Inverted Floral Wrap Dress

Just as a mirror has two faces or a coin has two sides, so is there symmetrical inversion in botany.  I have channeled this natural state of balance into a vintage wrap dress for the ultimate challenge in forethought and clear-headed pattern planning.  I do normally gravitate towards asymmetrical designs. 

However, I was directly inspired by the dual personality of the Marvel villain Madame Masque, as seen in my favorite television series Agent Carter (Season two of 2016) as the stylish Hollywood starlet Whitney Frost, set back in the time of the 1950s era.  The last scene for Whitney sets her up for the future villain she becomes.  Watch it for yourself here on YouTube. She is shown as unhinged, delusional, and desperate to live her old life even as she is disfigured from the power she found searching for a new way of existence.  However, we are viewing her situation through the lens of a mirror image which distorts her reality. 

Whitney Frost, Season Two, episode 10 of the Agent Carter show

Her dress was appropriately two-faced, with a pleasing feminine floral on one side for her Hollywood alter-ego and a deep purple on the other side to reference the Dark Matter which resided in her.  This beautiful ruse is the scene that I sought to imitate.  As short as it is (only 1 minute) the clip is very telling – Whitney Frost’s sadistic and selfish ways left her with the opposite of everything good that her gifted intelligence could have achieved.    

THE FACTS: 

FABRIC:  The solid portions are a cotton and poly blend broadcloth, while the other half is an all-cotton handmade block print direct from India, fully lined in a thin bleached muslin cotton for opacity

PATTERN:  Anne Adams #4803, from the year 1952, labeled as a “Wrapron” jumper-dress-apron, vintage original pattern from my personal stash

NOTIONS NEEDED:  lots of thread and some bias tape for finishing the edges…that is it!  No zippers or interfacing, or buttons – pretty simple!

TIME TO COMPLETE:  The dress was made in about 30 hours and finished on June 13, 2021

TOTAL COST:  Two yards of the floral block print was ordered from DesiFabrics on Etsy for $26.  The rest of the fabrics came from my local JoAnn Fabric shop – 2 yards for the purple and 3 yards for the muslin.  My total is about $45.

There has been a semi-intentional year 1952 spell lately on my blog.  This is the third post in a row to feature something I have made dating to that year in fashion history!  1952 saw the full transition of women’s’ fashions away from the last vestiges of late 1940s influence and took on the styles which would be the classic silhouettes and design lines for the rest of the era.  This third consecutive post of a 1952 dress combines a sample of the predominant fashion trends for that year (mentioned previously) into one project.  I will explain!

My last post – a Cinderella inspired dress – had a simpler version of the same inverted floral look as this post’s frock.  The latter was my test project for gearing up for a full interpretation as the one in this post and diving all in to the challenge of trying out some tricky mirror image paneling.  What I learned along the way is that there is no secret technique to help make the process easier.  Everything is in terms of opposites and cut single layer.  This kind of inverted paneling of two fabrics is just plain craziness to sew and plan.  My best advice is to work on such a project when you have a clear head and limited distractions.  Write out ahead of time which pattern piece will go to which fabric so as to have a visual guide.  Also, have some extra fabric as a little ‘wiggle room’ in case you mess up figuring which pattern piece to cut from which fabric.  Trying to create a two-fabric dress was easier for my Cinderella dress as the McCall’s pattern I used was clearly printed.  Unless you’re looking to make things harder for yourself, do not try such a style when working with an unprinted tissue pieces, which was the case for the mail order pattern I used for this Whitney Frost dress.

In the princess-themed post mentioned above, I spoke of how 1952 had some definitive fashion trends that are easy to spot, but I’ll now add wrapped dresses to the list.  Before Diane Von Fustenburg got credit for popularizing wrap dresses in the 1970s, they had been a creative “craze” in the 1950s.  Notice how this post and the former of my last three (my Charles James look-alike) both are 1952 dresses that wrap closed in some such way! 

1952 was definitely a benchmark date to the prevailing wrap trend, as evidenced by an overwhelming amount of that particular style for that year.  Butterick even had a specific tag line for their popular wrap pattern #6015 of 1952, calling it the “Walk-Away Dress” (reprinted as Butterick 4790), but all the other pattern companies of the time came up with their own version over the following few years afterwards.  It seems rather clever to me that Anne Adams took the “it can be a full body apron or a dress” creative approach to tagline and market their wrap dress and keep if different from Butterick’s offerings.  Advance also came out with another apron-dress wrap in #7811 (see it here).  McCall’s had rather fashionable wrap dresses for the time, but they did offer their “Instant” wrap-around apron dress in pattern #2104.  Simplicity Company even came out with their wrap dress in #2466 which was tag lined as the “Answer” dress so you can look presentable enough to answer the door in a matter of seconds.  Simplicity’s “Answer” dress is surprisingly similar to my Whitney Frost dress in the way it has both a print and a solid at contrasting sides.

