“A Dream Is a Wish Your Heart Makes”

Something that is in high demand in the world today can be in high supply since it stems from an infinitely renewable source.  I am speaking of kindness – a gift that can be so hard to share but costs nothing to give.  It is a universal language of communal understanding.  A plentitude of kindness is sorely indispensable.  Even if I fail all too often, I do try my best to fill the need, even though the effort is often disheartening.  “Be the change you wish to see in the world” is a cliché phrase but kindness is infectious and the key to someone’s good day can really begin with just one person.  Being kind in heart is a very beautiful, strong, and attractive personal quality to find in people, too.  This is why I would like to pick up (a year later) where I left off posting my “Pandemic Princess” blog series by featuring the most famous fairytale princess – Cinderella.  

Cinderella is the fictional rags-to-riches princess who practices indiscriminate benevolence, patience, perseverance, and understanding.  Her story is ancient enough to span many centuries, ethnicities, and interpretations but in all of them her honest beauty, radiating from the heart within, saves the day so goodness can prevail.  I love with a passion the Disney interpretation of 1950 (the animated film) as well as the live action retelling from 2015.  However, I am a sucker for a creative spoof on the story – my especial favorites are Ella Enchanted from 2004 and Ever After from 1998.  The catchy songs and the strong sewing references to the original 1950 animated film have me hopelessly hooked, nevertheless, and the live action interpretation from 2015 is a glorious treat for me.  “Have courage and be kind. For where there is kindness there is goodness and where there is goodness there is magic.” These are the best words ever to summarize Cinderella’s story and can be found in the 2015 live action film. 

1950 cover for a child’s book

I never fully finished sharing all of my Princess inspired vintage creations after launching my “Pandemic Princess” blog series at the beginning of 2021.  I would like to revisit it to wrap up the last remaining themed projects within the next few months.  As I said in that post which launched the series, I mostly interpreted my Disney princess inspired sewing in relation to the year that their original animated movies were released, and my Cinderella dress follows suit as the early 1950s fashion works perfectly for a full, swishy skirted dress, headbanded updo for my hair, and a pretty pastel blue tone.  Yes, I was inspired by the fairy godmothers magic dress for Cinderella since my Snow White interpretation was a similar looking work dress

Promotional image of actress Lily James for the live action 2015 Cinderella

I wanted something wearable and not a costume though, so this merely carries the spirit of and references to the associated heroine. I did not make these princess dresses because I had someplace to wear them – each was truly a splurge project in the truest sense.  Disney bounding, as is the frequent term for an adult whose assembles an outfit loosely inspired by a fictional character, doesn’t have to revolve around whether or not one is capable of actually showing up at a theme park.  It relies on the ability to dream, have a bit of fun, and appreciate a bit of fantasy…all from right where you are.  Cinderella says that “A Dream Is a Wish Your Heart Makes” in her first song for the 1950 animated film.  This post’s sweet and calming floral blue dress reminds me that it is important to keep one’s dreams alive, hold onto hope, and stay kind like Cinderella.  Sewing helps me make some of my dreams a reality, and keeps me creative enough to continue making magic with fabric and thread.

THE FACTS:

FABRIC:  100% cotton for both the solid blue, the print, as well as the lining layer underneath

PATTERN:  McCall’s 8898, year 1952, original pattern from my personal stash

NOTIONS NEEDED:  This was a fussy project that needed lots of thread, one zipper, 10 covered button blank sets, yards of binding, and a good amount of interfacing.

TIME TO COMPLETE:  This dress took 15 to 20 hours to finish in July 2019

THE INSIDES:  cleanly bias bound

TOTAL COST:  The printed fabric was $12 for two yards ordered through “Simply Fabric” of Oakland, California on Etsy.  The solid blue cotton was from my local JoAnn Fabric shop, again two yards for about $12.  Then I had to buy a solid white cotton muslin for lining the whole dress – 6 yards for about $18.  All the notions added up, especially the buttons.  The total for this dress is about $50.

