One Shot

When you finally have the chance you’ve been waiting for…when you have the opportunity to be what you aspire to be…when you have one try to get something right…that ‘one shot’, or trial attempt, out into the dark of the unknown can mean failure or success.  If you have to wait for an answer, not knowing which of the two will be the result of your effort is agonizing.  However, being bold enough to follow your heart and do what is right for you is an answer enough…whether or not the truth shines through.  The worth that was already there is in its full glory so own it.  I’ll just sit back and completely own this me-made Agent Carter suit with a maker’s pride, and be a second Peggy for a time!

April 9 is International Peggy Carter day, her “birthday” per se (which in fan fiction is in 1921), and a day to celebrate in our own individual ways a character from Marvel Comics that has brought so much into our lives.  I celebrate by dressing like Peggy, even if it’s just adding some little detail like red lipstick.  Most importantly, though, it is seen as a day of confidence, empowerment, and compassion.  Believe in yourself today, and have confidence that you are beautiful inside and out – worthwhile in every way.  Have empathy for others and treat them like an equal human being, and feel the courage to say or do what needs to be done today or in the future.

Speaking of having guts, this post’s outfit required all the dedication and enthusiasm I could muster because this was my first attempt at full-fledged, proper suit tailoring…and I couldn’t be happier with the result!  My patience was tested and proven by this seriously complex, two-piece project made from a true vintage pattern.  The fabric and design I chose was directly inspired by Peggy’s fashion on the pilot episode of “Agent Carter” called “One Shot”, a short story (fifteen minute) release to American audiences in September 2013 on the Iron Man 3 DVD.  (Please, go watch it for yourself here.)  It was Marvel’s successful test run of an idea on the heels of Captain America: Winter Soldier, showing them there was (and still is) overwhelming interest in Peggy receiving her own screen-aired storyline.  As she was shown competently taking upon herself a solo mission in the face of extreme sexism and underestimation, I cannot think of a more appropriate example for me to channel on International Peggy Carter Day.

THE FACTS:

FABRIC:  a cotton flannel plaid, underlined in a cotton broadcloth, stabilized in loose cotton canvas (light interfacing weight) for the main body of the jacket, lined in poly cling-free lining (on hand); the skirt is an all-cotton heavyweight twill (almost a denim), with the jacket detailing being the same material

PATTERN:  McCall #6638, a Junior’s Two-Piece Suit, year 1946

NOTIONS:  I needed lots and lots of thread (which I had), a zipper and waistband hook for the skirt, iron-on interfacing, and a set of vintage plastic but carved-horn look-alike buttons from my husband’s Grandmother’s collection of notions.

TIME TO COMPLETE:  Not counting the patterning, the skirt took only 2 hours to make on was finished on February 4, 2018, while the jacket took me 40 plus hours to sew and was finished on March 14, 2018.

TOTAL COST:  The skirt total cost me about $15, the jacket total about $45 ($30 for plaid flannel from “GSM Designs” on Etsy, $15 for the extra padded layers) so the overall price is $60.  Not at all a bad price for a suit set like this, much less a customized fitting, vintage-style one!

There are several cool coincidences when it comes to this outfit – I revel in things falling into place just so!  This always tells me that I’m on to something good that is meant to be.  First of all, the “One Shot” episode takes place in the year 1946…the same as the date on the pattern I used to make my look-alike suit!  This pattern was something I already had in my stash so it was super convenient, practically the only Agent Carter outfit I have needed to hunt down a design for specifically.  Also, the skirt half for this is so very versatile and an easy choice.  It is made of exactly the same wonderful favorite fabric as my two pairs of 1950s skinny jeans (red one here, pink one here) and it is super reasonably priced so I kind of knew it would be a workhorse of a piece, but I didn’t expect it would become something I now wonder how I lived without.  This basic, brown, slight A-line, skinny, straight skirt completes a true vintage early 1950s blazer that I have, many of my blouses, as well as a post-WWII peplum blouse I have recently sewn (yet to be posted)!

The only reason I dove into this long admired Agent Carter set was because I happened to come across a small lot of the perfect matching plaid online.  Well, yes, this plaid does have an undertone of olive green (which I love) that is actually not on the original Hollywood costume, buy hey…I do need to make my project my very own.  So – I had the perfect opportunity in my hands…with no extra fabric in case I didn’t make this project perfectly.  My “one shot” at this luckily turned out nearly perfect…but I blame it on a great pattern and following in the steps of something amazing in the first place.