The first reason I chose the Anne Adams “wrapron” dress pattern for Whitney Frost’s inverted floral dress was for its basic design lines.  It was the only early 1950s dress pattern in my stash that had center seams both front and back and a similar overall style.  Sure, I realize I could have just thrown in extra seams but I wanted my base pattern to be just what I wanted from the start.  With so much figuring to account for already, I didn’t need to add one more alteration for me to think about.  I have also been aching to try one of the many early 1950s wrap dresses, and this one seemed to me to have the best chance for success.  It seems as if every vintage sewist has tried Butterick’s classic “Walk-Away Dress” and been deeply underwhelmed – I was not going to walk into that trap.  Even still, every wrap dress – including the most successful – is a frustrating beast to sew.  They are shifty things that do not have one set way of fitting and tend to have a mind of their own.  Their adjustability is to their benefit at the same time.  Bodies are not static and fluctuate quickly – even from the morning to the evening my body has different measurements.  A wrap dress accommodates all of those changes! 

I was hoping for a rousing victory out of this project, of course, and inspiration from the Agent Carter show has not once let me down, always spurring me to create my wardrobe’s best pieces.  I have found that this specific wrap dress turned out to be perhaps my best fitting wrap and amongst my all-time favorite dresses.  It was quite an experience to sew (as expected) but most of that was simply the combination of mirror imaging the two fabrics and the fact that vintage mail order patterns run roomy.  If you want the same look as my dress without dealing with an unprinted, fickle sized, true vintage original like what I used, I have noticed that the modern reprint Simplicity #8085 is a strikingly similar pattern.  However, I have not tried this reprint for myself.  Using that pattern, nevertheless, you would need to draft in a front V neckline and a center front seam.  Then, you could add in some sleeves, just as I did. 

For some reason it seems as if most of the 50’s wrap dresses do not have sleeves.  They are easy to add on where sleeves are wanted but missing and help keep the garment anchored nicely on the body.  Depending on the design, make sure to add in at least an extra inch to the inner armhole edges to a sleeveless frock if you are going to sew in sleeves.  I drafted my very own sleeve pattern here because I wanted exactly what was on the original Whitney Frost dress which was my inspiration.  They have pleated top caps which almost give the illusion of a puff sleeve from a decade or two previous to 1952.  The hem is also pleated in but with half the number as on the cap.  I love how cute and comfy these sleeves turned out to be, and how they enhance the overall dress and level up its elegance.  The dress looked very casual and was clearly an apron-derived style before sleeves.  With them, it is 100% Whitney Frost’s class and suddenly a refined dress that is low-key hiding the fact it is a wrap.  I love the little epiphany moments that every step of making a garment reveals.

The scene of Whitney Frost hallucinating at a vanity dresser’s mirror only lets us see her dress from the chest up, so it left me a lot of creative license to imagine the full frock for my imitation.  I ended up primarily basing my dress off of similar extant dresses, content with only a strong reference my inspiration garment.  However, I found an interview of the actress Wynn Everett off screen (click here to watch it for yourself) which gives a waist up view of the inverted floral dress she wears in that last scene for her character.  In the interview, the shine off her dress and semi-transparency of the fabric tells me it is a lightweight satin, perhaps silk in content.  Finding a remotely matching satin print was exhausting and fruitless after several years of intermittent searching, so I went for something that would guarantee to bring me joy – an Indian cotton “buti” block print

These fabrics always have the most beautiful floral stamps and are the most luxurious cotton to be had.  Through this route, I easily found more than one option that would easily mimic the print on Whitney’s two-faced dress.  Looking at the extant 1950s dresses that encouraged my inspiration, they were all cotton, and using such a material would keep this dress practical and wearable for many occasions, after all.  Summertime is much more pleasant when one is wearing Indian cotton…and India’s Independence Day is coming up August 15th!   

In the understanding that Whitney Frost and Agent Carter are very much alike in many ways despite being each other’s nemesis, I have merged a hair accessory that matches with a Peggy dress into this outfit.  Season Two occasionally has Agent Carter vested in purple, Whitney’s trademark color, depending on where she stands in the plot or how her actions have affected others.  There is scene in episode 2, called “A View in the Dark”, where Peggy is glamorous and acting according to her own designs (both of which is tied to Whitney’s character).  This is also when Peggy is garbed in all purple.  I made my own copy of her jeweled, floral purple hair comb to complete my copy of that dress from the episode.  To get a good view of Peggy’s hair comb, please go watch this short clip for yourself here.  More details about this yet to come, though!  That hair comb really seemed to fit in all too well to the character development I see tied into both leading ladies.  It fancies up the dress, too, since I had to go with a string of pearls as my necklace – pearls are Whitney’s most common jewelry choice.