This was my first princess inspired dress even before I thought of making a slew of them and turning it into a theme.  Less than month later, I whipped up my 1992 Beauty and the Beast animated film inspired dress (posted here) as a treat to myself for my birthday.  It was then I realized I wanted to keep going with this good thing I had started.  The blue is for Cinderella’s ball dress, while the climbing floral print is for both her sweetness to nature and the garden plants that were magically turned into everything needed to take her to the ball.  My embroidered headband further calls to mind Cinderella’s ball outfit, but mine has sparkly crystals to add just a touch of finery.  A jeweled butterfly brooch from my Grandmother refers to all the butterflies which rested on Cinderella’s gown in the 2015 live action movie.

Beyond any princess reference to my outfit, I had been aching to try out a dress that contrasts its print with large panels of matching solid color, anyways.  It is almost like color-blocking, but with half of the contrast being a complimentary toned fabric print.  Add in the fact that the front closure is asymmetric, which I am a complete sucker for, and this dress becomes the best way for me to dive into this style.  For a few years beforehand, I had kept a whole folder of similar 1950s dresses to encourage what I felt may have been a crazy idea.  It is interesting how mixing up prints with solids in paneled dresses has become a popular trend in both the sewing realm and also the sphere of true vintage sellers since last year.  I was ahead of things in 2019, apparently! 

Besides the interesting way I took advantage of the paneling in the dress, there is another neat detail that was added to this pattern.  There are V-notches cut into the sides of the neckline, the hem to both sleeves, and the center back neck.  These spots were tricky but fun to sew and require nothing more than firm interfacing, precise stitching, and the clipping of the seam allowances.  This small V notching along hem edges of a bodice is a feature I love to see because it is unmistakably tied to early 1950s designs.  See Butterick 5739 from 1951, Butterick 6091 from ‘52, Butterick 6960 from ‘54, and McCall’s 3235 from 1955 for some examples from sewing patterns.  Now you can understand why I attributed this vintage Martha Manning suit in my wardrobe, with its notched neckline, (see it here on my Instagram) to be from the exact same time frame, as well.  Asymmetry was likewise a popular element on dresses and bodices of the early 1950s, as well, so this dress pattern combines both into one fantastic design, similar to what both Vintage Vogue 1043 from 1953 (see my version here) as well as Vogue 9105 from 1954 have going for them.  This post’s dress pattern is from 1952, and has more little V notches along the edges than any pattern I have seen elsewhere…I love it!

Was this ever a complex project and a fabric hog, though!  The asymmetry meant I needed to pay attention to the right side of the front pattern pieces and cut them single layer.  The cottons – both printed and solid – being slightly sheer meant I needed to cut every pattern piece twice to interline individually.  There is 10 yards in total fabric here!  So much fabric means it is a heavy dress for summer, even though that is the season it is for being in a bright white print.  Making 10 fabric covered buttons became overwhelming pretty quickly, too. 

The fit was really funky making it as-is and turned out to be an ill-fitting dress that needed all sorts of adjustments.  Even the length before hemming was down to the ankles on me!  To counter all this bother, I cheated with the asymmetric front and installed a side seam zipper.  The entire button front is for looks only at this point and not a working closure.  After everything the dress put me through to reach a point where it was wearable, there was no way I had enough energy to sew in and cut open 10 buttonholes.  Even with sewing down the asymmetric front, the neckline is rather fussy to keep closed.  I am so glad I opted for ‘cheating’ on the front closing.  Even still, I had to add some tiny hook and eyes to keep the perfect V of the neckline over my chest. 

I am not as naturally gifted as Cinderella, and so the birds you see in some of my pictures are actually vintage plastic bird models that I and my dad built when I was kid.  Search up Bachmann’s “Birds of the World” and you’ll see what they are.  The scarlet tanager was a model my dad did as a kid himself (in the early 1960s) but the barn swallow in my hands for the first picture was one I made as a teen.  The birds were packaged in pieces like a plane or a car model and needed to be painted and glued together.  When they were finished, the scale was the same as the real life birds they were portraying.  I came face to face with a hummingbird once when she thought I was a flower, and I did some bird banding with the local Conservation Department as a teen, but otherwise these models are as close as I will get to my favorite songbirds.  I just had to include the models in my pictures because Disney-bounding Cinderella is about having a sense of fantasy…so why not pretend I do have feathered friend?!  After all, “be kind to every kind, not just mankind” as the phrase goes.

