, April 9, and I’m excited to present you with (finally!) my make of her most memorable outfit.

Her trademark blue suit set with red fedora was too involved for me to make in one week, which was all the time I had before an upcoming “Marvel versus DC” themed event.  Yet, I knew I wanted an easily recognizable and well known option to wear so I went for THE iconic dress that lasted Peggy through two seasons on her TV show.  You can see it in the premier episode “Now Is Not the End” of Season One (2015), and also in the promotional posters for Season Two (2016).  My ‘copy’ turned out to be such an easy-to-make dress that is supremely comfy, complimentary, and striking.  It just might be my best Agent Carter garment yet!  This just like all my other Agent Carter outfits – it feels like a natural part of me, and not a put-on cosplay garment, which is perfect for my everyday vintage wardrobe.  Incorporating the wardrobe and resilient character traits of Peggy is the best part of going 1940s with my vintage sewing and wardrobe goals!

Happily, I was equipped with a lucky find of a vintage year 1941 pattern that is the same as the Agent Carter dress I wanted to copy.  Yes – you read right…the same! I didn’t have to change the design lines of the 1941 original to end up with an Agent Carter series look-alike dress.  The original inspiration dress used in the television series was a faithful vintage design, after all!  From what I have read and heard, it was a true 70 year old piece.  This fact says good things all around.  Not too often does a designer use such authentic costumes in such widely popular film, nor can a cosplayer or one who wishes to copy a garment from a modern Hollywood production frequently be able to dip into a primary source of history and still make a believable version.  This is another Agent Carter piece where the lines between cosplay and vintage dressing are blurred to the point that there is little differentiation – this is historical fashion as seen on screens today.  This is fiction that seems more akin to real history than anything.  My vintage pattern for this dress is a ‘Hollywood’ brand after all…so ironic, isn’t it?!

THE FACTS:

FABRIC:  100% rayon challis in two colors – deep true navy blue and bright red; navy 100% cotton scraps to be the facing and support for the inner waistband

PATTERN:  Hollywood #517, a “Linda Hays of RKO-Radio” pattern, year 1941 (For a brief, well-written overview on the life and career of Linda Hays, see this blog post!)

NOTIONS:  All I basically used was thread, which I had on hand as well as the zipper I used and a scrap of sheer organza to puff out the sleeve caps.  Oh, and some waistband hook-and-eyes… 

TIME TO COMPLETE:  This dress was made in about 12 hours and finished on August 26, 2017.

THE INSIDES:  All nicely French seamed or bias bound, with the hem being a tiny ¼ inch one, and the front waistband panel’s seams covered by the inner facing I added. 

TOTAL COST:  $10 – that’s it!  Both fabrics were found on half price discount at (now defunct) Hancock Fabrics and JoAnn’s Fabric Store!

Vintage patterns never cease to amaze me.  This one Hollywood pattern is a prime example.  Firstly, I made this dress on only 1 ¾ yards of fabric!  I’m the one that made this dress, and even still this fact amazes me.  Granted, the 1940’s was good for practical use of material goods but this is from before the American rationing.  I’m floored!

The most significant detail to this pattern is yet to come, though.  The closing detail to this dress obliterates the well founded modern concept I have heard many times that ‘a zipper down the center back is NOT authentic’.  I have seen other bloggers say that a center back zipper “ruins” some of the vintage 1940s reprints and re-issues that some of the “Big 4” pattern companies have come out with in years past.  Well…look at this old year 1941 pattern of mine.  Apparently a center back zipper totally IS authentic, surprisingly, just not common.  Right there in the description is, “…the back closes with a slide fastener.”  Now, this is awesome to see!  I’m assuming this center back zipper is because this is a versatile “Sew-Simple” dress which is labelled as either being a house coat, house dress, or street dress.  Perhaps the simplicity of getting dressed in a center back zip dress has to do with it being designated to house wear, and to be practical the pattern wanted to give the purchaser the most for her money by pointing out that this can also pass as a street garment.  I suppose it all depends on the print and material used.  Nevertheless, I will bet that a long slide fastener was harder to come by or at least quite pricey back then, and they probably were not even an option available for any garments other than military ones after America was involved in WWII.  Yet, I would think that surely women didn’t only have one dress closure option, anyway, to always endure the circus trick it can be with a tiny waist side zipper.  So make things easy for yourself and go ahead and sew those center back zippers if you darn want to!   