It was tough just reaching the point where I had a usable pattern to start with because this suit was for junior’s sizing – it was for young women very petite with tiny proportions.  I had to retrace AND resize every freaking pattern piece…and there were so many!  This was the ‘make or break’ step that might ruin my efforts or make them worthwhile.  It was a bit stressful to realize that.  I did the patterning step a few months before even beginning to make my suit set.  I wanted the pattern fresh in my mind yet needed a break first, too.  I did try a loose pattern tissue fit and after a tweak here and there I had to leave it well enough alone or I would overthink it forever and never actually start sewing.  Post-project, the only fault I see to my grading was making my jacket sleeves ½ too long…but that’s not bad, is it?! 

The skirt came first in my ‘battle plan’.  Ha – this is a reference to my favorite joke!  “How do you make a jacket last?  You sew the bottom half first.”  Yeah, sorry about that.  Anyway, it was an easy make that gave me preliminary confidence that my grading might just be right on.  I left the skirt on the longer side for a 1946 design but I liked this better on myself and I wanted to make it clearer that it is a post-wartime set.  The skirt is pretty simple, but it has great shaping and I love the pointed tab closure!  Making the skirt first also left me free to know that I had enough to use for some details on the jacket.

It was dizzying to even figure out how many times I needed to cut the same pattern pieces out from different fabrics.  That is the whole idea of a proper suit jacket – structure comes from layering, layering works with pad-stitching, which pulls it all together.  One layer of the plaid flannel was laid over the stiff, canvas-like cotton, then the panels sewn together and all seam allowances opened up and ironed down.  Then the same body was sewn out of the tight cotton broadcloth and this was ironed the same way and layered wrong sides facing over the stiffened flannel body.  The whole darn thing was pad stitched together, not sewing through the flannel to the right side, only catching the loftiness of the underside.  All eight of the curvy, princess seamed body panels blend almost seamlessly together (boy were they tough to match up in a one way plaid, by the way!).

Pad-stitching is defined as a running stitch…your basic stitch anyone who hand sews starts with, right?  The stitching stays in and is permanently part of the coat and all of the layers combined between became one, substantial, new fabric, completely dictated by the direction and density of what is applied.  Usually, the best benefits of pad-stitching is a nicely rolled collar or study lapels (which I needed with my suit because the collar was on the bias).  It is an age-old technique, mostly for menswear, one that modern tailors leave out, mostly because of the dedicated hand work it requires, although there are machines which can remotely do such a thing.  Something as loose and soft as flannel needed a major structure change to become a suit, anyway, so I pad stitched a layer of light cotton canvas to all but the sleeves of my jacket.

I would have preferred to work with wool to begin with, but you gotta make do with what you have!  I chose the ‘wrong’ textured side of the flannel to be the “good” right side because it was less fuzzy.  Even still, this particular flannel was twice as thick as any that I have seen, so it had hope…obviously, as you can see!  Over the course of a week, for a few hours a day, I did some pad stitching segments.  My stitching was wide, loose and not as structured as it should have been, but I did see that I became much more regular with all the practice!  I know just how to do even better next time.  I only took one or two in-process photos and was almost sad all that handiwork was covered up by the lining (hand sewn in place, I might add).  The jacket needed the lining, nevertheless, as it did also need those giant ¾ inch shoulder pads I added (oh-so-very 1940s)!  Both helped all that bulk glide over my under blouse and convey it with its last touch of gentle, secret structuring.

When it came to frilly little extras on the jacket, I kept them low-key by being complimentary or just plain leaving some out.  I did help myself out in the only way I could with the jacket by leaving out the pleated panels to the back “peplum” of the original pattern.  That looked way too complex and mind blowing to add with something already that level for me…and Peggy’s suit did not have such a feature.  I adapted the pockets to be more Peggy-like and also snazzier in exchange.  Peggy’s suit had rectangular slot pocket flaps (just like on my pattern) but with a rounded drop down spot for the button.  They were in the same fabric as the skirt, which both matches yet contrasts to add a depth to the plaid.  I felt the rounded shape of the Peggy pockets did not match all the other lines to my suit so I pointed the drop down bottom of the flap.  It matches with the sharp, notched sleeve cuffs, also in the same fabric as the skirt.

Making bound buttonholes are always quite a project in themselves, but I also stitched on regular buttonholes for the inside self-facing half of the front, as well.  I was merely following directions, here – they told me to make two different types of buttonholes and was really doubtful about how it would look and turn out.  I was terrified the two lines of buttonholes would not match together or line up when I folded the front in…but they look fantastic and give a very sturdy closing, I must say.  It’s a good thing my buttons are heavy duty, too.