Peggy always wore her Nana’s 1940s watch, just as I do, but she gravitated more towards a gold tone whereas Whitney wore silver metals.  I again blended in both characters by wearing one of my Grandmother’s special watches, her only one in a silver tone.  I have done what research I can and estimate it to be from circa 1952 – how perfect, right?!  It is in a 14 carat gold with tiny diamonds set into the sides of the face, so I wonder if this was a wedding gift piece, as she was married about that time.  As you can see, this was indeed a special outfit for me to bring out such special accessories.

For starting off with a basic looking wrap-apron design and some cotton fabrics, I think I really pulled off this idea better than I ever expected and turned into a very fun and appealing dress.  Wherever I go in this dress, I always get a number of compliments and positive comments, so apparently it is something which others would like to have as well, if ready-to-wear offered such a thing.  Please go view my Pinterest board on “Wrap-on Dresses and Tops” for a plethora of inspiration.      

I hope I have given you some encouragement to give wrap dresses a try or maybe try them anew if you have been disappointed in them before.  This mirrored paneling of two different prints is a great way to use up two smaller cuts of fabric and makes it seems creatively intentional.  I find it unexpected that wrap dresses seem to have been a popular medium for such a dual fabric style in the 1950s.  I hope you agree that the character of Whitney Frost was a good choice for me to channel for this project idea because I feel wonderful wearing my finished dress…every bit as pretty as a summer flower! 

A Peggy Carter Outfit as Undercover as a Shield Agent

This post is a week later than I intended it to be, but for a girl like myself with a rich Irish heritage on both sides of my family, seven days after St. Patrick’s day isn’t bad for celebrating either.  Any and every day is good for reveling in one’s heritage!  I always find it so perfect that the holiday for wearing green comes around for us just as the season of spring does, as well.  Verdant hues are the newest cloak being worn by nature, as well.  Spring also means school break, however, and as a mom it is always such a challenge to accomplish anything I had previously intended during our son’s time off at home.   

Thus, finally, I’m so excited to be sharing another amazing Agent Carter recreation unlike all the rest I have finished.  It is secretly a one-piece jumpsuit – surprise!  By choosing two different colors and types of material for the top and bottom half I enjoy the appearance of separates.  Yet, my top stays perfectly “tucked in” and my high-waisted, wide-legged 40’s style trousers stay up in place…because it is an easy-to-dress-in, all one garment kind of jumpsuit!  I still faithfully recreated Agent Peggy Carter’s outfit from Season Two, episode 3 ‘Better Angels’, of the 2016 television series.  

It has pockets!!!

I laugh in enjoyment over the sneaky deception of the way I made my version.  As I make mention of in my title, I feel this jumpsuit version is so very suited to Peggy’s smart but sensible personality.  It is also a bit deceptive in plain sight just like so much of her life as an agent of the S.S.R. (or should I just say S.H.I.E.L.D., right).  Also, it is has a bright and cheerful “Leprechaun” green which, between the versatile fabrics I used that are perfect for cooler in-between temperatures, makes this my favorite classy-but-casual vintage inspired outfit for spring (or fall, too, of course).  The best part is the fact I used a modern (therefore relatively easily available) sewing pattern as my verbatim source for this outfit.  Leave it to Peggy Carter to keep inspiring me to sew myself clothes that become such wardrobe winners which I feel great wearing.

THE FACTS:

FABRIC:  the top blouse half is a Kona brand all-cotton in “Leprechaun” color; the bottom trousers are a heathered grey brushed suiting bought here from Fashion Fabrics Club, in a 63% Rayon 16% Viscose 12% Linen 8% Silk 1% Lycra blend; the lining for the bodice was also used for the side seam pants pockets and that is a basic lightweight polyester in a dark green color.

PATTERN:  Butterick #6320, year 2016

NOTIONS NEEDED:  I needed lots of thread, interfacing, one long 22” invisible zipper for the center back closing, and I used one vintage dark green Bakelite buckle for the belt.

THE INSIDES:  all nicely finished in bias tape for the trouser half, otherwise all other raw edges are invisible due to the bodice lining.

TIME TO COMPLETE:  This jumpsuit felt time consuming.  After over 30 hours put in, it was finished in March 2020.

TOTAL COST:  The trouser fabric alone cost me $35 for two yards, and the bodice was $7 for one yard.  The lining was on hand leftover from another project years back so I’m counting that and the buckle from my stash as free.  My total cost with the other notions is $50.

