Agent Carter’s Color-Blocked Slacks Suit

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

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

THE FACTS:

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

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

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

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

THE INSIDES:  cleanly bias bound

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

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

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

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

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

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

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

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

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

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

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

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

Peggy’s Faux Bolero Dress

It was the day after that terrible, unexplained explosion at the Isodyne Energy Facility.  She was fighting through so much internally and externally – confusion, loss, blame, and a gut suspicion of a truth that she cannot prove.  At least she was the only one who had the humanity to get to know the missing scientist, no matter what his skin color.  Although she did not have the time to establish the connection she was inherently hoping for, she did understand him enough to mourn that he was only another senseless innocent in the long list of persons she seems to be the cause of their destruction.  Rightly or wrongly, those are her feelings.  Yet, the rest of the world around her only wanted the ‘facts’ about last night tied up in a nice little package, so that the truth for them was what they expected to hear.  SHE was the one needed by those in power to sign off for their lies – willingly or not was the threat.  What might our heroine wear for such a scene?  How can her fashion translate her strength showing through her weakness, her conviction to stand for veracity as the sole woman among a sea of lying, well-connected men?

Luckily, Peggy did have some true friends to turn to in such an hour.  Fortunately, also, the wonderful costume designer Gigi Melton has already come up with the perfect, amazing, and striking answer to a scene such as this, as well as other incidents just as powerful.

The heroine, Peggy Carter of the “Strategic Scientific Reserve”, dons the signature color of her female adversary – purple.  As someone who perennially wears blues, reds, and browns, she combines it with a new-to-her tone from the other end of the spectrum…green.  A professional looking faux two-piece outfit becomes a convenient one-piece dress.  Bold but sensible courage is manifested in Peggy’s fashion as well as character. Now, with my sewing capabilities, some fabric remnants, and an old pattern, I have my very own copy of Marvel’s Agent Carter’s dress for the above described scenes from Episode 3 of Season Two, “Better Angels”.

I love how Peggy’s words perpetually cut through the crud around her and are searingly direct, like a hot knife in hard butter, especially for this scene.  Truthfulness with others is what she is best at, and those scenes in which this memorable dress is worn, she oozes an assertive yet feminine, complex yet simple, and full on 40’s look!   “Better Angels” episode helps demonstrate why I have such respect for her and why I admire her character – an everyday superhero capability is tinged with a very relatable humanity and touching empathy.

April 9 is the anniversary of Peggy’s birthday, and it’s annually a day to celebrate a character that has brought so much into our lives by taking part in the “International Agent Carter Day”.  This is one of my favorite days of the year!  For such a day this year, I will post one of my very favorite Agent Carter outfit “copies” I have done.  It also happens to get the most compliments everywhere I go wearing it!  All this was made in one yard of deep eggplant purple gabardine and a few scraps of bright China silk leftover from a past project.  I adapted a true vintage 1946 pattern to both keep to the era and find the real historical version – thus I’m not just copying a Hollywood garment.

Of course, anyone who knows me knows I love a great pair of shoes, especially one that perfectly matches a color in my outfit.  Thus, I set out to find some true vintage shoes which would parallel the olive green B.A.I.T brand heels in the show.  There are some more modern decades, such as the 60’s or 70’s, which mimic 1940’s shoe styles, with slightly different heel shapes.  They are frequently much more wearable because of their not-so-fragile-as true-40’s footwear, however.  So, after much searching, I found a pair of lovely suede and polished leather, woven front, peep-toe heels in my size, in the exact matching green as my center bodice!  These are so comfy and really complete the outfit, yet they sadly blend in too well with the grass to be seen when I’m in a yard!

THE FACTS:

FABRIC:  a rayon/cotton blend gabardine, combined with china silk (leftover from lining this 40’s jacket-style blouse) for the contrast, and full lining in the bodice with all cotton broadcloth.

PATTERN:  McCall #6377, year 1946

NOTIONS:  I had all the thread I needed, and I used interfacing scraps and a zipper from on hand

TIME TO COMPLETE:  This dress was finished on September 10, 2018, in about 10 hours.

THE INSIDES:  cleanly bias bound

TOTAL COST:  The one yard of purple gabardine was a remnant found for about $5 at Wal-Mart, the silk was scraps (I don’t count the cost of such small pieces), and the “American Classics” cotton was yet another remnant, this time found at JoAnn for a few dollars.  This dress cost under $10!!!

Faux boleros on a one-piece garment or even just color-blocking – like this dress – seemed to have been a ‘thing’ starting in the late 1930s through 1940s, from what I have found so far through extant garments and similar sewing pattern designs.  This collage is only a small portion of what inspiration I have come across.  These are all a very smart – perfect for using small cuts of fabric, but nevertheless make the most fun out of fashion as well as the most streamlined outfit ever!  The bottom right extant late 1930s dress is the one that I specifically channeled here with my tweak to add a bit of Agent Carter my vintage pattern.  That inspiration garment had the arched, faux cummerbund mid-section as well as the shiny silk contrast bodice panels which worked perfectly with my need to fit every pattern piece on small remnants.  The more concise the pieces, the better to fit onto scraps!

Getting my bodice to look like a faux bolero required me to retrace it out onto paper, cut out that copy, and re-draft it into a few extra pieces.  Yet, to keep all of those pieces together nicely – besides validating the accuracy of my re-drafting and provide a clean interior – the bodice lining is the one-piece design of the original pattern.   I was so happy to be using my lovely leftover silk in a project which would highlight it.  As I had only used it for interior lining in the project before, this silk literally now has its opportunity to shine.  Yet, the silk is so much lighter compared to the substantial thickness of the gabardine, it sometimes appears quite wrinkled.  China silk is not the best at holding its own on a fashion design.  There’s exceptions to the rule as you can see here, but it really is best as a lining.  I wouldn’t trust the China silk to not rip or tear apart on its own if I hadn’t lined the bodice.

The best part of sewing a two-tone dress (total irony here) is having to switch between colors with the spools and bobbins of thread in my sewing machine.  It is a real pain!  This is why I did the side zipper and several other sections by hand.  Not to brag, but I can use whatever color of thread on whatever color of fabric and make the thread invisible!  Such a technique is a very useful skill, just sharing a heads up!  I kept the machine top-stitching to the purple portion of the bodice only because gabardine doesn’t look as terrible showing thread as silk would.  Silk is such a fine fabric, I feel like it deserves better (most of the time) than machine stitching!  I know, silly me!

There’s something to be said about dressing in character.  When you try to copy someone else’s wardrobe, no matter how much you like it on that other individual, you are not dressing for yourself until you own it and make it yours, whether through a tweak to the garment or a change of mental outlook for example.  I – and many other wonderful women who call Peggy Carter their heroine, like me – find that Captain America’s “Best Girl” only raises us up and makes us stronger and more confident in ourselves when taking on her persona through wearing her wardrobe.  Agent Carter is such a special character to emulate.  She is so relatable and inspiring in so many ways that to imitate her is like manifesting a braver and bolder version of yourself, which needed Peggy’s help to show itself.  Let’s all “know our value” today and every day!

One Shot

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

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

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

THE FACTS:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Revamp

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

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

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

THE FACTS:

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

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

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

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

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

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

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

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

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

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

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

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

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