The print struck me as perfect for channeling her in a Disney-bounding dress for a very good reason.  It was similar to a cotton floral I picked out as a young teen to make myself a wearable Cinderella skirt for my birthday.  Looking back, I am proud at how I made exactly what I had hoped for but repulsed by the fact I actually wore that.  It was a long full skirt in a sheer floral cotton, lined in blue for a soft tint, and draped with swagged bows just like Cinderella’s first ball dress (the one the sewing mice made and her stepsisters destroyed).  A two yard cut on its own is not enough for a full skirted 1950s dress but I really had to make this fabric work for my idea.  Besides, I felt that the floral was too quaint and overall busy looking on its own without a solid tone to calm it down.  Cinderella only wore solid colors, so incorporating a large swath of blue to the print was merely properly following the call of crazy creativity.   I have properly reinvented something I wanted to do as a teen, and done it in a much better manner. 

I suppose I need to learn how to practice kindness towards myself, particularly when looking back on some dubious fashion choices of my past!  Being easy on yourself is especially hard to do, from a maker’s standpoint, and takes real effort and courage.  “I could have done this better” or “this is far from flawless” is frequent to think or say for sewists.  I know my perfectionism is too strong more often than not.  While it is admirable to set such high standards, such an attitude merely ends up with you being harsh on yourself and often setting unrealistic goals.  Cinderella’s kindness is often misunderstood as a doormat for others but if you look closer – as this article does – you can see how she was so busy being kind towards others she ‘forgets’ to be kind to herself.  Try to take one special step today to be understanding and gentle on yourself in the spirit of Cinderella, but especially in regards to whatever aspirations or dreams you cherish!

Hoppin’ Dots! My Bunny Day Dress

What would Eastertide be without bunnies?  This year, I made that stereotype an enjoyable reality by actually spending some time with some real, live domesticated bunnies at a local photography studio.  They were hosting the visit of a rabbit rescue foundation to offer some Easter picture opportunities for the public as well as adoption prospects for the bunnies.  Why does Easter enjoyment need to be relegated to just children when adults can do something like get dressed up and hold some sweet fluffy bunnies?!  This is my kind of fun! 

I hope you enjoy my Easter post, which will attempt to be not just about the cute critters I am holding but also featuring my newest handmade holiday dress. It was whipped together out of a thrifted bed sheet.  Am I really ever completely leaving my sleeping quarters if I am wearing a bed sheet for the day, even if cut, pleated, and manipulated in the most glamorous manner?  I love how when you start with a fabric designed to be pleasant on the skin like a bed sheet, the resulting project is so wonderfully relaxed.  This was easy to make, had a spot on fit right out of the envelope, is comfy to wear, and has just the right amount of details.  This is perfect for what I am looking for Easter 2022 – I just want to stay relaxed, but eat well, and enjoy my day.  This swishy, simple dress is just the thing! 

THE FACTS:

FABRIC:  a 60% cotton/40% polyester blend twin sized bed sheet (66 by 96 inches) for the dotted material and some cotton/poly blend broadcloth remnants to line the bodice for opacity

PATTERN:  Vintage Vogue #1043, a year 1953 pattern reprinted back in 2008 (originally Vogue Special Design #4382)

NOTIONS NEEDED:  lots of interfacing, thread, some bias tape, and one zipper for the side seam

THE INSIDES:  my dress’ bodice is cleanly lined while the skirt seams are nicely covered in bias tape

TIME TO COMPLETE:  My dress was completed in about 15 hours and finished on April 9, 2022

TOTAL COST:  pittance – the sheet cost just under $2 and the zipper and bias tapes were from a $1 a bag rummage sale find

The soft aqua colored polka dot print is easy on the eyes yet still cheerful.  I know the print is symmetrically round dots but it still somehow reminds me of multitudes of Easter eggs.   As I have said before (in this post), I am generally not a fan of polka dots and it has taken me years to be a bit more than tolerant with wearing garments which have that sort of print.  Yet, the irony to using this bed sheet for my dress is compounded in the fact I picked this up from a thrift shop a decade ago now…when I really didn’t like polka dots at all!  I love any aqua or teal color though, and I am always up for trying new things in my sewing project choices so I picked it up.  The fact the sheet was less than $2 also helped convince me to purchase it!  I had paired Vintage Vogue #1043 with the polka dotted sheet from the very beginning when I brought it home, and only just now felt the time had come to sew this project as I originally envisioned it.  I was finally ready for a full-on polka dot dress.  