Now, one really never gets to see my project’s inspiration outfit on Agent Carter for very long in the “Better Angels” episode, and even then, it is mostly only her green blouse that we see in detail.  That’s okay.  The trousers are basic 40’s era suiting bottoms and the blouse carries the brunt of the meticulous design lines, after all.  Peggy’s green top had these shoulder panels which wrapped from the back to the front where they create a wide, curved sweetheart neckline before they end under the armpit.  The rest of the center front to the blouse has a dipped neckline which gathers into the bottom of the shoulder plackets to create bust fullness. 

All of these details were already there on Butterick #6320 pattern – yay!  The most obvious variance is having a plain, flat front with the lack of a buttoned front opening, such as what Agent Carter’s original blouse had.  I like this pattern’s smooth front better, just the same as I chose puffed sleeves over plain sleeves with a hem notch as Peggy’s original had.  I recreated those sleeves on this other Season Two blouse (posted here).  Also, these trousers are a comfy, pleated front while Peggy’s version had a smooth, fitted front.  I have made several smooth front 40’s pants for myself already anyway (see here and here).  For as much as I try to ‘copy’ Peggy’s outfits, I always make sure to stay true to my personal wearing preferences so I can have my Agent Carter garments be everyday clothes and not just cosplay costumes.  Also, I like to honor the ingenuity of the designer, in this case “Gigi” Ottobre-Melton, by not making an exact copy.

From the soft shine of the original blouse on Agent Carter, I assume it was silk.  I cannot tell what material her trousers were but they seem to be a thick rayon suiting to me.  My chosen fabrics are more basic and casual, albeit very nice.  Kona cotton is synonymous for quality, especially being a Robert Kaufman product.  It is thick but soft, durable with minimal shrinkage, and the colors don’t bleed (important as I am making a dual color, two material jumpsuit).  I always appreciate the fact Kona cotton certifies that no harmful chemicals were used in its production, processing or finishing. 

I felt it was important that my trouser fabric be something a lot more textured than the blouse to imitate the appearance of two separate items.  The material I chose is a blend of most of all my favorite materials (rayon, linen, and silk) in a very unusual way – a twill with a flannel finish.  Nevertheless, it has a wonderful drape, great medium weight, and a finish which has it perfect for a menswear-inspired suiting look. 

The brushed finish makes this a slightly bit itchy (but I wear pants liners underneath to counter that) and the linen in it makes this wrinkle some, too.  However, the blend it is in also has the pants portion to this jumpsuit be much more breathable and multi-seasonal than one would expect by the look and feel of it.  I am happily surprised by the success of this jumpsuit project.  The way I was combining two such opposite fabrics had me worried from the outset, as did the fact I had spent a decent sum of money on the supplies in the first place.  The bodice was a beast to sew (more on this in a minute).  This had to turn out or I would have been devastated. 

I found the ‘bust-waist-hips’ sizing of this pattern to be spot on, yet the fit and proportions were off.  The way this is drafted on paper, the pattern is only made for tall ladies.  I do not consider myself truly petite at about 5’3” in height, and my torso length (from the back of my neck to high waist) is a common 15” (plus some).  As it was, the bodice was far too long, as were the trousers.  The pattern called for a 2-something inch hem…I had 10 inches in excess to hem these trousers on the long side for me (I have to wear heels in this jumpsuit).  I had to bring in the shoulders by about 2” to pick up the bodice so that the underbust seam rests where it should be landing.  

This pattern will NEED some adapting for most anyone who tries out this design, from my experience.  It is especially important to learn this from the outset at the pattern stage as the complex and fully lined bodice doesn’t give much room for adapting after it is completed.  Take into account that the curved shoulder panels have to be redrawn at the joining seam if you also need to take this design in to fit if you choose to sew this for yourself, too.  Please do not let my warning dissuade you from trying this pattern – I highly recommend it.  I love the many options it offers with the variety of sleeves and the option of a skirt bottom.

The bodice was extremely fiddly and tricky and takes some slow, meticulous going to sew it right.  I have seen some sewists who have made this pattern for themselves skip some details as well as the lining, but I recommend going all the way for this fabulous design.  Yes, interfacing the entire bodice seems like overkill, but I did it anyway.  Now that my jumpsuit is finished, I think it does help the bodice become a stable ‘anchor’ to the pants below and not be pulled down by that much fabric. Yes, it looks like there are way too many markings needing to be made to the fabric at the cutting out stage.  As a stickler for doing things right from the outset, I sucked it up and copied all of the balance marks, squares, triangles, and circles.  They all end up being extremely necessary and very helpful towards making construction much less confusing.  Even still, the gathering around the curved shoulder placket above the bustline was the trickiest part of all to perfect.  Luckily, the smooth inner lining (completely different pattern pieces from the exterior front top) help to bring the bodice together and right the seam allowances. 

