Agent Carter’s “Body Raid” Outfit – Burda Style Trousers and Jersey Satin Blouse

I realize this is a bit late for our recent civil holiday (in America) of Presidents’ Day, but nevertheless I will now share the outfit I made to wear for it…better late than never!  America’s sweetheart and Captain America’s crush, Agent Peggy Carter of Marvel, was of course my go-to girl for inspiration here because when you stand behind the super soldier defending the freedoms of the stars and stripes, your wardrobe naturally ends up being very patriotic!  As February is a short month, I am sneaking this post in between my dual posts on historical lingerie.

This outfit is part of my quest to have all of Peggy Carter’s wardrobe (as seen in both seasons of her TV series), as well as looking for something brightly patriotic, wonderfully 40’s era, and supremely comfy.  You see, I wanted a special set with all of those qualities to wear during our traveling weekend, and a trip gave me a good reason to buck up and finish a Burda Style project for the month of February (meaning the pants)!  I have been supplying myself with a nice and varied collection of trousers and pants, and this one is definitely another kind of ‘different’ to do – all baggy yet still tailored, and definitely vintage-inspired.  The blouse half of my outfit satisfies my current “thing” for making tops, and it is sewn with a knit, which is both easy care and different, too, for my 1940s wardrobe.  Also, it is made using a vintage Advance sewing pattern, a brand that is not seen as much, with leftover material from a past Agent Carter project of mine, for even more special connections.    

This outfit’s original inspiration can be seen on the Agent Carter television series by Marvel, specifically Season Two, Episode 5, “The Atomic Job”, when she breaks into a morgue to steal a body that holds the evidence her and her friends so desperately need, before things end up taking a much more dire turn.  In our pictures, my version of Peggy Carter’s outfit is seen in the historic Union Station of Kansas City, Missouri, for a much less heavy reason – a destination trip to see some exhibits.

THE FACTS:

FABRIC:  The blouse – a polyester interlock knit with a satin finish is the primary fabric (same as what was used to re-fashion this dress), with cotton broadcloth scraps to line the inside of the shoulder panels for stabilization; The pants – a half and half linen rayon blend in a purple toned navy blue (same as what was used to make my turn-of-the-century Walking Skirt) with a fun rayon challis print (leftover from this dress) used for the pockets

PATTERNS:  A vintage original Advance #3182 pattern, circa 1941, was used for the blouse and a Burda Style #102 for the pants – view B is the “Marlene Trousers”, while view A is the “Button Tab Trousers”, both the same and both from September 2013.

NOTIONS:  I had all I needed on hand – thread, interfacing, bias tapes, hook-and-eyes, a metal jean style zipper, and vintage pearl buttons.

TIME TO COMPLETE:  The pants took about 20 to 30 hours of time to finish on January 17, 2018.  The blouse came together in about 10 hours and was done on February 14, 2018.

THE INSIDES:  The pants are as professional as I could make them – all tiny but fun bright red bias bound edges.  The blouse’s material doesn’t fray so it is left raw to make my work easy for a change!

TOTAL COST:  maybe $20, at the most $30.  Both fabrics were bought at Jo Ann’s Fabric store

This set was a wonderful mix of sewing things I’m used to, with an added element of difficulty.  I’ve sewn many pants and trousers by now, but this pair was labor intensive and required dedication to finish.  I do feel it brought some of my skills to the next level and perfected others.  This was by far the most challenging Burda pattern I’ve tackled yet, besides this coat, but it’s so worth when it comes to what I end up with having!  The blouse was not far off from any other traditional blouse, but the fine, lightweight material in a knit made it slightly tricky to sew, besides the fact it has very unusual front shoulder panels.  I splurged on this blouse and used some prized vintage notions from my stash, just to be close to the inspiration Agent Carter blouse, with its pearled square buttons, so this was an added special touch a bit out of the ordinary from my “normal” sewing.

Both patterns had their aura of mystery when it came to getting them to fit.  The blouse was a vintage unprinted pattern, marked with a code of dots, but as I have done so many of these by now, it was no problem to cut and it fits beautifully.  Yet, I was dubious about the pattern because every time before this I have sewn with an old Advance pattern, they have run small in size.  Thus, for this pattern, it is happily a size too big for me already, and it fits.  With the knit fabric, I actually could have brought the blouse in a bit, but I’d much prefer a bit generous than too small.  For the trousers, I realized (correctly) that they probably run a bit big due to the generous silhouette and wide legs.  However, I figured it’s easier to take a garment in than work with it when it’s way too small, so I stuck with my “normal” size that I always tend to make in Burda Style.  Yes, the trousers do run big and I probably could have went down a size, after all.  However, because of the way these pants are finished in the back center waistband, sewn up there as the last step (very similarly to menswear, actually), these were easy to take in an extra bit for a size that is better than they could have been, not as good as I would like.  These are so comfy being roomy, and I do love the style, so I can’t really complain with all that much energy!  Perfection in an art (and I include sewing under an art form) is relative to one’s contentment with one’s work and the either unknowing or appreciative eye of the beholder.  Both pieces turned out great and taught me more than I knew before.  There’s something good achieved, beyond the fact I have another Agent Carter set! Squee!

Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced from the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that I pick out my chosen size and add in your choice of seam allowance width (I normally add in 5/8 inch allowance), but others do this directly on the fabric as they are cutting out.  A scissor with a magnetic ruler guide attached helps immensely for adding on the seam allowance easily.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t.

