A Tribute to Bernard the Flamingo – The “Devil in Pink”

When there are frigid temperatures, and forecasts of ice, snow, and dreary skies, part of me cannot help but mentally travel to the opposite clime…somewhere warm and sunny, where living is relaxed and duties are a thing forgotten (for the time being at least)!  Flamingos can be found at such tropical getaways, and imagery of their one-legged standing silhouette is often associated with resort lounging anyways.

This year, rather than just imagining, hubby and I are actually off at a sunny Florida beach for the moment.  Thus, now is the perfect time for me to share my 1940s outfit I made inspired by the “devil in pink” himself, Bernard, pet of the master of carefree lounging himself, Marvel’s inventor extraordinaire Howard Stark.  (Watch this clip for a small minute of understanding!)  Bernard the flamingo was the loud and hard-to-handle bane of Howard’s butler, Mr. Jarvis, to the humorous amazement to the two ladies Agent Peggy Carter and Mrs. Ana Jarvis in Season Two of the Marvel TV series.  This inspiration was the perfect opportunity to channel my love of vintage, Agent Carter, and casual yet nice separates all into one handmade outfit.

Thinking of a warmer climate basked in sunshine, my post WWII blouse has brass sun buttons and golden flamingos printed on a rich pink rayon.  My trousers are a multi-climate wool blend twill in practical khaki tan with post-war style hem cuffs for a masculine touch.  My accessories are a classic straw fedora (just like what Agent Carter had), pink patent oxford-style shoes, vintage pink pearl earrings, and an old 40’s original tooled leather box purse, the kind that were popular tourist souvenirs brought back to the states for sweethearts.  I couldn’t be happier with the comfort, chic, and practical usefulness of this set!  It’s a girly pink overload (with the shoes, too) in a restrained and professional way coming straight from the past.

THE FACTS:

FABRIC:  Blouse – a 100% rayon challis; Pants – a wool blend twill in a medium weight thickness

PATTERN:  Simplicity #8243, a reprint of an original year 1948 pattern #2337, for the blouse and a vintage original Simplicity #4528, year 1943, for the trousers (used before to make these denim pants)

NOTIONS:  I used everything from on hand – bias tapes, cotton scraps, thread, and vintage notions.  My pants have an old vintage metal zipper in the side, and my blouse’s amazing sun-image buttons come from hubby’s Grandma’s stash.

TIME TO COMPLETE:  The blouse and the pants came together quickly – about 5 to 7 hours to make each.  The blouse and the pants were finished in June of 2017.

THE INSIDES:  all cleanly bias bound

TOTAL COST:  The flamingo rayon was bought in early spring 2017 at JoAnn’s fabric store, while the fabric for the pants was bought at a rummage/resale store for only $2 for 2 yards. I don’t clearly remember the total but I think the blouse and pants together might have been about $10…pretty good, right?!

I had been saving the khaki fabric to make something that would be a staple piece which would see much wearing – weather that would be a 1940s Eisenhower jacket, vintage trousers, or a 1930s skirt, I wasn’t sure.  The flamingo fabric was a sudden, spur-of-the-moment purchase – one of those things that when you first lay eyes on it, it screams to you “you need this”, and then mentally you know exactly what to do with it.  The sudden purchase helped me narrow down what to do with the fabric purchase I had been hoarding.  Together, these pieces are awesome, but I really do immensely appreciate how each goes with so much else in my wardrobe.

Many times, spur-of-the-moment projects can satisfy one’s creative need but not really fit into one’s existing separates.  Not so with this blouse!  It actually looks good with khaki skirts, denim bottoms, and even some rust red and dark brown or white colored bottoms too.  As for the pants… they are something I really don’t know how I lived without until now.  I like them so much better than my basic black knit pants.  The material is nicely substantial and wrinkle free, and doesn’t show fuzz the same as a dark color would.  When my pants are worn with a basic blue oxford shirt and some suspenders, I feel like vintage menswear for women wipes out modern business attire.  Not even close to equal in awesomeness!

Rayon challis feels remarkably soft and silky on the skin, but as this was a blouse, it needed some stability in the neckline.  I didn’t want the collar and button front to be overly stiff from interfacing so I opted to use plain 100% cotton instead.  This gave it a bit extra body, and kept the fabric from losing its shape, without the stiffness.  As I used khaki colored cotton for the interfacing substitute, it also helped make the facing become invisible (more or less).  The pink rayon is slightly sheer, but a slip or anything skin toned becomes invisible under it.  I was afraid the double layer of fabric, where the collar and button placket are faced with on big fabric piece, would be glaringly obvious, making the pink a different color there.  However the flesh toned cotton interfacing happily disguised that.  I do like my sewing to be well engineered, keeping up the art of beautiful insides with tricky facings as subtle as if they are not even there!  Keep this in mind if you try this blouse in a light color, too!

The shoulders of this blouse pattern seem to run slightly small.  I have generous upper arms so I commonly have problems fitting in modern sleeves and some vintage sleeves, anyway.  This pattern is definitely not the tightest in its armscye, but it could benefit from a 5/8 inch longer shoulder seam in the bodice to make it extend out to the end of my actual shoulder blade as well as a wider back for more reach room.  The trio of darts at the sleeve caps are such a lovely detail, and make the actual sleeve itself generous in room, so any tightness in the bodice’s armscye is easily forgivable.