Before I added the lining, I thought the bodice looked messy and was being pulled too much by the attached trousers.  Sure, I ironed the top along the way, clipping where necessary and pushing the seam allowances the right direction.  Once the lining was in, I had matched the lines of both the lining bodice and exterior bodice so I could hand tack them together ‘in the ditch’ of the seams.  My doing this interior seam matching was over and above what the instructions told me to do, but worth it.  After all, it was only then that the bodice was suddenly substantial enough to hold the weight of the 2 something yards of attached pants and therefore not have unreasonable wrinkles.  All the ‘good side’ edges have no visible stitching because I had stitched the seam allowance edges for the neckline to the lining as further hand finishing over and above what was called for.  I love the chic and professional appearance my extra efforts give, even though it is not clearly noticeable until up close…which nowadays, social distancing prevents that!  The lining, though a bother to cut and sew (besides being unseen), completely makes this jumpsuit work out.

My self-fabric belt is the “cherry-on-the-top” to the two-piece deception of this jumpsuit.  This was something not originally part of the pattern but something I added.  However, it is not your normal belt on account of the center back zipper closing.  I slid my vintage belt buckle over the belt strip and centered it between the two ends.  Then the center of the belt with the buckle was lightly hand tacked to the center front of the jumpsuit’s waistline.  I further attached the belt to the side seams of the jumpsuit.  This was done out of convenience for both dressing and bathroom visits.  Nobody wants to pick up something off of a public bathroom floor!  Also, I had no plans on wearing this outfit without the belt at all.  Two oversized snap help the loose belt ends lap closed over one another across the back once the back zipper is closed.  I am always justly wary of having anything Bakelite – normally buttons, but here it’s the buckle – going through a washing machine cycle so I now realize I will either have to clip away the threads that tack down the belt or hand wash this jumpsuit.  Oh well.  The finished project here makes up for any bother needed to take care of it along the way.

Here I’m at my parents’ front yard mailbox, wearing an old 90’s corduroy blazer over my Agent Carter jumpsuit. I love that my mom decorates for every seasonal holiday!

This month’s green outfit of mine not only celebrates the equinox and St. Patrick’s Day, but also has a subtle nod to Women’s History Month.  This outfit honors the strong ladies who have influenced my life.  Agent Carter has inspired my fashion style, my sewing preferences, and my personal confidence.  Yet, no vintage outfit of mine is ever complete without something of my grandmother’s – whether it be her earrings, gloves, scarves, or such accessories I have inherited.  My Grandma is so sorely missed these past four plus years. She was the strongest, bravest, most resourceful, intelligent, caring, compassionate, and beautiful woman I could ever aspire to be.  It is her gold “Lady Elgin” 1940s watch which is the item I am never without for every Agent Carter outfit of mine.  Peggy Carter was never without her Nana’s watch in the first half of Season 1’s show…and I guarantee you my watch will not have the same sad fate as her’s did.  

I think it is a fantastic tradition for women to honor the previous generation’s women though continuing to wear (albeit gently) their heirlooms.  I like the keep some familial treasures stored away, yes indeed.  However, there are others which I feel deserve to be enjoyed and thus have a renewed appreciation through the connection they carry.  You know, many people have said I look like my Grandmother when she was young…but I also have people I don’t personally know tell me I look like Agent Carter on many occasions. What a happy connection this is as well as the best compliments I could ever hope to receive!  I know my Grandmother would want me to be as proud of myself as she was of me.  I can only hope and try to be as amazing a woman as she.   If I can sneak in a little Agent Carter reference by just doing my own vintage style along the way, too, well…I am blessed.  It must be the lucky Irish in me. 

Agent Carter’s Color-Blocked Slacks Suit

Slacks suits of the 1940s – when the blouse and the pants both matched as a set – are such an admirable yet interesting piece of fashion history which is under the normal radar what we think of WWII clothes for ladies.  No doubt it has to do with the fact they are an extremely rare item to find extant, especially with both pieces together.  They were an avant-garde statement of women’s empowerment.  They always have great design lines and wonderful styling when they are to be found either in person or in magazine images.

A slacks suit was nice clothing, and not just for working the garden or at a factory assembling war supplies like dungarees.  They were also day wear, or for home leisure, when they were out of nicer materials with finer details, but always practical by offering great ease of movement and practicality for the busy, multi-tasking woman of wartime.  Any way they were styled or worn, though, wearing pants was still not a societal accepted norm for women.  Many young women or ladies with confidence and a sensible disregard for public opinion took to such fashions.  It totally makes sense that a character such as the indomitable Agent Peggy Carter would wear such a thing when she came to sunny Los Angeles in 1947 (Season Two)!   What a better way for me to channel a 40’s slacks suit than to take cue from Miss Carter and make my own color blocked version!