Burda patterns do frequently get the bad rap of having terrible instructions (they’re words only), but I did find these to be quite good…except when it came to the front fly and its self-placket.  I was lost, but that was okay.  I looked at my husband’s existing pants, and remembered the last trouser fly I had made, and sewed it how it made sense and was practical.  You know what?  These turned out great.  The side pockets smartly have a panel extension that continues towards the middle to connect (inside at the facing) with the zipper fly.  This is a wonderful detail that helps out taming the front pleats, but made it confusing to sew.  It did turn out a very smooth and flawless inner waist and tummy area this way.  The side pockets stay nicely in place and balance out the bulk of the fly by those extensions pulling it in.  I did a lot of invisible hand-stitching, though, to make sure the front fly looked quite nice.

The welt pockets – to me – are actually the best part to the pants, even though I detest sewing them and find them exhausting to make.  There’s something about cutting into the middle of a perfectly good garment that makes me doubt my capabilities.  One welt pocket took me just over two hours to complete…but I’m so much happier with it than my last attempt!  The instructions for the welt, and its markings were right on and helpful.  I wasn’t sure if I really wanted the pocket flap, but now, most of the time, I keep it tucked into pocket.  If I ever feel like wearing it out of the pocket more, I might feel obliged to stitch on a button and buttonhole to keep it down, like the instructions recommend.

I did add plenty more belt loops than the pattern called for, mostly because my pants (as I said) are still a bit too big on me.  The more belt carriers, the better the trousers stay up, for there is a darn lot of fabric here to wear anyway!  The side tabs on the waistband were left out in lieu of the extra belt loops.  I fear that the wrinkling in the waist and back pants legs are not due only to the properties of the linen material, but also from the fact that the waist buckles a bit from bringing it in under the belt.

The complete indulgence in excess fabric to these pants make them very much like pre-WWII menswear styles for women.  Burda aptly labels them “Marlene Trousers” after the woman that channeled her own taste for the masculine-feminine dressing for the empowerment of others to do the same in the face of society – Marlene Dietrich.  She certainly started something when she appeared on January 12, 1932 at the opening of The Sign of the Cross movie, wearing a masculine tuxedo, wing collar, soft felt hat, mannish topcoat, and a pair of men’s’ patent leather shoes! Dietrich, who had been wearing trousers publicly as early as 1929, and Greta Garbo were the 1930s pioneers for menswear styles for women.  Yet, “I wear them to be comfortable,” Dietrich is quoted as saying, “not sensational!”  1930s ladies’ menswear borrowed heavily from what guys were wearing especially when the materials were woolens and other suiting, but women also found their own interpretation in the super-wide legged, flowing beach pyjamas of summer and resort scenes, skirt-like Singapore trousers, and other unique interpretations of bifurcated bottoms.  These were also, no doubt, part of the luxury that was the mindset of the 1930’s, especially for Depression times.  Fashion counter-reflected what society was really going through, so from the boom of bling with costume jewelry to the luxurious evening gowns, the trousers, too, had every added feature that used as much extra fabric as possible – cuffs, deep pleats, and generous pockets.  Check, check, and check…these Burda pants have all that aplenty!

My own pants are somewhat a mix of the heavy men’s suit style with a little female influence with the lighter weight linen blend, non-suiting material.  This is a kind of trouser style that could have been worn throughout the 1930s and well into the early 1940’s.  This pattern definitely deserves to be included in my ongoing post series, “Retro Forward with Burda Style”.  A good pleated pant of this style is hard to find.  Vintage pants were always ironed, or sometimes even stitched, with center front and back pleats on each leg.  Most pants that I see nowadays which attempt this “look” end up fitting so tightly past the hips there is no point in having a vertical running pleat, it cannot continue down due to the tight fit in the thighs and below.  Now, I know my pants do not show as crisp a pleat as I would have liked, but it is there and they can hold it quite well when I am not traveling in them.  Nevertheless, these pictures show the reality of my pants being used and worn for real living, well-traveled in and time tested…and I think they prove themselves quite well, especially for being linen-rayon!  (See? You can travel in and wear linen!)  I’m really surprised that bloggers and seamstresses in the vintage community haven’t discovered these after all the 5 years this pattern have been out.  These are like rare gold!

To match with the whole pre-WWII style, my blouse is from 1941, before America had been completely committed to the war effort.  Besides, Agent Carter herself was a woman stuck in the past, due in no small part to her fond yet painful memories of both knowing and losing Captain America.  These were two of the reasons for using this particular Advance pattern.  I know it is not exactly alike to the inspiration garment, but it is perfectly her style as she has a penchant for blouses with small yet stunning and beautiful details, whether it’s in the top-stitching or design lines.  This one certainly fits the bill with its special pointed front shoulder panels, square buttons, silky finish, and menswear-style back shoulder panel.  It’s simple at first glance, yet more complicated the further one looks.  This is one of the few blouses I have made that has this much all over gathering…here, there, everywhere!  Most of the times I use menswear inspired, professional-style pleats in the sleeves nowadays, but this flowing feminine fabric deserved a departure from my norm.   

Yet, there is one more detail that deserves to be told.  The front buttons came from one set that was bought (intact on a lovely decorative card), while the other two for the cuffs are a size bigger, from a pair that were in the stash of hubby’s Grandmother.  Not too often have I come across two separate vintage button sets that actually match up with one another.  Button serendipity sometimes does happen.

Both of the bottoms and top are made from various leftovers, as I mentioned above.  Besides the whole “reduce-and-reuse” sensibility of it, and the way it whittles down my ever growing fabric stash, I do like how the connection with the previous outfits these fabrics went towards is perfect for a new Agent Carter set.  The Agent Carter dress re-fashion from exactly one year ago had just enough left over to make this post’s blouse, bringing together two of my Peggy creations. 