Besides the sleeve armscye, I did not find any major regrets to change for next time.  I did however, look ahead and make a bunch of slight tweaks.  The hem length ran a bit short for a blouse to stay tucked in on its own so I lengthened the blouse the fall under my hipline.  The collar was a steep curve to turn right sides out and so I snipped the seam allowances throughout down to about 1/8 inch.  The facings did not lie down as nicely as they could so I made the outer hem wider for a thinner facing that meets the back neck collar seam rather than hanging over it.  The recommended button placement was weird – the top button makes for a very chokingly high necked blouse while the bottom button ends right at the waistline making it hard to tuck in without looking like you have a majorly protruding belly button.  I lowered the top button by over an inch and raised the bottom one by ½ inch (could have brought it up even more) with the middle one coming in between the two.  Finally, I added a snap closure to close the blouse between the last third button and the hem.  This below the waist snap is something I always see in vintage patterns, and it helps keep my blouses closed nicely so I added it here even though it wasn’t in the instructions I saw.  Most of these recommendations I also made to my second, sequel version of this pattern – my silk orange Agent Carter blouse, posted here.

The length of the sleeve hems is something I see frequently “misunderstood” when I see versions of this pattern sewn up.  Looking at the original pattern piece, the extra length to the sleeves might appear as a ¾ length sleeve.  I installed my sleeve unhemmed to see for myself, and yes, it turns out as long as a ¾ sleeve.  I did not like this look in the least on my blouse, nor did the sleeves strike me as having the right shaping to give elbow room to be a ¾ sleeve.  Even if you do the instructed 5 something inch hem this makes the sleeve above elbow length, just like what you see on the silky red version on the model images on Simplicity’s site.  If you look at the original old pattern’s cover, the sleeves are meant to be cuffed, and honestly I think a shorter, mid-bicep sleeve looks better with this blouse, anyway.  It takes a lot of extra fabric to give room for cuffs, and I find it so weird, confusing and misleading that the line drawings and made-up versions to this pattern seems to inexplicably “forget” to show sleeve cuffs, throwing many sewers off with this pattern.

If the versions of this blouse that I am seeing are longer sleeved because they are intended to be so, because they like them that way, then that is another story and all fine and good.  But it sure seems the sleeves are this way because of a glitch on Simplicity’s part, since the pattern works out just fine being cuffed without making any changes.  I am wondering how many don’t see the sleeves were originally meant to be cuffed, and they don’t realize that in the extra hem length as the pattern intends all because Simplicity “forgot” about it in their modern make-up.  Every little detail matters when it comes to vintage – that is what makes it so loved, so likable, so unique, and so timelessly wearable.

Speaking of the sleeve cuffs, since I had made these pants before, and they fit me out of the envelope with no changes needed, I was comfy with the assurance of a good finished pair of pants and therefore played around with the long hem to add cuffs at the hem.  Each is cuff is tacked down in four places – one at each side seam, and one at the center fronts and backs.  This is what I did for the cuffs of my blouse sleeves, as well.  Cuffs are somewhat confusing because you have to over account for the extra fabric, but as I had my previous pair of pants to measure from and I had just done the cuffs on my blouse, I felt more to grips with making cuffs on my pants.  I think I would have preferred the cuffs to be a bit wider, now that I look at them, but I feel like they match the blouse this way, add a touch of masculinity, and bring my WWII era pattern up to date with the freedom from rationing that would have been the case with a 1948 outfit.

For these pictures, I had a good taste of how Bernard could easily have been a bothersome handful which was his reputation when we visited the flamingo pond in our town’s zoo.  I was a yard or so away from a flamingo fight and they were totally unafraid of people.  For all their socialness in the pond, they can really get into things with each other!  Their noise quickly turned into a harsh and grating ruckus, and the two fighters walked away with a pride that was really laughable for their movements.  Bernard the pet had no intentions of acting like a pet in the least if he was anything like the flamingos I saw!

In ancient culture, flamingos represent a calming confidence.  It can also stand for femininity and a firm outspoken attitude.  Combine all of these together and there is one awesome combo to stand for an interesting creature.  The wild, unpredictable brashness of the flamingo was sort of a running joke and source of humor to the creators of Marvel’s Agent Carter, some of whom I hear were pecked at and chased down by Bernard off set.  A trio of Agent Carter ladies had show-girl style flamingo inspired outfits for the song and dance sequence in the beginning of the 9th episode, and from what I have seen on the social media sites of some of the actors/actresses, but especially the costume designer Gigi Melton, anything flamingo related (brooches, novelty fabric, fan art) is appreciated.  So – this outfit is to all of that quality entertainment, killer vintage style, and much-needed inspiring characters which is Agent Carter.

You will be seeing my pants making recurring comebacks to match with some of my future to-be-posted blouses.  Other than that, don’t fall over when you try to stand like a flamingo, and I will be back at home to share something closer to my winter clime when I give you my next post.  Here’s to happy sewing everyone!

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“Winter Soldier” Blue Suit Dress

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

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

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

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

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

THE FACTS:

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

PATTERN:  Simplicity #1353, year 1955

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

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

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

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

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

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

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

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

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

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

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

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

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

“I, However, Am Not Afraid of You…”

On a day that revolves around fear and frights, I can’t help but default to America’s Sweetheart, Peggy Carter, for the self-assurance to have a heroine’s heart!  She was speaking to her nemesis, a woman who almost wiped out all of New York, when Peggy uttered my title’s quote, a perfect mantra for Halloween night.