THE FACTS:

FABRIC:  a burgundy colored apparel weight polyester challis from Uptown Fabric shop on Etsy along with an old cotton knit t-shirt

PATTERN:  an adapted version of Simplicity #4762, year 1943, for the blouse; I acquired this pattern as part of a trade of vintage goods with Emileigh, the blogger behind “Flashback Summer”

NOTIONS:  thread, some interfacing, and a set of true vintage 1940s buttons out of the inherited stash of hubby’s grandmother

TIME TO COMPLETE:  The blouse took me 30 hours to complete, including the necessary re-sizing of the pattern.  It was finished October 30, 2019.

THE INSIDES:  cleanly bias bound

TOTAL COST:  All I needed was two yards and this cost me only $14

To make things a bit easier on myself –so I thought – I bought the pants RTW from a company that remakes vintage style garments (Unique Vintage‘s “Ginger pants”).  These pants are made of the hard-to-find, soft, and wonderfully sturdy rayon gabardine so I couldn’t resist them, especially as they have a true high waist, pockets, and a good 40’s style wide leg.  I love that these pants are the next best thing to something I would sew myself.  They are a saturated, true burgundy and I thought that should not be hard to match…boy was I wrong.

It took me a year’s worth of browsing every so often, both in person at fabric stores and over the internet (which is much harder to do due to screen variations), to find a color which would match my existing pants AND be a proper blouse weight material.  So many burgundy tones either were too blue toned, too red, or too purple and then the fabric was either a quilting cotton, a silky print, or a duck cloth.  I would have preferred a natural material, but sometimes ya gotta go with the best one can procure for sewing projects.  At least this challis is high quality polyester which is surprisingly quite nice and –besides the surface shine – really not an obviously man-made in content.  Occasionally that dream material is too hard to find, especially when I was so impatient to be able to wear my completed dream project!  The two different contents of the pants and the blouse play tricks on the camera in the sun, but in person and through pictures in the shade, the two pieces really do match up.

Speaking of another challenge in color matching, I also had a really hard time also finding a material to match the rest of my set which was a true dark-toned spruce green.  I was tired of the searching so part of this outfit is also a refashion.  I chose the practical “made-do-and-mend” route and used an old printed t-shirt from on hand which no longer fit me.  It was in the right color green, only a completely different fabric – a cotton knit.  I was thinking (rather hoping) that the contrast in type of material might be passable because it is a contrast color to the rest of the set as well.  Also, I do love a sleeve that is easy to move in.  Against my better judgment, I went ahead and used the tee for this slacks suit’s blouse…and I am pretty pleasantly surprised at how well this refashion turned out.

I kept the original sleeves as-is from off of the t-shirt and transferred them directly onto the new blouse I was sewing.  I cut out the front Christmas print because I liked it (and might applique it to a new tee in the future).  The majority of the back body of the tee went towards the new blouse’s contrast shoulder panel and under collar piece, while the bottom hem was used to lengthen the sleeves a bit by adding faux cuffs.  I interfaced the shoulder panel and the under collar piece because, being a rather thin and stretchy knit, I thought the green tee material needed to act and feel stable like a woven from the rest of my set for it to ‘fit in’.  It seems my idea worked well.  I was afraid that using a knit for the shoulder panel – the spot on a blouse which has practically the most stress from movement – would be a terrible idea yet between the interfacing and lining that panel with more of the blouse fabric…my blouse is staying in its intended shape.  The sleeves were the only part from off of the tee that I kept fully stretchy.

Between the knit arms and the full, gathered lower back bodice panel, I now have a vintage blouse which lends itself to some extreme butt-kicking wrestling moves, such as Agent Carter was wont to exhibit on men who needed an awakening at the hands of a woman.  Luckily the scene in which we see Peggy first wearing this outfit (“A View in the Dark” episode) was a very active one, and all the different angles shown of her slacks suit were very helpful in seeing what details there were.  Out of the TV series’ original outfit, I kept the small pointed collar, the dark green buttons down the front, the back blouse fullness, the combination of colors, and the general placement of the contrast color.

However, as I have done for all of my other Agent Carter “copies”, I like to both personalize the clothing according to my taste and base it more heavily upon historical accuracy.  My bought trousers align with WWII-time standards with smaller pockets, no hem cuffs, a side metal zipper, and rayon gabardine – the classic fabric for a slacks suit.  I started with a 1943 pattern because when the war effort hit the home front in full force, slacks suits began a strong showing in fashion catalogs and shopping magazines.  All I needed to do was make just a few tweaks to make my outfits closer to extant originals that have caught my admiring eye.

I feel so much better about trying to copy a garment when I change up the design according to my own ideas.  Doing so is my way of respecting the original artist that was behind the garment which is my inspiration!  Yet also, I do want to stay true to that self-realization of knowing what will look best for my body shape, height, and proportions.  I want everything that Agent Carter wears, yes – but I also want to like myself in them rather than forcing something which might not be ‘right’ for me.  This is the only way for me to naturally incorporate a bit of Peggy Carter into my everyday wardrobe.  I like to wear my Peggy outfits as something other than a special occasion cosplay item, but to each her own.  This is why I opted for a belted overblouse style to my slacks suit, unlike the way Agent Carter originally wears her set.  Just like her, I dare to be different!