The linen of the pants is the same material as my 1905 Walking Skirt, the first power separate, much like 1930s and 40’s trousers, from an earlier era for a self-reliant, independent, and active woman.  After all, Hayley Atwell, the actress who plays Peggy Carter, also plays a similar character led by both her heart and mind in another television ministry taking place around the turn of the century, “Howard’s End”.  The small, almost worthless leftovers from my 60’s wrap dress became novelty pockets in my pants.  It would just be like Peggy, who had a photographic memory for detail and the mind of a true government agent, to remember some little scraps to hide a secret in her clothes.  Now if it really was Peggy wearing these, there would be some coded message or handy tool inside my pockets as well!  Contrast pocket fabric is a fun, personal touch that only I really know about (well, not anymore!) but just knowing it makes me smile inside!

It’s these little personal touches in one’s sewing, especially when it’s not something publicly noticed, that makes one’s work a very individual art. Using up every bit of what you have and having all of your projects go to ‘help’ out other projects, can make you proud and feel like you are doing something bigger than yourself (and you are!) by making your own clothes. 

Be like Marlene Dietrich (or Agent Carter) and wear what you want, without fear of judgment or scrutiny.  There is no better way to do that today than sewing one’s own clothes or even buying second hand, whether vintage or not.  I for one feel my best self in something vintage, and/or handmade, and especially Agent Carter related.  You know, there is almost nothing more lovely and catching than the self-confidence that comes of being assertive in who you are and the clothes you are wearing!  Find that sweet spot and change the world.

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“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!

“Atomic Jacks” 1955 Set of Redingote Jacket and Dress

I’ve sewn it again…here is another look-alike to the fashion of the corrupt character of Whitney Frost on Marvel’s TV show “Agent Carter”, Season Two.  This time I have an outfit to show you of a dress and redingote jacket, inspired from episode 8 “The Edge of Mystery” to be precise.  I am so proud at how this outfit turned out better than I’d imagined it for myself, and it’s so wonderful to wear!  I even found an eerily similar silk scarf and leather-like driving gloves, all vintage, to properly complete my Whitney outfit.

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Both garments are absolutely great, however the dress was a bit overwhelming to make as it had a huge amount of ease on top of generously large fabric-hogging pieces.  The jacket is so amazing I want to convince everyone they need to brace themselves for the challenge of making this pattern – the most lovely design of outwear I could possibly want.

DSC_0860-p-compBe prepared for some dramatic poses, and a disturbing crack down my face opening up a force to be reckoned with…just like the villainess who wears my inspired outfit.  Yeah, it sounds weird to put myself in the shoes (through an outfit) of a megalomaniac with powers from another dimension, but Whitney Frost, like many women, was on a quest for purpose and respect…she just went down the worst path imaginable.

THE FACTS:

FABRICS:  The Dress: a Gertie brand 100% cotton sateen, The Jacket: a 100% Kona cotton for the exterior, a basic poly lining for the inside, a buff poly satin for the pocket flaps and belt, and a 100% cotton for the bias binding. 

PATTERNS:  The dress comes from an original 1955 Advance #7095 pattern and the jacket comes from a Vintage Vogue #8875, a re-print of a year 1955 and 1957 pattern (originally V#4771).  The pocket flaps were added on from an original year 1948 pattern, McCall #7354. McCall 7354, yr1948 & Advance 7095, yr 1955-comp

NOTIONS:  I had the interfacing that I needed, as well as the dress’ thread, zipper, and packaged bias tape, but the jacket needed thread to be bought and I made my own bias tape.  The buckle is from my stash and it is vintage carved shell.

THE INSIDES:  All nicely finished.  The dress has all bias bound seams and the jacket is fully lined.

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TIME TO COMPLETE:  Both the dress and the jacket were a bit time intensive.  My dress was made in about 10 hours (not counting maybe three hours for cutting and laying out) and done on June 8, 2016.  The jacket was made in about 30 hours (with about 4 hours for cutting and laying out) and finished on July 1, 2016.

TOTAL COST:  The dress took so much fabric (5 something yards) I’m not sure of the total anymore, but I think it is about $25 to $30.  The jacket was less because half of my supplies (the lining, satin, organza, and some thread) were on hand so my total for 4 yards of Kona cotton on sale with one yard of a remnant for bias tape comes to a total of about $23.

Whitney at atomic siteFirst off, I need to vent…this is not a costume, in the particular definition of being something for cosplay, stage, theater, or an out-of-place garment.  It is clothing I want to wear in my modern living (the jacket is something I needed, actually) and was merely inspired by something on television to go the extra mile for a great outfit.  That’s good, right?!  I kept my outfit similar in shape, color tone, and style, but it is according to my own taste and personality because I intend to wear these pieces in my daily life, such as out to dinner, vintage shopping with friends, or to church.  However, I will admit this would be perfect for the next in town cosplay event and it is fun to understand a character by stepping in her shoes, besides feeling like I could be a part of my favorite television show (see the television still at left with Wynn Everett playing Whitney Frost).

To top off the irony of my rant, the Advance pattern envelope actually calls it a “costume dress”…don’t understand why.  This is an original pattern to make what looks like a very normal mid-50’s dress, albeit quite poufy.  I’m assuming the use of ‘costume’ here is meant in the term of “fashion of dress appropriate to a particular occasion or season or a set of garments to put together an outfit.” Honestly, this all confusing grammar particulars.