In those same first five minutes of the Second Season, you can see Agent Carter in a striking suit of the unusual combination of peach blouse and forest green skirt and jacket (see part of that here).  I have interpreted this set into my own wardrobe, and as it has all the colors associated with Halloween, I’ll think of this outfit as a fashionable pumpkin!

There wasn’t a whole lot of sewing needed for me to have this set.  I sewed the blouse, and it is a luxurious everyday basic piece, in a cheery color, which I needed in my wardrobe anyway.  The skirt is something I’ve had in my closet for the past decade, a RTW piece which had been not seeing much wear as of late, so it was time for a simple re-fashion to perk it up.  My optional suit jacket is a true vintage piece that had been given to me by a friend, and fits like it was made for me.  It was that simple – my easiest Agent Carter outfit yet!  Perhaps the style choices of myself and Peggy are naturally on the same page – maybe that’s why I feel the need to have every one of her outfits in my closet as well, he he.  Many of her wardrobe choices have a sensible practicality combined with a panache for a touch of standout details.  Perhaps there is something in your closet, too, that can translate easily into an Agent Carter outfit of your choice?!

THE FACTS:

FABRIC:  The fabric for my blouse is a 100% silk crepe de chine, from “Printed Silk Fabric” on Etsy, with the front lined in a peach poly chiffon from Jo Ann’s Fabric store.  The skirt’s added portions are of a cotton twill suiting, also from Jo Ann’s.

PATTERN:  The blouse was made using Simplicity #8243, a reprint that originally was #2337, year 1948

NOTIONS:  I had the thread needed on hand already, as well as the abalone shell buttons I used, a snap, and a hook-and-eye.

TIME TO COMPLETE:  My silk blouse was cut and finished in 5 hours, on October 29, 2017.  The skirt was refashioned in a few hours the day after Halloween.

THE INSIDES:  A nice blouse deserved nice finishing, the way I figured!  The inside is in French seams.

TOTAL COST:  $20 for the blouse and a few more dollars for the extra fabrics from Jo Ann’s.  How much more reasonable could an outfit like this get?!

The blouse pattern I used is wonderful.  It sews up in a flash and has a decently good fit (with a few tweaks) and lovely details.  This silk version is actually the second time I have used it, so I was confident enough about the fit and details to slightly change it up a bit.  My first blouse version using this Simplicity re-issue was part of another Agent Carter themed outfit, and I will be posting that soon so you can get the full low-down on making the blouse as-is out of the envelope.  For now, my second version will come first on my blog!

My tweaks to the blouse pattern of Simplicity #8243 were small.  First, I took out the downward curve that the collar points have and straightened them out so it could be more like my inspiration Agent Carter blouse.  Her blouse had collar points which are more wing-like, more horizontal, pointing straight out towards her shoulders rather than down to the hips as on the original pattern.  In other words, my current collar is now a true “wing collar”, much like the 1950s “Agent Sousa” shirt I already made for my husband!  Secondly, I made the shoulders about 5/8 inch longer.  The first time I made this pattern, the sleeves ended up more on my shoulder than going over it.  This time I corrected the short shoulder line.  Third, I changed up the sleeves to make them more like an early or mid-1940’s style than post war, as the original pattern is from 1948.  I added pleats in between the trio of darts that shape the sleeve cap, creating more fullness as well as a bit more room for me to move.

The original as-is length of the short sleeves is very long – not so that they can be ¾ length but so that you can have room to cuff the hem, as the original pattern shows.  For this blouse, I cut off the excess length from the sleeve hems to have a facing-like binding strip to easily finish off the hem.  I added small triangular notches at the outer center hems of the sleeves.  I love how this little detail adds just enough subtle class without detracting in complexity from the straightforward simplicity of the styling.  After all, there is a wide shoulder-to-bust dart that smoothly and beautifully shapes the blouse without the “traditional” gathers on so many other 40’s blouses.  On this blouse, there are none of the common 40’s hem-to-waist shaping darts, as well, eliminating the conventional “blousy pouf” and making this blouse just as nice to wear untucked as tucked.

I must say, that my main gripe about the pattern is the weird placement of the buttons if you follow the pattern’s markings.  The bottom button is right at the waistline (does it end up as a lump under my waistband or what?) and the top one makes the neckline restrictively high, almost to the point of chocking.  If you make this pattern, you need to change to your own liking where you put the buttons and button holes.  I lowered my top button placement down 1 ½ inches and raised the lowest one 1 inch, with the middle one naturally in between.  Three inches down from the last third button, I sewed on a snap to keep the lower half of the blouse closed.  Sewing a snap below the waistline is something I see on many 1940s original patterns and it makes total sense.  A snap would not show a bulge through the belly of a skirt or trousers like a button would, and I makes the bottom half of the blouse smooth if I want to wear it untucked.  I wonder why this bit of sensibility which I always see in vintage patterns is somewhat lacking when it comes to the instructed closure of this blouse.