At left is the underarm gusset first being sewn into the cotton lining. At right, I am showing the left side seam in the dress – you can see the sleeve gusset, zipper, and hand-stitched finishing details.

Since the cover illustration hides some of the dress’ details, let me give you a little general summary.  There is a basic four paneled ¾ circle skirt, and a simple dual darted back bodice (which I cut on the fold to eliminate the back seam), so the minimal pattern pieces were good for a bigger print like my polka dotted sheet.  Under the arms, there are gussets that form part of the sleeve.  This unique feature is the same as (seen here) the sleeves on my Princess Anna dress, sewn from a vintage Burda Style pattern.  Since that Burda pattern comes two years after the date of this post’s dress date of 1953, I found this an interesting nugget of information, but especially found it helped immensely to have done this type of sleeve gusset before. 

Other than the gussets, the majority of unique details to this design are in the front bodice.  It has an asymmetric faux wrap bodice, which creates a center front notch for interest at the neckline.  There is one deep knife pleat in each front wrap’s side seam to create soft fullness for the bust.  Yet, for as straightforward as this bodice may sound, I actually made it a bit more complex in construction so I could end up with a better finish.    

All the reviews I read through online about this dress pattern consistently mentioned 3 shortcomings to the bodice design if you sew it according to the pattern – a wrap front that is too shifty and revealing, a neckline that does not keep its shape, and finally facings which are fussy and cumbersome.  These issues were able to be ‘fixed’ through adding in a full bodice lining.  For the final touch, I added a trio of flower buttons along the chest of the bodice wrap so that it can stay down in its proper place.  The buttons add a little touch of fun and prettiness to this otherwise unadorned dress and keep the neckline notch looking as it should.  I wore limited jewelry (my Grandma’s earrings and an Easter hat, at least) to let my dress shine, with the pretty neckline details taking center stage.

My first step to making the bodice was to use the facing pieces only to cut out heavy weight interfacing for ironing down to the undersides of the entire neckline (for both my lining cotton and my polka dotted fabric).  This way the neckline was doubled up in support to keep its amazing face-framing shape and prevent the front notches from drooping (a problem I also read about in blogger’s reviews).  I only sewed together the back darts, the shoulder seams and godets with the right side seam at this point. The lining then was sewn in the method were all the raw edges were tucked inside for a smooth inside that needs no fiddly facings.  I bag sewed the sleeve hems before I tacked the lining down to the waistline and sewed the skirt to the bodice, wrapped over in front right over left. The white bed sheet was slightly see-through, so I needed a lining anyways, but doing so gave me a great solution to improve upon the bodice construction.  I am always willing to go the extra mile in my sewing projects if it will make even the smallest improvement to my satisfaction with the finished garment. 

Perhaps the best perk to sewing this dress together finally is discovering that it pairs spectacularly well with a short jacket that I sewed together years back.  This Burda Style “kimono jacket” has its own post which can be found over here.  Sadly this fabulous piece has hardly had any enjoyment out of the closet until now due to nothing specific ever really turning it into a “set”.  No other sweater or blazer or jacket in my closet matched with my dress, anyways, and this way my outfit is all me-made!  I love how the open lapels show off the neckline notch and decorative buttons on my dress.  I think the full skirt pairs well with the jacket peplum, too.

It is so funny how dressy and useful – in an unexpected way – something as mundane as a bedding can become.  My last bed sheet dress was even fancier than this one – a designer inspired 1950s Burda Style dress, posted here.  A micro-fiber bed sheet set went towards the lining of this 1990s jumper-sundress, posted here.  At the same time that I bought the aqua polka dotted sheet I used for this post’s dress, I also bought the tan floral bed sheet which went towards this 1940s dress, posted here.  I even had a post (here) about a top and a shopping bag both sewn from pillowcases.  It is not about the quantity or quality of what you have to work with, but how you use your supplies when it comes to sewing.  Even the most ordinary items can look glam or at least fuel your joy by supporting your creative ideas. 