Of all the weird things I’ve found in pattern envelopes, the Advance pattern had double pieces, as if someone bought two.  Why just double of the bodice, the skirt side panels, and collar pieces?  To further complicate the mystery here, the skirt double pattern pieces were cut in half, like the previous maker intended on cutting those on the fold, and sliced accordingly.  All the pattern pieces are the same size as each other, so why buy another just to cut two pieces in half?!  After all the unnecessary pieces, the pocket top band is missing, and there is one of everything else.  Was somebody making a lining?  Oh the stories these patterns could tell…

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I expected the dress pattern’s fit to be normal or at least semi-generous, but this Advance dress had the most unexplained extra ease of any pattern I’ve made.  It was like a gi-normous fabric monster.  The skirt pattern pieces were so huge, I had to taper off several inches on each side of all of them and they are still incredibly full.  Several inches had been taken out at the bottom hem because it seemed evening length long, and also to help fit everything in.  I had bought 4 yards already and still realized I did not enough for all of the pattern pieces.  To top things off, I miss-cut on one piece and had to frantically search amid town to find the last remnant so I could finish my dress.  As it turned out, I hacked off 6 more inches from the hem to get my dress the length you see and even sewed up the duo of giant pockets (which I didn’t add), so I guess I sort of wasted a bit too much fabric here.  The pattern I had was technically in my size but I did add in 3/8 inch so I could have a little “just-in-case room”, but I ended up taking out a few inches all over any way, distributing it between the panels.  The empire waist down is still kind of generous on me but I can only take so much in before I give up on reaching that “perfect fit”.  What was the deal?! DSC_0857-comp

For all my saying how huge the skirt pieces were, this dress is such a feminine, swishy, perfect-for-twirling outfit made even better with my full ruffled petticoat underneath.  My petticoat does not remotely fill the skirt out though.  The wide, oval, shoulder-to-shoulder neckline does balance out the vertical seamed skirt, compliments the waist, and creates a lovely 50’s silhouette which I think works for me.

The ‘anchor’ of the dress is of course the dramatically subtle collar-like neckline.  It was quite fiddly, time-consuming, and difficult compared to the rest of the dress.  The combination of a curved, interfaced, skinny strap, faced with another piece and attaching to the full dress with four gathered sections, too, was stressful, requiring lots of pins and slow stitching.  The front tabs end at the same place at the neckline, which was also tricky, then flipped under one another

Whitney and Thompson making a deal-croppedWhitney’s dress had a remotely similar neckline collar, except hers was folded over (free hanging) and tied in the center front.  Her dress has quarter sleeves and center bust gathers while mine has is neither, but our dresses do share the same skirt shaping.  Also, her dress was a solid purple in some sort of jacquard (in maybe rayon or silk) while mine is not, but I prefer the printed cotton sateen to stay true to my taste.  Besides, the children’s’ toy jacks that are on my dress are a nod to the Agent that aims to get on Whitney’s “good” side to reach what he wants – Jack Thompson.  Furthermore, my outfit is titled atomic because a faulty A-bomb is the catalyst for the events in “The Edge of Mystery” episode and the reason both Whitney and myself are in an empty, forgotten dirt patch.  Hence, the “Atomic Jacks” title is now explained.

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Advance 8296, cleaned upThis style of dress seemed to be a common design around 1955 especially with the Advance line but also seen through other companies.  For some examples, see Advance 8296 (pic at right) or view Advance 6915, Advance 8047, Butterick 6988, McCall’s 9647, all 1953 to 1956.  I find it funny that so many dresses look alike in a handful of years almost to the point of being boring.  One could buy only one of this style dress and tweak it to copy all the other releases.

Compared to the neckline, the dress from the empire waist down was just single layer DSC_0933a-compfabric and incredibly lightweight, so I unhappily found out it liked to creep up on me and wrinkle in terrible horizontal folds around the natural waistline.  I had to get creative to combat this bad behavior of my dress.  What I ended up doing was sewing down about 8 inches of skinny ¼ inch ribbon to the dress starting at just below the waist to below the waistline, with a long tail of ribbon hanging down tied at the end to a weight of a ¾ inch washer.  I did this in three places down the two front skirt seams and down the center back skirt.  The weights don’t really get in the way of my legs because I keep them over my frilly ruffled petticoat and they are totally removable because they are tied to the ribbon ends.  The weighted ribbons help the waist stay smoother instead of wrinkling up and nicely keeps the dress in place on my shoulders.  This is probably the most unusual fashion fix I’ve come up with but it totally works.

Now, the jacket is an awesome pattern which makes for a silent showstopper.  A redingote jacket is guaranteed to be awesomely special.  The 50’s were the hurrah for the redingote, although you do still see a few in the 60s, too.  Wearing a redingote is the most fashionable way to have a coat on yet still show off your clothes underneath, besides being so complimentary to the waistline.  (More history on the redingote can be found on this ‘Witness 2 Fashion’ post.)

For this pattern, everything matched together beautifully, the fit is engineered brilliantly,DSC_0771a-comp the sizing seems right on, and it is nicely unique.  Yet, it is tiresome to make and quite challenging…there are eight tricky corners in total to make.  (See the pic at right which shows three views of the angled corners, inside and out)  Once I started on the lining I wanted to give up on the jacket and swear I couldn’t sew another one of those funny angle/tight point corners.  I’m not even talking about the wraparound collar, either.  Yet, as I was making this, I could tell I was going to love it, and the promise of a rocking outfit (as well as a very rainy coming weekend) gave me the guts to suck up my distaste and finish the jacket.  I’m so glad I did.