My efforts have given me a suit that is everything I adore about true vintage suits.  Now I know a bit more about what once was an absolute mystery…but there is so much yet I desire to learn in this field.  During construction, though, I was quite terrified to see if it would finish awesome, mediocre, or disappointing.  I mean, I could tell along the way it should be just how I hoped, and the skirt was by far the faster of the two to make, but there are so many layers hidden inside the jacket that I couldn’t fully tell the result until the end.  This one of the reasons I took my time like no other project, slowed down my expectations, and reveled in every detail.  However, you know how you want a sewing project done, or need visible progress, else you grow tired of it?  I expected that to happen with this, but no – I found a real reason for an extremely slow fashion project without even hunting for it.  Once I enjoyed the realization of the depth of what I was learning along the way and that this is all just the tip of a bigger “iceberg” of couture tailoring techniques…well, time kind of disappeared as I would do my hand stitching or patterning.  I found my work so very peaceful, calming, and worthwhile.

There is an art to tailoring that is its own world of sewing – it is a world of enjoying every moment in a time honored craft of creating something beautifully customized with lasting quality.  It is a world of building sculpted “body makeup” which gives the body an idealized definition that becomes your own.  It is all something I cannot wait to do all over again because it’s downright amazing.  I’ve planned out my next suit jacket already – it is going to be a knock-off of the classic 1947 Dior “Bar Suit”, all in silk shantung, just like the one worn by Peggy’s arch-nemesis Whitney Frost.

Peggy dons this cherry red and dusty brown suit set on two very memorable occasions that are a turn of fortune for her.  In “One Shot” she dons her red suit when she is victorious, proven, and validated, with her chin up…and then in episode 3 of the Season One television show “Time and Tide” (at left) she again wears the same suit when she is at a loss, with the guilt of a fellow Agent’s murder heavy on her, and now a wanted woman entrenched with a friend’s secret.  I always appreciate it when garments are shown on a Hollywood character more than on one scene.  It makes them so relatable to me, like they themselves truly have a wardrobe of favorite pieces and are not just for show at the hands of the costume department.  It is interesting that in the Season on episode the whole outfit does not fit her quite the same in “One Shot”, but with a white blouse underneath she makes it work.  To similarly style my set, I chose a RTW favorite of mine – an Irish linen blouse with decorative stitching.  Did anyone notice my S.S.R. (S.H.I.E.L.D.) lapel pins before this mention of them?  An old late 30’s Art Deco police station was the very suitable and fun photo shoot location.

Any of us can “be Peggy”, and not just on April 9, and not just because of what we happen to have on ourselves.  It is what is inside that counts.  She was an imperfect superhero with no powers beyond a conviction, perseverance, and strength that is human.  She is not afraid of a bit of hard work and she is intelligent to know her value does not rely on other peoples’ estimations.  Fictional character or not, together with her killer vintage style she is my kind of gal.  I don’t think I’ll ever stop channeling her with my wardrobe, off the silver screens or not, so – yes, there’s definitely more Agent Carter fashion still to come here on my blog!

Kaleidoscope Colors

As a child, my kaleidoscope used to enchant and fascinate me.  I would love all the bright colors changing and mixing with every spin, and the patterns it created were something which reminded me of a snowflake with personality, making the most of whatever light you directed the toy at.  Now that I know how it works and have so many things on my schedule, sadly my kaleidoscope is packed away and not seen anymore.  However, I do have this blouse, a grown-up girl replacement!

Modern day winter wardrobes tend to be so droll and dreary compared to the fun with color the late 30’s enjoyed.  That decade combined and paired the most unusual colors in the most creative and attractive ways.  Bright and crazy colored stripes, however, are so classic to the late 30s and oh-so-popular again today.  It’s no wonder – they are like a ray of welcome and much needed sunlight in the world of everyday fashion!  True vintage items in such a stripe print today get sold so fast at high-prices that sadly such style garments are out of the question for many others like myself…and true vintage fabric like it is even harder to find in a usable, stable condition.  Reprinted modern versions don’t often do the 30’s striping justice either, which is why I am so happy to have recently found a newly printed crepe which does match the old-time mix of happy colors.  Together with a tried-and-true 1940 pattern, which has been adapted to copy a 1938 style, I have what may be my most complimented me-made garment yet!