The main body of the blouse seems to run a bit snug for me, so I cut a size bigger for the back than the front, and taper a size up for the hips.  As my silk crepe de chine is a bit sheer, I doubled up on the back bodice, but as I only had two yards of 45 inch wide material, I used the supplementary fabric to line the front.  The all-in-one collar and front facing combo can be a bit fussy and not want to lay down well, but between ironing and some small tacking stitches between the layers, I am able to have my collar behave well!

For my skirt, I really didn’t do anything to change the fit – I just added a few things to mostly change where it fit!  The main addition was to give my skirt a true waistband.  This was a skirt meant to sit on hips, with a wide waistband which ends just below the waist.  My waistband was sewn ¼ inch onto the edge, so it makes no real impact to the original skirt, ends just above the invisible back zipper, and I can easily take it off if I ever want to in the future.  The back of the skirt had a high kick pleat-style slit for freedom of movement.  I am not used to showing this much thigh, even if the slit doesn’t open up unless I do some true Agent Carter kick-but moves!  Nevertheless, I unpicked both the fashion fabric and the lining around the back opening to stitch it down like a slit.  Then, I filled in the slit with a small rectangle of fabric I had left over from the waistband to make a box-pleated fill-in piece.  This way the slit closes nicely on its own, but when it opens up as I need it, the fill-in piece unfolds to keep my thighs covered without restricting movement.  My slit addition makes the skirt now look closer to a pattern from my stash – a McCall #6338 from 1945.

Somehow, it seems as if there is always some small ‘something’ I would like to have which is lacking when it comes to RTW off the rack clothes.  Whether it’s a detail (such as “…if only the neckline was different”), or the fit (who hasn’t had “…it fits except for here!”), or even availability (why is it so hard to find nice, solid colored blouses or non-knit bottoms?), relying on off-the-rack can be so frustrating.  If you don’t have the time for sewing every dream item (who really does?!), combining sewing skills with RTW can be a match made in heaven for making your clothes truly speak for you!

Although this is a sort of an after-Halloween post, and an outfit from a “fantasy” character, this is not a costume.  To me, this is something I am bringing into my own persona from a screen heroine that I can closely associate myself with.  That is one of the many amazing things about Agent Carter.  What she wears on screen can easily be worn by anyone today, yet is still very 1940’s chic, and not in the least a costume.  I really do think that is one of the major attractions of Agent Carter – she’s so very realistic yet still as capable as any superhero, and she’s oh-so-empowering.  That’s not even taking into account the fact that she started a whole new interest renewal in the fashions of the 1940’s…yay!  I so want to see more of her story on screen…until then I’ll keep making her wardrobe for myself!

Right now, there’s a petition out there to “Save Agent Carter”, and it’s in need of more people to sign and join in the plea for Marvel to continue Peggy Carter’s story in some form or fashion.  I’ve already signed up…will you consider signing, too?  Let’s let Hollywood know the world is better with the inspiration and bravery of Agent Carter. Spread #SaveAgentCarter!

“Hiding Hibiscus” Post War Peplum Set

The sun is now setting sooner and the leaves are just beginning to show some vibrant color, but that doesn’t mean a girl like me can’t take advantage of the lingering warm fall weather to dream of being somewhere more perpetually balmy!  I’ll just wear some fall color in the late 40’s Hawaiian style to reconcile myself with the now fading summer!

This outfit of me-made blouse, skirt, and belt was directly inspired by an outfit worn by the character of Ana Jarvis, from Season Two of Marvel’s TV show Agent Carter.  However, it was also a very good opportunity to experiment with more new-to-me fashion trends – peplums and scallop edging.  I have  seen both peplums and scalloping in many sources for this coming fall, especially scallop edging (check out Talbots, Valentino, Zara, and Nordstrom for some higher-end starters).  I also see this feature everywhere in post WWII 40’s fashion until the early 1950’s (see my Pinterest board on this for examples).  This scalloping is an easy and exciting detail that the home seamstress or anyone who sews can incorporate into any and all existing patterns.  I will show you later on in this post.  As for the peplum of the blouse I am wearing, this was a total dive into something I’ve always been dubious about as to whether or not it could be made to “work” for me.  I believe it does, thanks in no small part to my awesome custom made belt, and I am now a peplum convert.  The best part is the fact I have put a completely new spin on a popular Simplicity vintage re-print, #1590.

A post 1946 to pre-1955 peplum is my favorite interpretation of this style – so far!  I love the bias circle flare.  Peplums from this time slot were sort of like a balancing act of offering what was missing from the peplums of the preceding and following eras.  Peplums of the 30’s were long and lean or short and almost non-existent, during the war years of the 40’s, there were short and frilly peplums, and the 50’s had padded, flared, or deceptively unreal inflated hips. I see post WWII to early 50’s peplums as a subtle transition to more accentuation of the hips, a classic trademark of after the mid 50’s, rather than an exaggerating emphasis on the shoulders as fashion had been doing since the mid 1930’s.  Case in point, Simplicity released an almost identical peplum blouse pattern (with a different neckline and sleeves, granted) in the year 1955 as Simplicity #1344.  The Simplicity reprint I used for my blouse was originally Simplicity #2027, from the year 1947.  Peplums nowadays are fun and varied – they experiment with anything and everything in between…long, short, half, bias, paneled.  Have you learned to love peplums yet?