Since I was metaphorically “allowed” a back zipper with no “guilt” of being lazy or modern, I ran with this and installed a 22 inch invisible zipper down the back.  I know – I took the other extreme!  As my fabric is delicate and flowing, I didn’t want a bulky zipper showing in an obvious manner.  I wanted my dress to also look as professionally crafted as possible, too.  This project made me realize that the longest invisible zipper to be found is 22 inches, and sewing one that long is a real test of skill!

Fit was right on for this pattern, maybe a tad small actually.  Luckily I had added on some extra allowance on the sides so that I could have “normal” 5/8 inch seams rather than the called for 3/8 inch seams.  I am glad I did this because I ended up having to take the seams out anyway.  This is a change from all the Hollywood, DuBarry, and other now defunct brands which have almost always been consistently generous in fit.  Luckily rayon has a lovely soft ‘stretch’ when it comes to the cross-grain.

The skirt length was a bit wacky, too.  There was a perforated dot marking across at several inches above the cutting line, which I understood as the line for stitching down the hem, but even still, it was rather high up above the knees for me.  This pattern had obviously been used in its past, because someone had freehandedly cut a short length out of the skirt…and not very well either!  They had cut the sides of the skirt longer than the front so I found the skirt bottom to be quite crooked before a proper hemming.  But anyways, I just cut the hem longer and figured out what dress length I wanted as the last step since I couldn’t tell what was originally going on.  I so wish whoever cut this pattern had included what they took off.  The skirt is cut so wide there is a good amount of bias to make this a wonderful dress that flows with me as I walk (which would be perfect for swing dancing or doing Peggy Carter kick fighting), but it makes it very tricky to get a straight hem by the time it hangs over my hips!

This kind of high, almost chocking neckline can be such a turnoff, and as I am claustrophobic myself, I do understand.  If this wasn’t such an awesome Agent Carter dress, the neckline would turn me off, too.  What didn’t help is that the pattern had an impossibly small neckline cut as-is.  It was too small to remotely squeeze around my neck – it actually fit around my arm.  What were they thinking when they drew this pattern?!  Maybe I just have a big neck circumference.  Nevertheless, before adding on the contrast red bias band, I cut the neckline to be more open by just under 2 inches (all around) and it’s still small.  Just so long as I have room to fit my four fingers in between my neck and the neckline, that is as small as I will tolerate around my throat whether it is a necklace or a garment.  I have made other clothes with such a similar neckline (such as this 40’s blouse) and yet every time it is so fun yet tricky to work with taming gathers into such a small bias facing.   I do love how these kind of necklines turn out looking so feminine, delicate, and cleanly finished, especially with a contrast color!

Speaking of a clean finish, I am quite pleased at the finished look of the contrast red striping to the middle front and cummerbund pieces.  The contrast strips to the dress’ panels were stitched face down, wrong sides out, then turned over to line up with the seam allowance edge, before any further assembling together was done so that no stitching would be seen.  I do wish I would have made them just a bit wider, but they are noticeable enough as it is so I didn’t want to make them quite as wide as Peggy’s original dress.

The front paneling is part of the dress, but for the back half it becomes cummerbund belting pieces that overlap to close at the center, independent of the dress itself.  This is the way Peggy’s original dress was, but it is also staying true to my dress pattern as well, with only a minor change necessary.  The pattern calls for long cummerbund pieces on each side that line up with the middle front panel and come out of the side seams to tie at the back center.  I merely cut one long cummerbund piece, and cut it into two short pieces, added the striping to them, then facing the two undersides with navy cotton scraps, and finally adding them in the sides like the pattern instructed.  Two sliding waistband hook and eyes close the back.  There is still a ‘normal’ 1940s back to the dress under the closing cummerbund – a waist seam that has a simple skirt below and a poufy bodice above.  I slightly downwardly curved in the top edge of the back cummerbund pieces so that they would have nice dip and look more tailored than just a straight band.