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There are just a few things I did to the pattern to make it slightly easier to sew.  I did not change any of the design (besides shortening the jacket hem by 4 inches).  My ‘tricks’ here merely have to do with construction changes to achieve the same result as compared to what the instructions show.  First of all, I disagree with the need to do so much cutting down of all the curved seam allowances.  I did not see any noticeable restriction to the sleeve curves as they were and I think paring them down might make a high tension spot a bit less stable.  A little snipping maybe but that’s all.  It is still very important, as boring and repetitive as it might be, to stitch and re-enforce all the points and corners you’re supposed to and, yes, you do stitch the stabilization squares over the corners on the right side.  I didn’t disregard these points but I did use sheer organza instead of self-fabric for the re-enforcement squares (much lighter but just as strong).

Furthermore, I did not use any interfacing anywhere, and also left out the extra add-on contrast collar.  The facing for the jacket’s front edge was sewn to the lining’s outer edge to make a one-piece inner coat.  This was then sewn, as one ‘inner’ jacket to the ‘good’ outer jacket, along the front edge, from one hemline, up and around the collar and back down to the hemline.  Now where the jacket facing joins the lining the meeting is much more stable, strong, and smooth…besides saving me a butt-load of hand stitching!  I know this is sort of ‘cheating’ (so I’ve heard), not very time-committed, nor couture, nor vintage correct.  Hey, when sewing is a chore it doesn’t give personal enjoyment, so anything that saves one’s creative sanity is good in my book.  Besides, ready-to-wear has got nothing on this coat!

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Perhaps the best part (besides the awesome pocket flaps) was taking the extra step for self-made bias tape.  I know, I might sound nuts, but making bias tape is incredibly fun – a total mood-lifter for me, especially with my Dritz tool won from my entry to the “Butterick to the Big Screen”.  Once you have made and used your own bias tape, it is quite hard to use bought pre-made bias tape…no kidding, you’re ruined, spoiled.  Self-made bias tape is 110% better especially when it is made to match out of fabric better than the stiff poly-blend available in the stores nowadays.

To make my jacket truly stand well in rainy weather, I sprayed it down with some “Protect-All” fabric and shoe coating.  This doesn’t stiffen the fabric at all, nor does it make the water bead or roll off, it only retards liquid from soaking into the fiber.  A whole can was used to spray my jacket with one generous coat of “Protect-All”.

Dr Wilkes flying into the rift, my look-alike combo

Did you ever have a film star for which you just had to have her wardrobe?  Well, I guess Whitney Frost is that person for me.  However, I believe I am not just making for myself her fashion.  I also try to put my own touch into it to make sure I feel like “me” in it.  Besides, since I do love purple in all its shades, and this is the color Whitney wears most often, I find it hard to resist.  No, but really – I do promise to make garments in other colors for your sake, and more Whitney Frost outfits for my sake!

If you’re interested in learning more about the vintage methods of make-up that were used to “make” Whitney Frost, see this article on ‘World News’ – and don’t forget to click on the full page option through the L.A. Times!  There is also a photo galley for this particular episode of “Agent Carter” (which you can find here) if you’d like to compare our outfits or just take a look!

 

“Blank Canvas” – a 1939 Hollywood Dress and Re-Fashioned Hat

Allie J's Social Sew badgeEvery blank canvas is a starting point just waiting, pleading for personalization and a touch of color.  My creation happens to have soft, white linen as the canvas, and all the colors added (in controlled moderation) for a culturally-influenced dress and hat.  I even made my own earrings from buttons to match!  This is part of Allie J.’s Social Sew #4, theme “Vintage”.

Mock embroidery, courtesy of some appliques, a wildly striped scarf belt, and my bright coral “Chelsea Crew” T-strap shoes liven up a white dress.  Subtle features and lots of bias cuts take the backstage to complete the dress.  My Tyrolean-style, dome-crowned straw hat was another successful experiment in more modern hat re-fashioning.  Together, I am again finding myself loving the year 1939 fashion – part 30’s and part 40’s combined into one lovely and comfy outfit.

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My dress and hat happen to have a wide variety of Hollywood personas related to its making – the famous Lucille Ball is the “star” of the dress pattern I used, an “Agent Carter” character Ana Jarvis was another inspiration, as well as actress Joan Blondell’s fashion, especially as worn in the 1939 movie “Good Girls Go to Paris”.  My more basic sources were 40’s and late 30’s pattern covers plus an extant 1939 garment from Jonathan Walford’s “Forties Fashion” book.  My first 1939 dress (blogged here) was also directly patterned after a dress from his book.

Simplicity #4203 & #2070, Walford book's 1939 Mexicali dressThe “Forties Fashion” book chapter which shows my inspiration dress (Chapter 1) addresses the subject of culturally inspired fashions of the early 40’s/late 30’s.  Much of the Mexican, South and Central American themed clothes, aprons and embroidery from those times stemmed from President Roosevelt’s ‘Good Neighbor’ policy from the early 1930’s, but as the decade went on, Bavarian and Alpine themed fashion and headwear grew popular universally.  I would also like to think of this dress as further inspired by both the classic ‘Guayaberas’ or Havana shirts and the Phillippines’ version (called ‘Barong Tagalog’) that I’ve seen on the men (and some women) in old movies such as “The Lone Wolf” series.  These shirts are made for warm weather and are often of a type of linen, have lovely details, and have frequent floral embroidery.  Havana and Panama were of course known for their straw hats, too.   Thus, my outfit combined several cultural influences for ‘39.