Similar to the way sewing has given me an appreciation for using the most unexpected items others may take for granted, I found a new appreciation for bunnies at the Easter Selfie Room visit.  I realize the older generations do not view rabbits in a good estimation, especially anyone who has any interest or occupation related to the outdoors.  In our garden, they are such a bother (I’ll stop short of calling them a menace because they are cute, you have to admit).  Then again, I have loved the tales of Beatrix Potter since my childhood…so I can partially empathize with the plight of bunnies, too, at least from Peter Rabbit’s point of view.  The domesticated bunnies I met that day were soft and cuddly, curious and relatable, as well as free with their love and affection.  I was disarmed and touched!  What a delightful new experience, made even more special because I had the chance to share that event with my parents! 

I hope your Easter, if you celebrate it, is a wonderful, peaceful day full of happiness.  I hope the blessings that the beauty of nature can provide cheer your heart and soothe your spirit.  Also, I hope you have an outfit to wear to brighten your day, just as I have done for myself yet again this year!  I trust you’ve found an extra dose of rabbit appreciation through the critter cuddle pictures in this post.  Don’t forget to leave a carrot out for the Easter bunny!

A 1958 Happy Ending Horror in Knit

As pretty as this dress might seem at sight, this beast was a nightmare to make.  Luckily there is at least a happy conclusion!  I do love wearing this – it totally feels like the best of a classic dress (in a vintage design no less) which is comfortable, feminine, handy (with the pockets), and oh-so flattering!  This is a faux asymmetric wrap dress reissue, first released by Burda Style in January 1958, very applicable and wearable for today.

I did have a different plan for how I intended this dress to turn out for this project but I felt it was best to listen to the fabric and leave what’s well enough alone!  I’ll admit that a good part of the problems I encountered here were because of my choice of fabric.  I hate the fickleness and frustrating delicacy of an all-cotton knit!  But that can’t take all the blame.  You see, I find Burda Style’s vintage designs to be quite problematic and almost always an exhausting near disaster that requires much fine tuning and the outlook of possible tragedy acceptance to turn into a success.  It’s not so much the fault of the garment design lines…I find the problem is mostly with the patterns’ ill assembly and poor sizing.  This is why I stupidly keep using Burda’s vintage designs – because in the end they do turn out a wonderful vintage garment with a modern, timeless feel!

A 1950s Dior-style flower, made by me as well from fabric leftovers of the lining, was sewn onto a clip and became both my matching accessory and color contrast.  My prized vintage style leather Miz Mooz heels tie in the retro feel and provide a neutral tan.  However, the blooming rhododendron bushes (behind me) at our towns botanical gardens sure made me realize that blue is more of a neutral color than I thought.  It pairs well with all the colors of spring!

THE FACTS:

FABRIC:  dusty blue 100% cotton knit for the outside, and polyester interlock to line the inside

PATTERN:  Burda Style #122, “Retro Style Dress” a 1958 design from January 2018

NOTIONS:  All I needed was thread and a zipper, both of which were on hand

TIME TO COMPLETE:  My dress took me about 30 hours, which is twice the time it takes me for a “normal” dress.  It was finished on April 20, 2018

THE INSIDES:  All raw edges are completely covered by the second skin interlock lining inside!

TOTAL COST:  Taking into account that the fabrics for my dress have been in my stockpile for maybe up to 15 years now, I’m counting this project as a free, no-cost, stash-busting success!

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 came from the monthly magazine issue, using a roll of sheer medical paper to trace the pieces out from the insert sheet, but if you buy from the online store, you download, print, and assemble the PDF file you receive first.  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.  Now, prepare yourself for unbridled criticism in the form of a sewist’s horror story.

When I was making this dress, there were so many inconsistencies with the balance marks not fitting quite right and little areas everywhere that needed stretching in the ease just to have everything match up.  I do not necessarily think this was due to faults from my tracing out of the pattern either – I am usually so very precise about being ‘perfect’ at the preliminary stages to a project.  These pattern irregularities make me definitively say that this needs to be made with a knit.  I’m not talking about one with a high spandex content or one that is super drapey.  The model garment is I believe made using a wool jersey.  I can see a quality scuba knit even working out well here.  Either way, I would recommend choosing something with a nice body and a stable give to its stretch for this dress to be a success.  A knit will be more forgiving to the inadequacies of the pattern’s assembly, yet it also needs to be a material that will help this lovely dress keep it wonderful 50’s design.