Yes, I added a bit extra and changed up the back ties, but with some lucky internet research I was able to see that this style of dress and color combo was quite popular in the late 30’s to very early 1940s primarily.  In other words I wasn’t just making a cosplay copy or directly trying to be patriotic here (even though I totally am) – remember the dress was a vintage original anyway!  Also, her two seasons of television shows were supposed to take place in 1946 and 1947 respectively, it was one of Peggy’s personal traits, mostly blamed on her struggle to move on after Captain America’s ‘death’, to be stuck in the past and wear fashions from an earlier period so a 1941 dress like mine was just her style.  There is an image of a year 1938 National Bella Hess catalog advertisement showing a dress (in a different color combo) with a recognizably similar style.  While my Hollywood pattern has the closest design lines to Peggy’s original dress, I have also spotted this style as extant vintage 40’s dresses for sale through some well-respected shops – see this neutral-coral toned beauty from Scarlet Rage Vintage or this studded rust-orange toned version from Archiverie.  However, the closest “proof” of Agent Carter’s dress is existing already in the vintage realm is I think to be found in a Vogue #8247 pattern cover image from 1939 – this one’s almost a carbon copy even color-wise!  When it comes to the use of navy and red, have found a vintage original photo (colorized, no doubt, but I cannot find the source for this) that has a different style dress, but distantly comparable use of colors and color blocking.  Bright red and rich navy were popular colors the 1940s used alone as solids for dresses, tops, and bottoms, sometimes combining the colors to be nautical inspired.  Otherwise these colors were integrated into florals, stripes, accessories, or outfits which are contrast detailed, much like my classic Agent Carter dress.

So – as Peggy’s dress is apparently a vintage piece that the designer bought and not designed for the actress (Hayley Atwell) to wear in the two Seasons of her television series, I would like to think of my Hollywood pattern or some of the close copies I have mentioned above as the source that could have been used to make the original dress.  Especially since the center back zippers, as seen in many of Peggy’s dresses, have made some commenters throw question on the authenticity of her wardrobe.  Hopefully the 1941 pattern that I used to make my Peggy dress copy should rest this case once and for all!  After all, the designer Gigi Melton has shown and said that she was heavily influenced by old classic Hollywood starlets and 1940s designs, besides staying admirably true to the materials and techniques which would have been worn at the time for everything she created for the characters.

Not only were the clothes historically true to the Marvel character of Peggy Carter, but even her position as a secret agent operative was a real job for specially chosen women in Britain during WWII.  The SOE, acronym for “Special Operative Executive”, employed about 3,200 women (one-fourth of their force) in all countries or former countries occupied by Axis forces and was a top-secret organization to conduct espionage, sabotage, aid resistance movements, and do reconnaissance.  The SOE’s existence was not known for many years and even today it is still being explained and understood.  (The various branches of the SOE were often ‘hid’ under fictitious military bureaus that were believable to keep secrecy.)  It was about finding everyday people from all ages, gender, background, and walk of life and unlocking their hidden, inner talents to make them extraordinary beings with a secret military mission.  The newest installment in the SOE’s biographies is the “Secret Agent Selection: WW2” series currently on the BBC television station, which follows 14 modern volunteers undergoing the same training as back then, in the same clothes, in a secluded old country house.  See this “Sun” article for just a sampling of the original recruits who joined in the first year or two after the SOE was formed in July 1940 and read their abridged stories.  Like Peggy Carter, these Agents were real life superheroes, who didn’t need a superpower to do great things.  They just needed to know their value and believe in their worth.

In conclusion – can fiction help us learn about nonfiction?  Can recounting the past be every bit as interesting as something made-up?  Can the right garment to wear help you know your worth and clothe oneself in confidence? Can anyone be an everyday superhero?  Can Marvel just please continue telling Agent Carter’s story?  I think all of these questions in my mind just deserve one resounding YES!  Happy birthday Agent Carter, one of the most influential women I know.

“Winter Soldier” Blue Suit Dress

I despise the cold and hate the season of snow and dead looking trees.  Grey skies and a body not tolerant of bundling up in layers combines to make the fact that we’re at the beginning of what is officially winter now gives me no reason to celebrate.  In my mind I’m like a “winter warrior” that endures through the tough season…wearing my own made garments to make staying warm much more enjoyable than it could be.

This post’s suit dress is from 1955 and to me is the best of me putting up with the past cold season in lovely vintage style.  I love this!  Warm (but not bulky) boucle, slimming design, interesting asymmetric features, and mid-50’s chic fashion.  There’s even a good influence of Agent Carter inspiration, courtesy of Peggy’s Smithsonian interview from the movie “Captain America: Winter Soldier”, to combine for one awesome result, if I do say so myself.  (Watch the whole 3 minute clip here…warning, it’ll make you cry!) My dress may not be as “line for line” a copy as some of my other Agent Carter makes, but it is definitely similar in a way that is clearly recognizable, even if I do only have one lapel!  Life is better with a little bit o’ Peggy in it!