As far as Hollywood influence, 1939 was the year that Lucille Ball stepped out as something 1939 Hollywood inspiration collageother than a mere radio voice and a B movie actress when she starred in the film “Five Came Back”.  One of the main ladies in that film actually wears an identical hat to the one I made!  I’ve also seen similarities to my dress in the other ’39 movies like “Star Reporter” (same bodice) and “Good Girls Go to Paris” where Joan Blondell has similar puffed arched sleeves, Tyrolean hats, and cropped boleros.  Currently, though, Ana Jarvis from the Marvel television series “Agent Carter” Season Two wears many ethnic inspired fashions, and in “A View in the Dark” (Episode 2) she wears a cream colored blouse with floral vine embroidery.  I know Hollywood is not a good example of what the everyday woman might have worn, but it sure is awesome to bring into one’s wardrobe!

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I have yet to decide on what bolero to sew up to match – one with the large collar in this Hollywood pattern for my dress, but I’m tempted to go with Vintage Vogue #8812 for a simpler look that would go with my later 40’s fashions.  Something else for my already long bucket list of future projects!

THE FACTS:Hollywood 1773, year 1939, front cover-comp

FABRIC:  Thick pure white 100% linen for the dress, polyester chiffon for the scarf belt, and a basic modern hat made out of straw for my re-fashion

PATTERN:  Hollywood #1773, year 1939

NOTIONS:  Floral appliques, thread, bias tapes, and two different zippers – all bought last year when I originally planned on making this dress

THE INSIDES:  All bias bound

TIME TO COMPLETE:  maybe 10 to 15 hours to make – it was finished on July 14, 2016

TOTAL COST:  Everything was bought when a Hancock Fabrics store was closing a year ago, so everything needed was bought on deep discount and amazingly just what I needed for a perfect match.  For several yards of fabric and all my notions I think I spent maybe $20.

DSC_0973a-compHollywood pattern #1773 was an amazing find at an amazing deal which was obviously too good to be true.  It was almost like hell in paper just attempting to sew it into a dress like the one on the cover.  First of all, it was in a very large size for which I had to grade out 4 inches besides taking out 4 inches from the length of the skirt hem.  However, the real problem was the fact the pattern was cut into and changed dramatically.  I really don’t know what someone was trying to do but after studying the line drawing and doing much detailed mathematics,DSC_0972a-comp I had to re-draw in about 3 to four inches added for the center front where someone cut out scalloping.  After all this, the instructions were disintegrated to the point they were in about 5 crumbly, delicate pieces.  All the instructions have now been scanned in and saved as files on my computer for a permanently safe copy.  Still, the instructions added to the multiples of problems, although I am glad that at least the tissue pattern pieces were in good shape.  Gotta be positive especially after a (finally) successful result!

Luckily, after all the trouble leading up to making this dress, sewing it was a breeze.  There are no darts in the skirt portion, as both the front and the back are cut on the bias.  The back bodice has no waist tucks and there are only two small ¼ darts at the neckline.  The front bodice has all the details, with its ten 3/8 inch tucks (five on each side) on the shoulders and two simple waist pleats (one on each side).  The sleeves are also cut on the bias and are tightly gathered at the cap tops.  This dress does have double zippers – a decorative metal one down the front neckline and one on the side at the waist.  For some reason the pattern had the front waistline dipping down low.  I sewed it like that at first, but did not like it and unpicked to level out the waist, instead.  The seam allowance gets cut off along the neck and the sleeve raw edges so as to cover with bias taping.  My prized vintage all-cotton ¼ inch bias tape from my Grandmother was used for the sleeve and neckline edges while modern store bought (yucky) poly cotton blend was used for finishing the insides.

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The appliques are my cheat-shortcut to all the hand sewing necessary to do real embroidery.  Anything more than a little hand stitching bring out my carpel tunnel issues.  The appliques I had are actually meant to be iron-on, but I merely stitched it down by hand.  I don’t want to ruin the fabric nor make it that permanent by ironing it down.  The flowers on the design remind me of Mexican Bird of Paradise (yellow), moss rose (pink), and milkweed (orange/yellow).  The two appliques which are on either side of the neckline are the largest and longest of the set – I have four other smaller half size ones that I am tempted to add on the rest of the dress.  I sort of like the simplicity of the appliques just at the neck.  I’m afraid that with the bright scarf belt, more appliques might make the whole dress look overly busy and tacky.  For now, I’ll leave it as-is.

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It was really the scarf belt that started this whole outfit.  I was so happy and surprised when I happened to find this chiffon in the same color tone and striped pattern as the on inspiration dress in the “Forties Fashion” book!  It was one of those great “Eureka!” moments that told me I needed to make this dress.  The belt is one long bias scarf cut from two opposite corners of 1 ½ yards with the raw ends finished off with a touch of fray check liquid.1936  Purple felt hat, FIT museum

My hat started out as another one of those basic one dollar non-descript pieces that I’ve re-fashioned before (here and here).  I started out by making two tapered darts about two inches apart up the crown where I chose the back to be.  Then I brought those two darts together in a tuck that extended into the brim and topstitched the excess down.  A light steaming from and iron as helped further shaped the hat.  The darts shaped the crown while the tuck brought the size smaller so it would sit higher up on my head and have that cup-like center top to the traditional ‘cone crown’ of a Tyrolean Hat (like the purple one at right from FIT museum).  To keep my hat on my head, I took a ribbon and knotted it together at the sides and used an upholstery needle to wind it down and through the straw so I can tie the hat around my hairstyle.