However, the most glaring and sad shortcoming of the pattern was the way the waist length of the un-pleated asymmetric bodice front was several inches too short to connect to the skirt or even match with the bodice back.  I am mystified at what happened here and want to blame the pattern but at the same time I cannot positively rule out that it was an error on my part.  Either way, I was stuck to adding on a panel swatch to lengthen the waist.  There was no more fabric leftover for another bodice piece to be cut, so an awkward add-on was my only bet to save this dress project.  I do not think it is really that noticeable, although I have called it to your attention now!  It kind of looks like a mock belt to me, anyway, and half of that bodice is tucked under the overlapping one after all.  All I can say is watch out for that spot on this pattern if you try it for yourself.

The mock wrap to the bodice is further unconventional in the way that the left is over the right for my dress.  This is the tricky part about asymmetric fashions there is a very precise right side up to the pattern pieces.  In order for them to specifically be for the left or for the right side they have to be cut with a foresight that justifies the puzzle that asymmetric fashions are.  I traced out the patterns as they were on the insert sheet and assumed they were giving them to me with all the right sides up…not so!  The bodice fronts actually are traced out wrong side up.  Do not put too much faith in a pattern but always think things through for yourself.  That said, I myself am not perfect, and have been struggling with some ill heath lately, so I was not at the top of my game going into this.  Only when I was too far along assembling this dress did I realize how my asymmetric front was oppositely convoluted.  At that point, I felt it was more important to have the pleated half as the top layer of the mock wrap bodice.  I reconciled myself with the fact that this would be a uniquely individual garment, and as long as it turned out I would be happy with the right and left side traditional closing being off.

As if these last problems weren’t enough, I had a mishap with the fabric and was forced to turn my dress into short elbow length sleeves.  I originally intended on the full quarter length as shown, but there was an inkling in the back of my mind that I might not like them.  As traced from the pattern, the sleeves were actually quite longer than quarter length – more of a bracelet length, reaching just a few inches above my wrist.  I felt that such sleeves might overwhelm the dress and make it seem more like a winter garment (it was released in January 1958). However I wanted a transitional cool weather spring dress.  Well, the dress made up my mind for me.

You see, I do not get along with all cotton content knit.  Sure I have several success stories with it in the past (here and here for only two examples).  Yet every single time I use it, I hate it.  I think this blue knit is about the last of its kind in my stash (there’s one more), and when it’s finally gone I should celebrate.  I use the right needles that I should be using (ball tip, for jersey knits), and in the past I have tried every other kind of needle just as a test, and I still get the same sad results.  This fabric for me is a no-mistakes allowed fabric because wherever there is a stitch made, there will be a hole leftover if that stitching is taken out.  It says together decently enough when stitched as long as those stitches are left alone, but even too much stress on a seam and things will get ugly because cotton knit gets runs in it just like pantyhose!  Has anyone else run into these problems with all cotton knit?  Surely I am not unique with this.

Anyway, I had particularly bad hole, leftover from an unpicking attempt, start unravelling the fabric in one of the sleeves a few inches down from where the underarm gussets end.  Well, I had to laugh.  I had been struggling with this dress enough, and still had the entire lining to sew at this point.  I wasn’t sold on the full length sleeves in the first place.  The best fix was to go with my gut and make them short sleeves, like I thought!  I love the length of this sleeve and must say I think it does wonders for the overall shape of the dress.  The sloping shoulders and the gussets are a tad confining, anyway, so the short sleeves make this dress much easier to move your arms in, too!

I did not really make any major or unnecessary changes to the design, except those done to save the dress from ruin.  After all the troubles I had come across, I kept the skirt simple and opted for no back walking vent.  Such a feature would not really work with a knit fabric anyway.  Having a one piece skinny tapered skirt really amps up the curvy silhouette to this dress, after all!  I am not one for popular, stereotypical pin-up styles, but the no-slit skirt is I feel as small nod to those fashions.  I have no trouble walking in it without the leg vent, as the knit is a bit forgiving anyway.  There is a very wide 4 ½ inch hem at the skirt bottom to make as long as you see it on my 5 foot 3 inch frame.