My main 1940s inspiration sources were both color-blocked jackets (with skirts) and extant matching slacks suits as seen through vintage selling sites.  Many of these include burgundy color.  My favorite set is a 40’s “California Sportswear” set made in Hollywood monotone set, sold by FabGabs, which is remarkably close to Agent Carter’s TV one.  Otherwise, I drew heavily from the two-tone “American Spectator” blouse sold at Boswell Vintage.  I made a separate belt and added it to my blouse, then adjusted the look to match my inspiration.  I imitated the front (below the belted waistline) pleats of the blue hound’s-tooth overblouse and the full gathered back of the burgundy “American Spectator” blouse.

The detail of the button going through the middle of the attached belt is everything to me here.  It’s a sharp detail so very much in tune with the tailored 40’s era and complimentary to my waistline, a big plus.  It keeps the general idea of Peggy’s set with – dare I say – better details and a better classic 40’s sportswear air to it.  My blouse is sans faux chest pocket flaps because they struck me as a detail which might only become a fussy distraction.  Combining my smaller frame proportions with the faux belt detail seemed like just enough of a balance although I do feel lost in any outfit that is lacking true pockets!

Matched in both fabric and color, slacks suits were frequently color-blocked – no doubt because each piece would be easy to mix and match separately with other items in a wardrobe.  Like most clothing meant to be an everyday item or at least supremely useful, they do not survive like special occasion clothing, says “The Vintage Traveler” (as in this post here).  She had been highlighting her collection of slacks suits on her Instagram (see these fantastic sets).  The more I see of slacks suits the more I agree with “The Vintage Traveler” and admire how casual did not mean sloppy in vintage style.  Yet, such dressing – women in pants, in particular – has lost its novelty over years.  What was informal for back then now appears quite refined by modern standards, but at the same time what was daring then is now often only thought of as a conservative approach to everyday wardrobe staples.

True instance on many an occasion – my hubby tells me to be casual for running errands and I reach for my vintage sportswear.  Then he says he needs to dress up to match me because I still look so nice!  This slacks suit is my sharpest version yet of 40’s pants based sportswear and has no complaints when I channel Peggy.  Luckily I ordered more burgundy challis material before Uptown Fabric sold out.  My hope is to extend my slacks suit to have a blouse and skirt matching combo at some point in the future.  I love how I can make something killer but still have it versatile and practical at the same time when I sew vintage…especially Peggy Carter…styles.  Now I have something new in my arsenal of creations, another box ticked off – a 1940s slacks suit.

Ready for Another Adventure?

Ah, I can’t help but interrupt my previously planned post for one that highlights Agent Carter…because she’s back!  Well, sort of.  Sadly, it has been confirmed Peggy will be back only in name only for the newest (and last) Season 7 of “Agents of Shield”, despite her romantic interest Agent Sousa being front and center in the most recent episodes.  I’ll admit that I have not been following “Agents of Shield” until now and I do despise the last ditch ideas of time travel which shows too often fall back on at the end of their run.  But if Agent Carter is back for some sort of relevant story continuation (which was cut short by the lack of an expected Season Three of her TV show), I’m here for it by adding more outfits from seasons one and two to my wardrobe and perhaps watching the new show.  I’ll pick up on sewin’ and postin’ more Peggy fashions, starting with recreating the first thing we see her in upon embarking on her new California adventure at the beginning of Season Two, “The Lady in the Lake” episode.  “Are you ready for another adventure, Miss Carter?” said Mr. Jarvis.  Oh how I do love having my own exciting escapades when in Peggy’s shoes!

THE FACTS:

FABRIC:  a Matte Blue 100% Silk Batiste (sorry, but it’s sold out now!) accented my handmade bias tape of Dove White Cotton Sateen, both from Fashion Fabrics Club

PATTERN:  an adapted version of Butterick #6374, originally a year 1944 design, reprinted in 2016

NOTIONS:  I needed nothing extraordinary – just thread, a bit of interfacing, and 3 vintage buttons out of the stash of hubby’s grandmother.

TIME TO COMPLETE:  Not counting the hour or two spent to re-draft the pattern, sewing the blouse took me about 6 hours.  It was finished on June 11, 2020.

THE INSIDES:  French seamed with a bias covered hem

TOTAL COST:  1 ½ yards of the silk and a ½ yard remnant of the sateen cost me a total of just over $30.