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This outfit so completely reminds me of some sort of summer resort wear, something meant to keep one looking great and moving comfortably in searing temperatures, and…yes, this dress does fit that bill!    I tested this out, as the day on which I wore it for these pictures was extremely, oppressively hot.  Linen is a super sweat wicking fabric, yet it kept me cool.  The linen kept absorbing the sweat off me, yet it did not feel soaked and it was a cooler temperature than I was when it was wet.  This particular linen has zero scratchiness and is lacking that “hemp-like”, raw feel which I find in many other linens…only softness so there is another high comfort here!  However, my favorite benefits are the no-see-through thickness of this linen as well as the way it does not change color or show however much I might be sweating to death, like many dark fabrics.  This linen dress definitely does not just give the impression of being cool but also helps that along.  To top things off, my hat ‘perches’ lightly on my head, keeping my hairstyle underneath pristine and cool, yet the brim is enough to keep the sun off my eyes.  I was doubtful that this outfit would be that great in steamy weather, but I am a converted believer in effortless summer fashion a la vintage with linen and straw!

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It’s funny, in the fabric stores I go to the bolts are always full and untouched when I buy linen.  The employees that cut my fabric often seem mystified that I want linen and tell me that hardly anyone buys it.  Do you wear linen?  If so, have you found it to be as lovely of a trooper for wearing as I have?  If not, what are your reservations to this natural fiber?  Why is linen overlooked as a fashion fabric?

My 1939 “Frosted Carter” Dress

Whitney and Dr, Wilkes, cropped - getty imageAmong all the inspiration to be found in Marvel’s television show “Agent Carter” Season Two, I cannot help but notice the classy, stylish mode of dressing of the villainess, Whitney Frost.  I kind of feel like a traitor to flaunt the persona and appearance of the opposite of Peggy Carter (I am one of her biggest fans, besides being an American).  However, Ms. Frost is another strong woman with a strong will, powerful ideas, and a drive to do something big and worthwhile, quite similar to Peggy, even if Whitney’s mind went twisted and her intentions corrupted.  So, here I am taking on a style of a new year I have not yet sewn before (1939), with the dark aura of a mysterious film star.

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Under the earth in a wine cellar, light and shadows take play here, like two faces in mine…akin to the forecasted two-faced future of Whitney Frost as “Madame Masque”.

THE FACTS:                                                           Superior pattern 9931, envelope front-comp

FABRIC:  soft and lovely 100% rayon challis for the dress and some 100% cotton muslin for the bodice lining/facing

NOTIONS:  nothing unusual was required here – thread, a zipper, and bias tape – all of which I had on hand

PATTERN:  a Sears and Roebuck Company brand Superior pattern no. 9931, year 1939

TIME TO COMPLETE:  This dress and belt were made in about 12 hours and finished on June 11, 2016.

DSC_0757a-compTHE INSIDES:  So nice! All bias bound. Inside the front bodice is a very nice, full chest-covering facing, perfect for anchoring all the shirring into place and keeping the gathers controlled. 

TOTAL COST:  The rayon fabric and the notions were bought on deep discount at Hancock Fabrics before their closing, and everything else came from on hand, so my total for this dress is probably about $8 or less.

Superior patterns are unprinted and are trademarked by the Sears Roebuck and Company.  I am frustrated at the complete lack of info to be found about this line of sewing patterns but from what I have seen they seem to have been printed in the 1930’s and 1940’s.

For such a lovely “white elephant”, I do have a great certainty of dating my pattern to year 1939.  Not only did it require 2 ½ yards of material with my 60” wide fabric (complete lack of rationing), but the sleeves, shoulders, and especially the skirt portion of the dress have a very specialized shape seen in 1939.  Skirts and dresses up to 1938 were still longer (mid-calf) and slender or extremely full (with lots or gores), while starting in 1940 and 1941 skirts and dresses became more frequently pleated, controlled, more close to the knee.

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As a good friend of mine (who knows about fashion from this year) told me, skirts in 1939 were full and had more swing in them than both your normal 40’s and 30’s bottom, and that is definitely this one.  The pattern pieces for the skirt panels were such wide A-line shapes I had to pare them down a bit, while the center front seam was shaped like a crescent pointing out so the front has an interesting drape to it.  My skirt hem also lands between mid-calf and the knee, although it is so full it ends up looking longer.  My dress’ sleeves are'Forties Fashion' pg. 26, 1939 floral dress,comp also very 30’s (besides being the same as in this ’38 pattern from my stash) and the large 6-row shoulder shirring is something not seen past 1940 (just rarely).  The more I look at patterns, dresses, and catalog images from ’38, ’39, and ’40, I become more convinced I am correct with dating my Superior pattern to 1939.  Besides all the “proof” I just laid out, my final showing on this topic is a dress from the Jonathan Walford book “Forties Fashion”.  It is listed as “Canadian crepe afternoon dress, ca. 1939 – 1940”.  As you can see at right, this extant dress was my true inspiration, almost to a point of copying it fabric-wise, and the style lines are almost exact as my Superior pattern.  Oh well, when I see a dress I really like, and I happen to also find a very similar fabric and pattern, I can’t help but sew a re-make, especially when it can also be similar to something from “Agent Carter”!