A good Agent Carter dress in 50’s era class deserved an amp up in some quality features.  Perhaps that’s why this dress is the first to have me hand-stitch everything when it came to finishing – the side zipper, all top-stitching, and all hemming.  As one who hates hand work due to achy wrists and a bad neck, this is a truly strong statement to how I feel about this (not just a slight brag) that my “Winter Soldier” dress is the first to have deserved such treatment.  It deserved it, believe me, but all that hand stitching taught me some unexpected but much appreciated lessons on a new outlook to certain aspects of sewing.  More about this down later!

To “top off” my set is one of my favorite vintage hats that I own – a rich navy velvet halo hat, also asymmetric in style, complete with a matching velvet vintage clutch purse.  My gloves are also vintage, so I guess my suede, patent toed heels are the only real modern accessories of my outfit!  This kind of asymmetric halo hat found great popularity for a short period of time (about 1948 to 1953), so my hat is a tad early for the actual date of my pattern (1955).  However, as the “Smithsonian Interview” scene was supposed to be in 1953, it is right on spot in both year and complimentary style, I do believe.

My lipstick is my favorite crimson shade, “Red Velvet” from Besame Cosmetics.  “Red Velvet” goes on so smooth and is intense in pigment.  It often lasts through eating a meal!  Anyway, I’m naturally swayed in favor of “Red Velvet” – it’s the color that the Agent Carter actress Hayley Atwell wears whenever she’s in character, so it is only fitting to pair it with this Captain America outfit.  I love how subtly patriotic and richly cheery it makes my mellow winter blue suit dress!

THE FACTS:

FABRIC:  an acrylic/poly/rayon blend boucle lined in a crepe-finish polyester

PATTERN:  Simplicity #1353, year 1955

NOTIONS:  I had all the interfacing, thread, and other notions needed (bias tapes, shoulder pads, zipper) in my stash already.  Yay for using what’s on hand for a project that easily comes together!  The buttons are vintage from my Grandmother’s collection.

TIME TO COMPLETE:  This was finished on February 11, 2017, and took me about 20 or more hours to make.

THE INSIDES:  All cleanly bias bound, as boucle shreds like a maniac otherwise!

TOTAL COST:  The boucle had been in my stash for I don’t even remember how long.  It was one of those good materials that I hold onto until I find a very convincing reason to use it!  My lining was something from my longtime stash, as well, so I’m actually counting this as free!

I’ve never gone wrong knocking-off or copying a Peggy Carter outfit for myself, and this dress only continues the good trend, even though it is from the next decade than we’ve traditionally seen her in.  It is definitely 50’s, but it still has the strong shoulders with waist and hip slimming features that looked so well on her in the 40’s.  In classic Peggy style, my dress is a wonderful combo of appearing impeccably put-together in a garment which is comfortable and practical.  This is a soft, not stiff or even itchy, suit dress in just the right weight to keep me warm yet without being overly toasty indoors.  I have no idea if such an ideal dress exists in RTW (I am highly skeptical there is), so I am extremely thankful to be able to put my sewing capabilities to use to make my own “copy” of a garment worn by my fashion muse, Agent Peggy Carter.

Sewing this dress was a real pleasure.  Sure it had its challenges, especially when it came to getting sharp corners to the collar and adding in the skirt pleats.  The boucle was lofty and nubby making it hard to be so precise with such details.  As tempting as it was to just pin it all down in place and whiz through to tack it down with a machine stitch, I couldn’t stand the thought of a harsh stitching line around the edges standing out against the lovely speckled boucle.  I wanted a finish that would blend in with the boucle invisibly and there was only one way to do it.