THE FACTS:

FABRIC:  a 100% polyester crepe for the fashion fabric, and a scrap of cotton broadcloth the line the shoulder panel inside

PATTERN:  Hollywood #1991, year 1940

NOTIONS:  I had all the buttons and thread I needed.  The buttons are vintage from the stash of my husband’s Grandmother

TIME TO COMPLETE:  This was made in about 8 hours and finished on October 10, 2017

THE INSIDES:  nice French seams inside

TOTAL COST:  under $15

This was really a simple blouse to make, but the fabric and the sleeves are what helps to make the blouse standout.  I got rid of the angled panels to the original pattern and cut this version in all sharp geometrics, which complements the stripes.  The collar was re-drawn to be pointed, and the wide front (as well as back) upper bodice was made completely horizontal.  I lengthened the blouse hem as I eliminated the attached waistband.  As the golden yellow stripe was missing from the color sequence across the blouse front because of the way I cut, I added the ocher tone in through my choice of buttons.

I was basing my new composition to the 1940 Hollywood pattern off of images of true vintage patterns I do not have but admire, old fashion advertisements, and past photographs of both celebrities and regular women wearing striped blouses which have a crazy assortment of color.  It seems as if this trend is concentrated in between the years of 1938 and 1940.  I can’t help but wonder if that mode of fashion was begun with the lovely “Alimony” evening gown (year 1937) from the American designer Elizabeth Hawes.  However, it seems that multi-color striped garments after that designer were frequently in housecoats or sportswear pieces.  To see more inspiration of late 30’s to early 40’s multi-striped garments see my Pinterest board here.

My very favorite multi striped garment for inspiration is in the Agent Carter television show Season Two with the character of Ana Jarvis.  Ana favors late 30’s style in her wardrobe, and her blouse in the episode 5 “The Atomic Job” is a true and striking sample of the best from that period.  The only obvious difference between hers and mine is that Ana’s is satin with a waist tie front, and mine is a crepe finish with a regular blouse middle.  She was the cheerful, hopeful, and helpful backup character that was supporting all the others embroiled in the possible-death mission of the “The Atomic Job” episode, and her wardrobe shows this fact.  I want my wardrobe to reflect my happy inside…or if my day is going badly, I want it to cheer both me and others up.  Elsa Schiaparelli has been quoted as saying, “Color gives me ecstatic pleasure” from her book “Shocking Life”.  I’m so in agreement, and so are many people I think.  It’s a shame that out of the many people who compliment me on my blouse, many admit that even though they want it off my back they really wouldn’t wear it.  I’m guessing it’s because they just have a certain color comfort level they’ve grown used to and might even be afraid of being too flashy or too different.  Whether my colorful garment flags people down or not, we all know need color in our lives and regular RTW fashion certainly doesn’t seem to realize that so this blouse’s kind of different is good!

The wonderfully wide bishop sleeves with its big cuffs and puffed shoulder tops are the only thing I left as the pattern designed…and why not because they are killer amazing!  The pattern for such a full bishop sleeve with such forearm-encompassing cuffs was almost confusing because it was as wide as it was long.  Just like for my recent 1962 “Beatnik Blouse”, the sleeves atop big cuffs are so much shorter than “normal” long sleeves I am used to and it throws me off.   It also takes a good deal of both seam allowance clipping and ironing to harness so much gathering into a cuff so it stays flat.  The cuffs have dual buttons with close under embroidered thread loops along the edge.  These are rather hard to do on myself but I like how they keep the cuffs wrapped flat and snug around my lower arm verses buttonholes.

Can we set aside a minute just to gush over my jaw-dropping belt!?  This was a very lucky and therefore ridiculously affordable second-hand find for me, and is a ‘dream belt’ come true!  All in leather and detailed tooling all around front and back, it is a perfect bold and statement piece to complement the already outgoing feel of my blouse.  Actually, though – the late 30s was all about statement belts anyway, especially wide ones that had complex or unusual closings, anyway.  The only thing is, I haven’t yet figured out if the buckles are supposed to be worn at the top or on the bottom!

Yes, I realize I have been posting a good number of both blouses and shirts lately, but this has been what I have been sewing most of this year!  Separates are to me the salt and pepper of my everyday dressing.  Especially when it comes to vintage garments, having something that looks nice, yet is still casual, and definitely comfy as well as practical for whatever life throws my way for the day is what I can never get enough of.  The 1930s had this down to an art, in my opinion.

I must admit I never thought I would be wearing all those colors I admired so well in the light coming through my kaleidoscope.  I have been searching long for the right fabric to remake this now popular vintage trend for myself.  Now that I can do so, I have something to resort to for the long, dreary, chilly cold weather season we experience here…because warm weather garments shouldn’t be the only clothes which get the prettiest colors.  Do yourself a favor and don’t be afraid to try a new color in your wardrobe today!

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.