Speaking of what I love, it’s no secret (if you follow my blog) how much I adore the fashions on Agent Carter (both seasons), and I had to branch out and try more of the fashion of the indomitable wife of Mr. Jarvis.  (Here’s my first and second Mrs. Jarvis outfits.)  Ana Jarvis’ personal style was strongly Hawaiian, with some Tyrolean influence of the late 30’s as well, so I figured on going for “the real thing” if I was to channel her and be authentically true to both the 40’s and the island culture.  Kamehameha, the largest commercial manufacturer of Hawaiian garments, began in 1937 using tropical floral cotton prints from a dominion of the United States rather than importing Japanese textiles.  After WWII, when tourists again flocked to the islands, the Hawaiian garment industry flourished (info from Forties Fashion by Jonathan Walford).

I have used tropical and Hawaiian prints before, but they have been rayon printed imports (see here and here).  The Hawaiian garment industry still deserves to flourish and be respected for their individual culture as an important part of America’s history.  That’s why the fabric for my skirt was ordered directly from the island of Hawaii!  Yes, I ordered it direct from “Barkcloth Hawaii” and it is so soft and luxurious, in excellent quality.  Besides, I knew the fabric was meant for a Mrs. Jarvis outfit when I saw the fabric that was the closest match to the movie skirt was named “Ana” and a vintage print!  Some projects are just meant to be.

THE FACTS:

FABRIC:  The skirt is a 100% cotton sateen bought from “Barkcloth Hawaii” online, while the blouse is a basic 100% cotton, American made, bought from Jo Ann’s.  My belt is light grey vinyl also bought as a remnant from Jo Ann’s.

PATTERNS:  My skirt and belt were self-drafted by me, while the blouse top was made using Simplicity #1590, a year 2013 re-issue of a year 1947 pattern, #2027.

NOTIONS:  I used everything that was already on hand to make this set – I had all the thread, bias tape, hook-n-eyes, and everything.  I bought a big pack of metal eyelets a while back for corset and belt making (like this one), so two more were not a problem!  The belt’s ties are actually 3 mm macramé cord…I bought a large spool of 50 yards of this stuff.  (It’s great for making one’s own piping, fyi!)  The skirt’s side zipper is a vintage metal one, but the blouse’s closure is a modern 22’’. 

TIME TO COMPLETE:  The skirt was made in about an hour, and the belt took me about 1 ½ hours.  The blouse was made in about 5 hours.  Everything was made in July 2017.

THE INSIDES:  For the skirt, selvedge edges are along the side seams, and the rest are bias bound.  For the blouse, most all of the seams are bias bound, too, but the side and peplum dart seam are merely edge stitched raw.  The belt is double layered, so it’s self-faced.

TOTAL COST:  The fabric for the Hawaiian fabric cost just under $30, the fabric for the blouse cost about $12 from Jo Ann’s, and the belt was a remnant which was about $8.  Thus this outfit cost me about $50.

Making this set was really pretty easy, no matter what it looks like!  It was just time consuming to make all three pieces and a bit overwhelming to remember all the self-drafting intricacies and adaptations I was doing.  I made the skirt first, and found that if goes with a number of my already existing tops – oh yeah!  Then I made the blouse, and I felt like it was okay, but not striking me immediately as awesome as I’d hoped.  After the third step, making the belt, the whole outfit was instantly brought together in a way that I LOVED!  It made all the extra effort to make a whole outfit so worthwhile.  This happens frequently for me, most recently with this 1914 set.  So often an outfit or even just a garment a missing a certain “something” to turn it from “meh” to “Wow!”  This is why taking that extra effort to make that little detail or bonus piece pays off.  Your outfit can give you the opportunity to respond to others with, “Thank you, I made this!”, best modern fast fashion by your individuality, and make you feel like a million!

Starting in the order they were made, the skirt began with only 2 yards of fabric.  I cut the length into two one yard cuts, and sewed the seams up on the sides along the selvedge.  Then, I folded along the same spot along the other side of the “stripe” just where the floral section begins.  The center front is an inverted box pleat, while the center back is an outward box pleat.  The rest of the skirt is shaped of knife pleats that go in the direction toward the centers.  This free form pleating, while making consistent folds, was brain blowing and took a tad over an hour to achieve…fold, pin, think, then take it apart and fold, pin, and think some more about sums it up.  Completed, the center back and front pleats were top-stitched down for 5 inches down from the waist, while the rest where left free.    From authentic images of some pleated 40’s skirts, and someone I know that has researched the decade well, I was told that folding a vertically directional print like this is quite historically authentic, besides being fun and making it relatively easy to be consistent.  Fashion in to 40’s had some truly inventive “peek-a-boo” fun when pleating with stripes and directional prints…here are hibiscus flowers hiding behind hanging branches of bougainvillea on my skirt!

As it turned out, the two yards folded the way I liked just barely fit me…I couldn’t have cut it any closer.  This left me with no extra fabric for a waistband like I originally intended.  I suppose I could have cut the waist band off the skirt below, because there is a very wide 8 inch hem along the bottom.  The wide hem helps to weigh down the poufy skirt, though, as does ironing the pleats.  I didn’t really want a contrast waistband, either, so a sewing friend recommended none at all!  A wide strip of bias tape was stitched on the top waist and turned under.  This waist makes it hard to tuck in a top and wear a belt, but I can’t win ‘em all!  For this outfit, the waist is not seen anyway.  I also ended adding in small 7 inch zipper along the left side, as well, with a hook-n-eye that attaches the pleats to one another from the inside.