Whitney and Manfredi - getty imageWhitney’s dress worn in “Agent Carter” Season Two, episode 8 “The Edge of Mystery”, is very similar to the dress I have made, only hers is satin, has a sash coming from the center-front to tie in the back (much like this Simplicity #1901), slightly different sleeve hems, and in a different color scheme.  This is where my “Frosted Carter” nickname comes in the picture because (the horror of it) my dress is a combo of both ladies’ style.  Peggy Carter usually wears the late 30’s/early 40’s fashion and she always tends towards patriotic reds, whites, and navy blues – all found in my dress.  Yet, my dress itself, together with the proper hairstyle, background, and dark nail polish, are all Whitney Frost.  The 40’s were not usually her style, she seemed to always be ahead of things in more ways than one, often wearing early 50’s dresses.  However, the scene in which she wears my inspiration dress is also when she really becomes deeply unhinged, hearing voices and admitting she might be crazy, so she is ‘going backwards’ from where she thought she was going and losing her hold on things around her…

As to more crazy oddities, here is the first vintage pattern I’ve seen which specifically calls for a “zipper”.  That is a specific brand name and never is such a notion called anything else than a “slide fastener” on all my other old patterns.  Perhaps, because this is a pattern coming from a department store and, as the front envelope points out, you were expected to buy what you needed to make this pattern from Sears as well and that “zipper” brand is what the stores carried.  This is just my supposing, I don’t specifically know for sure, but do any of you know?  Have you seen a “zipper” specifically called for on your old (1950 and earlier) patterns?

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As this is an unusual, rather rare brand, I did a good amount a checking beforehand so I could estimate how this pattern would fit, the amount of ease, and the proportions.  My experience with vintage pattern lines outside of the major brands, such as DuBarry, New York, and 1940 and older Buttericks to name a few, has convinced me that they seem to have a tendency to run short in the shoulder-to-waist, have very long hemlines, generous upper arm room, and wide hips.  Otherwise the proportions are generally right on.  I automatically assumed all of the aforementioned pattern tendencies would hold true for this Superior pattern, and from doing a tissue fit on myself, I was correct.  Besides grading up to my size, I added an extra ½ inch to lengthen the waist and took out 3 inches from the skirt length.

What intrigues me is the fact that the pattern apparently to have been used to make a dress for a very petite lady or possibly a teenager from 1939.  Each piece had been folded in to make it about an inch smaller in proportions and shortened even more than my 3 inch downgrade.  The tissue is in great condition, but it had obviously been like this quite a while, and the old pins had rusted in their places.  It’s a very grown up and classy dress for a tiny young lady to wear.  Maybe it was made for a graduation or dance?!

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My making of this dress was ridiculously easy for every other part besides the front bodice.  With almost everything going on (detail wise) there, stitching the bodice front took just slightly more than half of the time spent for finishing the rest of the dress.  Not that the bodice details were hard, merely challenging, precise work which took a good amount of patience and time – all so very worth it in the end when I first saw the finished dress!  Once the dress was first worn, I was so pleased…this is one of my most comfortable vintage dresses and the most easy to move in.

Now, if you don’t mind, I’d like to point out some of the lovely and subtle details which get lost too easily with the busy floral print.  There is a “slash-and-gather” section below the bust but above the waist to on the bodice sides.  There is also 6 rows of shirring running the width of each shoulder.  The back is pretty simple with two off-center box-pleats at the waist and a trio of fan shaped neckline darts.  Like a mentioned above, the skirt portion is wide and flowing, composed of four large A-line shaped pieces cut so the straight grain runs down the middle and the bias on the sides, with the front center crescent shaping out for flare.  At the front waist there is a slight V dip (hidden by my belt) and my sleeves…oh how I love them!  An arched hem with shirring up the center totally completes this dress.  I definitely want to make this again from a solid color fabric, in a rayon jersey knit perhaps, so that all the lovely details stand out better.

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The belt is not part of the pattern and is something I self-drafted so it could be like the extant original shown in the “Forties Fashion” book.  Besides, I just so happened to have a perfect straw covered ring for the belt, something leftover from this past re-fashion.  I used the tie belt pattern with my dress as my benchmark, ironed in “Stitch Witchery” to stiffen it like belting, then cut it to shape (skinny with tear drop ends) and stitched the edges over with ¼ inch bias tape.  Easy.  I only have the belt ends together with a safety pin for now because I don’t exactly know what to put in to make the belt completely adjustable on both ends.  Perhaps I’ll add in a few positions of hook-and-eyes at some point.

DSC_0732-compAs I am technically wearing an “afternoon dress”, and Whitney Frost (in “Agent Carter”) was wearing her similar dress at her Italian boyfriend’s warehouse full of wine barrels, we took a day trip out to enjoy an afternoon visit to a winery, where we took a tour of its cellars, and enjoyed good food and drinks.  It truly was a lovely day and perfect occasion to wear such an effortlessly elegant ensemble.  My “Chelsea Crew” brand “Mandalay” sling back, peep-toe, tie-up shoes were incredibly comfy, too – highly recommended.  What is not recommended is to touch an old, damp cellar wall…I did by mistake and yuk!  Touching it might not be a bad as Zero Matter, but jelly mold and armadillo bugs is a pretty gross combo.

It’s a happy boon to make a dress that gives rise to a fun outing.  Better yet, I get to bring a little bit more of the “Agent Carter” series into my wardrobe and explore another character.  Best of all, I now have a ‘new’ year (1939) sewn up and understood a bit better.

Look out for more upcoming Whitney Frost dresses in the 50’s style, as well as a few Agent Carter 1940’s ones, here on my blog!

P.S. – for some more 1939 styles and inspiration, see “Emily’s Vintage Vision’s” post (link here) of Du Barry Prevue for January ’39!