The front skirt details were the most successful and relatively easy part of the whole dress.  Granted the pockets did not fit together very well when I lined up the skirt over the side hip panel.  Big surprise!  But the mismatching pockets actually helped the hip section of the dress to pouf out properly, which in turn disguises how roomy those pockets actually are.  I have already made a dress from the previous decade (one of my Agent Carter 40’s fashions) which had a very similar side front hip pocket style so this must have been a popular feature in the middle 20th century.  I not surprised.  Since when can you have a dressy dress that actually has very useful pockets that are part of the smart design lines?!  Just remember, with this kind of skirt you cannot have a tight fit because not only would that pull open the pockets, but it would ruin the important element of that design feature.  The skirt front is meant to complement the waist by exaggerating the hips (as the 1950s were wont to do) in conjunction with softening the shoulder line by using kimono sleeves and underarm gussets.

One last note that is neither bad nor good – the waist to this dress is quite high.  I didn’t see it on the model until after I realized it on myself.  The high waist on my body is about 2 inches below from the dress’ waist seam, and it looks to be about the same for the model dress from Burda Style, too.  This is kind of odd, and I don’t think that lowering the waistline no more than a few inches would hurt the overall design.  In same breath, I also would like to say that much as I’m not crazy about the higher waist seam, I actually think it does this dress good.  Many 1950s dresses or tops with kimono sleeves have them so deeply cut that they are supposed to taper right into the bodice at a high waist (such as on this dress of mine), thereby shortening and widening the top half of the female body (image wise, granted) and overemphasizing the hips by not just padding, pleats or what not, but also by starting at a high hipline. Even though the 1950s were heavy on the body mage crafting, especially when it came to employing torturous undergarments to achieve that idealized shaping, the general silhouette can still work well today on many body types.  Accepting and embracing our womanly curves and shaping with fashions that delicately, thoughtfully compliment them (such as this dress) is empowerment at its best.  It is the 1950s finding its modern freedom of re-interpretation.

When I was planning out what fabrics to use for this dress I had these grand plans to add cut-out floral designs to the bodice and skirt hem of the dress.  These designs would have been in the style of the amazing Alabama Chanin – see what I mean here.  This is the primary reason why I used my lovely peach remnant of interlock as the lining.  I expected the peach lining to show through when I would cut away the dusty blue top layer.  I do enjoy how the little bit of peach peeks out from the seam edges along the pocket tops and bodice wrap neckline!  It’s like a sneaky peek hint of the time I spent to make the inside just as pretty as the out, besides being a fun and unexpected color combo.

After the dress was done, I sort of like the chic simplicity of the design as it is.  Is has a refreshing appeal that can be made a bit more casual or dressed up with the right accessories, and a clear asymmetric design that would be detracted from with any other added business going on.  Besides – the way the fabric frays and comes apart I was definitely not doing any unnecessary cutting!  My dress was done, it was lovely, it fit me and I saved it from way too many near disasters.  Most importantly my sewing sanity was still intact.  I’m smart enough to know when to stop with the ideas…most of the time!

I do hope I haven’t scared you off from trying this pattern for yourself.  Rather, I would hope this post might be regarded as equipping you to succeed if you try the pattern.  The 1950’s are indeed at decade of lovely fashions, and I think this dress is a really easy way to wear a truly vintage look without appearing to be in a retro style.  It’s like vintage blending in with the modern world, and this is the styles I love to find.  Our fashion of today is often lost and misdirected in the whirl of four seasons a year of new fads, new ideas, and attempts at creativity.  Sometimes we just have to slow down, look around back to where we came from and let those smart fashions been seen right in front of us, where they have been all along…in the past classic styles which have never gone out of season, never needed updating.

“Winter Soldier” Blue Suit Dress

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

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

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

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

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

THE FACTS:

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

PATTERN:  Simplicity #1353, year 1955

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

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

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

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

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

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

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

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

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

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

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

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

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