The blouse was a real breeze to whip up, and had excellent fit and construction.  It’s no wonder this pattern has been in print for a while and is used by so many!  This blouse really is a winner.  I absolutely love the flat front peplum with its interesting capitol T made of a combo dart and seam lines!  The peplum is slightly longer in the back than it is in the front.  I made my “usual” size in Simplicity for the front half and the back I went a size up for ‘’reach room”.  Otherwise, believe it or not, I really didn’t change anything else besides cutting the center front on the fold rather than with a button placket, adding a zipper (with a seam) down the back center, and stitching the sleeve and neckline edge differently.

I started making the neckline and sleeve edges by originally cutting them out as a straight edge.  Then I drafted my own wide facings for the neck and sleeves and drew out the scallops with an invisible ink pen.  Ana Jarvis’s original blouse had wide, deep, dramatic scallops, and I even counted out six around the front neckline, one straddling the kimono shoulder seam, and about 6 for the back neckline.  The only item that I had on hand to use as a tracing guide which would equal the amount of scallops on the original was what I use for pattern weights… ¾ inch washer (which you can find in the hardware store).  Using only half of a washer to make each scallop, with ½ inch in between each, made for two inch wide, 1 inch deep half circles.  The scallops are just a tad smaller where the seams are, so my experiment turned out “perfect” (…what I was hoping for…) but still more amazing than I’d hoped.

If I learned anything to change next time for self-drafting this kind of edge, it’s that the scallops might lay better if they had been made shallower than a complete half circle, but large scale looks good on this blouse in the end, I believe.  I also learned the facing for scallops turns inside easily and keeps its original stitched shape if the seam allowance is trimmed to ¼ inch or less.  This sort of adaptation can be done to any plain edge or even seam line, on any pattern, too.  Just make sure to be precise and remember the seam lines if the scallops straddle them dead center.  Then go to it with adding scallops anywhere!

The belt was basically a wider draft off of this belt which I made for my Agent Carter “Hollywood Ending” dress.  It is merely two layers of vinyl with no interfacing.  The toughest part was hands down turning the two layers of vinyl right sides out after it had been mostly stitched up into a long tube…pure torture.  Never do this unless you sew wax paper inside…this would’ve helped the vinyl from sticking like glue to itself when trying really hard to turn right sides out.  After about a 45 minute “fight” turning the vinyl’s good side out and edges rolled out, the whole darn thing was then top stitched down ¼ away from the edge and two metal eyelets in the center edges.  Add the ties, finish the cut ends, and all is done!

As ecstatic as I am with this outfit, the episode from which this outfit comes is admittedly a very tense, tragic, and sad one.  Ana Jarvis wears this blouse, skirt, and belt set for the whole of Season Two’s episode 7, “Monsters”.  This luckily gave me the best chance to study and re-make versus many garments (from several characters) that get seen in short snippets.

I am impressed and happy that (as has happened before) Marvel’s Agent Carter series has help me enjoy a new-to-me, completely different style and silhouette of the 1940s and early 50s and make it work for myself.  No doubt it helps me like it when I know I can wear something as seen on the screens, straight from Hollywood, and be true to the era!  Besides, now I have a little (very little) part of Hawaii to bring into my life, no matter where I live or what the season.

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“Poster Girl” – Hat, Dior Flower, and 1951 Dress

If it’s on the front cover of a magazine, or in a publicity shot, your outfit had better be good, right?  Well, the villainess for Marvel’s “Agent Carter” television show wears some pretty killer post-War 1940s and early 50’s fashions, and no less so for the outfit she wears for both the preview publicity pictures of her character and for the cover of a vintage “Fashion News” magazine (seen in “Better Angels”, Season Two, episode 3).

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In order to recreate her “Poster Girl” outfit, I made a bunch of different pieces – the dress, the hat, and the clip-on flower.  I’m not complaining – this was closer to being a labor of love to sew, not a bother.  It required a good flow of my creative juices, some good pattern sourcing, and taking my time to enjoy myself for things to turn out “just so” for an equally killer outfit which I would like to think could hold its own against the class of Whitney Frost.  Her sense of fashion is probably one of the reasons she was held as the face for Hollywood, as well as her seemingly ‘perfect’ life with her husband.  However, 'All eyes on her, but no one sees her'-combobeing a “Poster Girl” (definition here) was a hard standard to hold up to for her.  For Whitney, it only meant keeping up the façade of happiness and glamour, always smiling and keeping the truth hidden…and boy, did she have some dark secrets to hide.  George C. Scott once said, “Technique is making what is absolutely false appear to be totally true in a manner that is not recognizable.”  Here, I intend to only stick to Whitney’s fashion without her superficiality.  This is my closest copy yet of a Ms. Frost outfit, and I absolutely love it!

THE FACTS:

FABRIC:  THE DRESS and FLOWER: a 100% cotton sateen, a “Gertie” print; THE HAT: Simplicity 8390, cover front-comp,wa buff satin polyester solid in fuchsia color

PATTERN:  THE DRESS: Simplicity #8390, year 1951, “Misses One-Piece Dress and Stole”; THE HAT: Vogue #7657, view F, year 2002; THE FLOWER: the instructions and guide to how to make a ‘Dior’ rose came from a small “Easy-to-Sew Flowers” booklet, compiled by Threads magazine, copyright 2012.  The tutorial is listed as adapted from Threads article “Dior Roses” by the late Roberta Carr, in issue no. 34. 