First off, yes, I am wearing separates – a blouse and trousers (which are the Marlene pants from Burda Style, posted here) – and yes, my pattern for the top half of my outfit was highly redrafted from a dress pattern.  You did not read the facts above wrongly.  I wanted to start with a vintage pattern, of course, and all the blouse patterns I had on hand were not remotely close to what I wanted.  Yet I did have the 1944 dress pattern which had a similar shawl collar and strong, slightly full, shoulders.  After all, Peggy Carter was known for wearing mid-40s fashions prior to her time out in California in the second season, so the dating would be perfect, too.  I was never a big fan of the original dress, although I might eventually try it in the future, but I bought it anyway a few years back on one of those $1-something sales.  This way I feel like it is not just taking up useless space in my pattern drawers.  It has now actually come in handy, just not in the way initially intended.  I might have a large stash of patterns, but I do not hoard…the patterns I have are cared for gently and often preserved and copied, but they do ‘work’ for their keep here and they are much more than a pretty inspiration!

I first had to trace out the pattern as it was, from hip length up, and then tweak it.  Next, I extended the collar to be wider, especially in the front over the chest, as well as making it roll over itself better.  The back collar was drafted by me to be just wide enough for the edging.  I am so happy to have ended up with a collar which was just what I wanted!  The shoulders and main body are pretty much the same as the original dress, but I added greater wearing ease all over so it would be blousier than the original slim fitting dress.  The back bodice had a dramatic re-drafting because the original dress had princess seams.  I combined the pattern pieces to become one piece, cut on the fold, with two vertical fish-eye darts.  Remember, it really doesn’t take much to change things up dramatically on paper for a sewing pattern…an extra ¼ inch may go a long way.

The semi-sheer batiste needed to be double layered to be an opaque blouse, which was rather hard to pull off on only 1 ½ yards.  This silk is so lightweight and breathable two layers is no big deal, though, once I was able to fit the pattern pieces in.  Silk is the world’s most all-season, easy to wear, and overall beautiful fabric in my opinion.  The listing for this fabric said it was matte finish, but there is still the loveliest shine along every soft fold.  Even a matte silk blend has the same lovely sheen.  Every time I create with silk, I find it is more imperative than other fabrics to use a new needle in my machine, otherwise it create pulls in the fabric as I sew.

Now both the silk and the sateen listings say to dry clean them…bah!  Only in a few exceptions – and vintage acetate is one of them – have I come across a fabric that is not washable.  I wash woolens, silks, rayon, cottons, linens, and of course any man-made (i.e. polyester), as well as any combo of those, and have never come across any unpleasant effects of doing so besides a few wrinkles, which a good ironing can easily remedy.  Even many decorator fabrics can totally be washed, although their first dip in water does shrink them like crazy.  Washing all of these fabrics must be better for them anyway over harsh, unpleasant chemicals of conventional dry cleaning!  When in doubt, I do try and wash a small, snipped off test corner first.  So, don’t be afraid to get your fabrics clean, just do so in the gentlest way possible.  For me, this means either hand-washing, or placing them in a zip-closed laundry bag before machine washing on the delicate cycle.  A cleaner garment means less attraction for hungry bugs that might like to eat them, remember!

I am still thrilled over the lovely novelty of self-made bias tape, as seen in my making of my last project, this multi-use apron/sundress/ jumper thing (posted here).  Especially when your bias tape will take a front and center stage, it is important to have a quality notion.  So I started with a quality fabric to edge this blouse the way I figured it, and I’m so glad I did.  The slightly heavier weight of the decorator’s sateen is perfect for keeping the collar in place and stabilizing the soft silk.  The slight shine on the sateen matches the finish on the silk, too.  The very slight off-white color is a gentler contrast than a pure white.  I just love it when an idea for a garment comes together as good as or even better than I expected!  It’s the best surprise.

This ‘blouse-from-a-dress’ experiment opens up all new doors for my pattern stash, now.  A dress can be tweaked to become a jacket, a vest can have sleeves added to develop a blouse, or a skirt can be reformed into pants when you approach patterns as a fluid tool with great potential to aid in creating anything with your hands.  This is the beauty of sewing.  It is all up to you – the skies the limit!  Anything can be sewn up anyway you like it.

With that said, I want an entire wardrobe of everything Agent Carter has worn in her TV series, and so my sewing creativity in this sphere goes towards personalizing and doing some historical basing of my ‘copies’ of Peggy’s outfits.  “Copying” an existing garment you admire can be every bit as challenging, if not more so, as trying to match your own individual idea.  Sewing is an exciting undertaking in its own way, and even small adventures are important in our times when there is so much wrong about the world today and a pandemic has forced too many of us into an unwelcome isolation.  Stepping into Peggy Carter’s shoes and clothes is my ongoing quest that suits me up with her spirit of independence, personal confidence, sense of equity, and – of course – great fashion taste.  How is sewing your special adventure?