Many times I feel an inner unwilling tolerance to the necessity of doing a large amount of hand stitching, most due to my resulting physical discomfort.  This time, I slowed down and took time to give it the detailed work it deserved, coming to a new realization of the power of time lavished and well-spent on a special quality which sets handmade clothes apart in best of ways from RTW.  When a certain hand-made technique would make a particular garment be finished with a quality which would bring it to another level, a handmade garment can receive that treatment whereas a RTW dress made in a sweatshop or factory setting will not…ever.  Bureaucratic time restraints and the frequently penny pinched fast fashion system has too many limitations on the quality of what can be offered in stores.  A home dressmaker’s common constraints are often finding “free time” and availability of easily found or affordable supplies!  As efficient and productive as I am with what I make, I do not like to see what quality I want be sacrificed to time constraints…especially not after this dress.  What I found is that when I relaxed and appreciated my hand sewing like never before, it was not as uncomfortable to my body or as terribly drug out as I had expected.  It’s amazing what a new outlook can do.  I really do believe that quality concerns must be one of the many reasons I sew.  I just hadn’t seen this before I had this dress to give me an example and come face-to-face with it.  Poor quality is one main reasons why store bought clothes so quickly end up thrown or given away, and become uninteresting.  High quality is one of the main reasons why a vintage garment from 50, 70, or more years ago is still existing in such good condition and are such a treasured treat to wear.  I want to learn from time-honored lessons.  Be warned, though – a French seam or a hand-picked zipper and hems can totally “spoil” you in a very worthwhile way!

Speaking of details, other than the aforementioned challenges with the points and corners arising from the nature of the fabric, the rest of my challenges were mainly about fit and the asymmetric front.  You see, asymmetric designs are always an interesting departure from the “norm” because suddenly you don’t have one pattern piece which is laid on a double layer of fabric for an easy, instant result of both right and left sides.  Ever since this 1947 asymmetric dress, I realized the importance of making sure your patterns are all equally facing “right side up” when laying them down on the single layer of fabric, otherwise you don’t end up with a “left” and a “right” piece with the good side of the fabric on the outside.  When you are cutting double fabric layers with one piece you don’t have to think of this detail.

Also, the fit was a bit unexpected on this pattern.  The bodice turned out generous, but the skirt turned out slightly small.  Bringing the seam allowances out and then in at the proper areas helped this matter but even still, this was a weirdly unique fitting fluke for a 50’s pattern.  Oh well, this gave me an opportunity to use some thick 80’s style shoulder pads from my stash so as to fill in the extra fabric to the bodice, pick it up, and square it off.  You’d never have guessed such big shoulder pads were in there, right?  I’m always amazed at how vintage fashions benefit so discreetly from exaggerated shaping!  Shape definition is something this decade of the 50’s was known for being good at – creating and emphasizing the ‘ideal’ hourglass shape.

From the back the dress merely looks like a lovely, tailored, but basic dress.  The sleeves quietly amp up the details – they have darted French cuffs (similar to these on this 30’s blouse I’ve made), cut on-one with the sleeves and merely faced.  Now it’s the front that carries the weight of the intricacies!  It might look like a wrap, but that’s only part of the guise.  The “wrap” is sewn down from the waist to mid-thigh were the skirt releases up into a double pleated opening for fashionable freedom of movement.  The pattern only called for a solo oversized button to ‘hold down’ the collar’s left lapel, but as I had a matching smaller sized button I added it above the waist to help keep the bodice wrap closed a little better and add to the asymmetric appearance.  I will definitely be trying out pulling a small scarf through the collar lapel buttonhole, just like the cover envelope shows, for a whole different visual effect!

My background is meant to lend a professional and city living kind of air to my outfit besides being rather accurate in era.  However, for clarification, my background building is special…just about the last of its kind in the area, an icon in the history of the famous Route 66.  It is an early 50’s office space, a late successor in the style of the infamous Coral Courts Motel, which had been just a block up the street.  Glass block windows and golden bricks with decorative aluminum work began in the 1940 and 1950s as a way to build the bridge between late Art Deco and early Mid-Century architectural styles.

The end of this post brings me to think of a quote from Sir Ranulph Fiennes, “There is no such thing as bad weather, only inappropriate clothing.”  I see he’s described by The Guinness Book of Records as ‘the world’s greatest living explorer’ so his quote may not be the best from a fashion point of view, but technically it’s still every bit as appropriate.  From my point of view, I really don’t see how, if you can sew or knit, why your clothes can’t be every bit as warm AND as fashionable as you would like!  Beat that you cheap store bought dresses that only make me freeze in the winter…or you worthless sweaters that have unravelled on me after a few washes.

What is your favorite winter garment to make or favorite winter fabric to use?  Do you like the dressy luxuriousness of velvet, the loftiness of fleece, cozy comfort of a knit, or the warmth of a classic wool?  Do any of you find yourself infatuated with boucle as I am?  If you haven’t experienced this fabric for yourself, you need to!  Let me know your special way of rocking your winter style!