Vogue 7657, yr 2002, pics onlyNOTIONS:  Believe it or not, this outfit was made with only what was already on hand.  I had all the thread, interfacing, closure notions, bias tapes, and other odd and ends needed for the hat, dress, and flower here in my “magic” stash.  The only thing I needed was to order a buckram hat blank base (more info where it came from and what it is exactly down later).  Ah – and the cotton velvet ribbon,  “Waverly” brand, was bought (of all places) at Wal-Mart.

TIME TO COMPLETE:  The Dress was made in about 20 hours and finished on September 15, 2016, and the hat came maybe 10 hours later.  The flower was made in just under an hour the day or two afterwards.

THE INSIDES:  There is a combo of both French and bias bound seams inside this dress for a clean finish.

TOTAL COST:  The dress cost a reasonable but decent amount, about $7 a yard for about 4 yards.  The hat fabric combined with the buckram base and ribbon cost me just under $15.

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I had some problems dating my dress’ pattern.  My first problem was the presence of new pattern numbers stamped in grey on the back info of the envelope.  The instruction sheet has the date of the year 1951, but the newer stamped numbers of ‘4291’ would make this about year 1953.  However, as everything else to this pattern points to the year 1951 (the style of dress, the original numbers, the instruction sheet, as well as the double bars on the top left side of the front envelope), I am sticking to that early year in the decade.  I have not yet found any evidence of this design being re-released later under a new number, so I’m not sure why the stamped combination was added on (it does look quite official like it was a die cast impression).  One of the many wonders and curiosities that vintage patterns offer…

DSC_0384a-comp,w,combo, Whitney and Calvin

The dress design is lovely, and smartly designed.  It also fits very well on me – perhaps the best fitting 50’s pattern to date.  I usually find that the back waists are too long, shoulders proportionally too wide, and busts too generous on other 50s patterns, but not here!  The pattern was close enough to the inspiration dress that some small adaptations were needed to get to where I wanted it to be for my copy.  The fabric is, as you might have seen above in “The Facts”, another lovely Gertie print.  My other Whitney Frost dress that I made was in a different Gertie print, so this is the second time her fabric has been what I feel is the right parallel for channeling the Agent Carter villainess.  Sure my dress fabric has more grey with an addition of magenta and deep purple, but these last two mentioned are her signature colors, and the print is still a water colored in theme like the original, so I feel it is a good match.  From what I can tell, I suspect that the original dress on Whitney Frost is silk, and maybe a taffeta form of that, but Gertie’s sateen prints are quite luxurious without being impractical for a not-overly-dressy garment.  This means my dress will see more wearing…and as comfy and classy as I feel in this, frequent donning of it is good!

DSC_0419a-comp,wThe collar is of course the highlight of the dress and although the original design is neat, with a little mind crunching to figure out the curious construction method I was able to tweak it to have it more like Whitney Frost’s inspiration dress.  I re-drafted the over the shoulder portion to eliminate the notches, then curved and widened it a tad more.  I also had the facing be the same as the dress fabric, not a contrast as the cover envelope shows.  The underside of the collar has this interesting L-shaped method of piecing together the collar while the outside facing is all one, long, giant wrap around-to-the-back cut – I love vintage pattern details!

Maybe the collar is vying for the top favorite position among this dress’ feature because I also love the squared off armholes and the squared back of the collar.  This shows how subtle complimenting of details can go a long way and make all the difference for an awesome garment.  The square back of the collar end is something I haven’t seen in a pattern before and it is a nice way to add interest to the view from behind.  The squared armholes allow for extra room that my larger upper arms appreciate, as well as something extra different and lovely.

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The skirt had been a small, sort of adapted half-circle, bias-cut four-panel style.  What I did for my dress was to take the side seam side (over the hips) and add about 5 more inches out so I could gather the skirt over the hips.  This created and extra 10 inches over each hip which was then tightly gathered between side front to side back.  The gathers give my dress an extra 50’s style widening emphasis on the hips, slimming my waist (so I feel) and also (I think) balancing out the giant collar better than the original plain skirt as the pattern shows.  (This vintage year 1949 dress has the same skirt with gathered hips.)  Besides, I wanted to copy the same detail on the inspiration dress of Whitney Frost.

DSC_0416a-comp,wHowever, adding the gathers over the hips of the skirt portion to my dress did mean that I could not place a zipper in the side.  Where would I put the zipper?  Bing – on goes the light bulb over my head.  Down the front like a pants fly!  This idea actually came from seeing this kind of closure method on and existing vintage 1950’s dress I have – this is how I knew to re-create it plus the benefit of knowing this was done in the decade (keeping things authentic).  The front bodice of the dress is a wrap-over, double-breasted closure so I merely continued the closure down the front center seam of the skirt to include a small 7 inch zipper.  It took some forethought, but I love this part of the dress!  It’s so easy to get in and out of with all the closures in plain sight…not on the side or down the back like many other vintage garments.  I think the front zipper is pretty undetectable.  Knowing that I made something work out, besides its being different and new (for me), leaves me tickled.

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Now – onto the hat.   I must say that the hat itself is ingeniously designed and the pattern was excellent, very clearly explained and turning out a finished product better than even what the picture shows (so I think).  It is incredibly simple in its construction and design, but it is also terribly tedious and detailed work to make so that it turns out well.  The last part is where the ‘trouble’ comes in, especially for me because I cannot tolerate hand sewing (because my wrist and shoulders do not take it well).  However, every ache and minute spent on this hat was so worth it to me ending up with something like this!  I feel like this hat is my first fully ‘proper’ millinery piece, and it was good practice with good teaching steps towards diving into more detailed and professional headwear.

I was able to use everything that was on hand already, but the buckram hat base was something special needed here – no ways around it.  The good news is that I found the buckram hat blank quite affordable and very easy to work with…I was even able to stitch around the edge on my machine!  For this hat I used a 7 ½ inch by 5 ½ inch teardrop shaped blank from “Dance Costume Supply” on Etsy.  It did have a covered edge with a wire in it (not called for in the pattern’s instructions), but I think it gives the hat better, firmer shaping than otherwise.

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My first step was to cover the buckram blank.  The instructions say to steam the fabric or soak in water in order to shape over the hat blank (blocking method), but my chosen fabric is a poly blend and would not react to either method so I cut the piece on the bias and lightly stretched (then stitched) the cover pieces over both underside and top side.  Next, the head straps were made and stitched onto the side edges.  Then I made a bias binding and stitched it over the edge just the same as one would for the neckline or armhole edges of a garment – easy!

I am so glad I went with my gut and made the head straps to match my hair color rather than the hat.  I love how this helps the hat stand out all the better and the way it stays on all the more subdued.  I especially love the fact that I used good old-fashioned cotton velvet ribbon, too.  Not only does it add a bit more authenticity (being in cotton), but from a practical standpoint the velvet literally acts like Velcro to my hair keeping the hat band in place like glue where I put it without needing pins.  Cotton velvet ribbon hair bands for hats are literally the best thing ever!  I need stock in this ribbon for my next hats…

DSC_0383a-comp,wThe final step to the finished hat was the hardest – the stand-up crown.  This is really nothing more than an interfaced rectangular strip of fabric whose edge gets sewn right onto the very edge of the front 2/3 of the hat.  This was very slow, tricky work that did damage to my hands and required precision to make the stitches invisible.  Beforehand, however, I scavenged through the house to find something more poker-stiff than the DSC_0422a-comp,winterfacing sewn in the crown and – bingo – I came across a perfect sized strip of thick plastic laminate to slide in the rectangular piece.  Every so often my habit of saving “things-that-might-be-useful” comes in handy, as long as I can find what I want when I want it.  Anyway, this plastic worked perfectly – it’s still 100% bendable but keeps a shape nonetheless.  I cut the strip a few inches shorter than the fabric’s length on each end so I could fold the crown down and tack onto the hat base, behind which the bow sits.  In order to give the bow some pouf without stiffness, the final extra adjustment was to have a strip of sheer organza in the fabric bands.  In order to cover up the not-so-perfect bow center, I have a small bias band to finish things off nicely.

Last but not least is the fabric flower clip.  This flower was so fun and easy to make (one hour!) I am tempted to spend one day to make a dozen of these out of my fabric scrapDSC_0417-comp,w stash.  They do not need that much fabric – just three pointy almond-shaped ovals in consecutively smaller sizes cut on the bias.  My flower turned out very good without much difficulty and too much hand stitching (I was about done with hand stitching after the hat).  Some scraps of green felt finished off the bottom of my flower and gave me a lovely ‘leaf’ look as well as a base to sew on my hair clip.  I’d bought this how-to booklet at our local JoAnn’s fabric store a few years back, but finally just came to using it – I should have done so sooner!  If you’d like to try these Dior roses out for yourself and don’t know where to find the Threads booklet, visit the blog “Oliver + s” for an excellent tutorial along with a mini history lesson (link here).

Witney Frost cameo shot in collared 50's dressThis flower just so ultimately finishes off my outfit, in my opinion.  It’s that understated extra touch, not to mention the fact that it is a fabric rose in the style of the famous Dior.  This is so like Whitney Frost to wear an accent used by the “famous Parisian couturier whose designs were worn by the world’s most glamorous women” (to quote the Threads article).  It all adds to the sham of the “Poster girl’s” face.  For me, it makes my handmade efforts seem all the more worthwhile to be able to use my talents to re-create something from the likes of Dior, Hollywood, and the decades that had more style and class than what I see in most  fashion of today.

Speaking of style and class, a small part of this outfit is (I would like to think) also in the mode of the most sophisticated woman I’ve known – my own dear, and now departed Grandmother.  She was a young, newly married 21 year old in 1951 (the year of my outfit) and she frequently dressed up, and on these occasions would never go out lacking a hat, pearls, and a flower (she loved nature).  Grandma was also a “Poster Girl”, too – in her younger years she was a local vaudeville celebrity.  Oddly enough, I recently found a picture of her in a dress similar to the one in this post, with a large collar and double breasted front closing, from the year 1951.  I know her dress is in a solid with a notched collar, different from my own, but we do share the same smile and taste in clothes, so I would like to think she would be proud to see me wear something after her own heart.  This is why I’m including this dress in Tanya’s “Dress Like Your Grandma” sewing challenge.  Have you heard about this!  Maybe you could join in on the challenge along with me?!

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