Concert Night – a Burda Asymmetric Buckle Blouse

I don’t necessarily have much fashion that I consider perfect for a very-well attended, full-fledged pop-rock concert.  Yet, something new, different, modern, trendy, yet comfy for a long night of dancing and milling with several thousand people was just what I needed recently to see the long trending group Maroon 5 perform in town.  You see, my life’s bucket list is long and varied, and I have been fulfilling on that list some of the musical performances I have been wanting to be at for way too long.  Maroon 5 has been a favorite of mine since their first big release in 2002, and so going to this concert has been long in coming.  I enjoyed every second of that night and felt great in the outfit I wore, too.  A six year old Burda Style pattern was updated and tweaked so I could be on trend with the asymmetric garments popular for this 2018.

This is my September submission for the “Burda Challenge 2018” for which I pledged a garment a month from them.  My blouse is worn here with a skirt that I refashioned last year, which you can see in this post.

THE FACTS:

FABRIC:  a printed 100% rayon challis

PATTERN:  Burda Style #118 “Asymmetric Blouse“ from September 2012

NOTIONS:  I had everything I needed surprisingly – the buckle straps, thread, and interfacing

TIME TO COMPLETE:  The final touches were put on the blouse the day of the concert – September 13, 2008 – after about 20 hours to make.

THE INSIDES:  The hem is bias bound, but otherwise all seams are lovely and invisible as French.

TOTAL COST:  This was a recent buy from my local JoAnn’s.  A 2 ½ yard cut was about $25.  This beats the $500 or higher price tags on a designer asymmetric shirt!!!

Asymmetric features keep popping up in the summer and fall 2018 seasons on the designer runways.  It is incorporated quietly mostly into the hemlines of skirts, but also seen in dresses, peplums, jackets, and as part of both men’s (such as this shirt or this blazer or this jacket from Comme Des Garcons) and women’s shirts.  I love the asymmetric trend luckily and I had the perfect pattern to put my own spin on it.  However, it was actually much harder to find a way to like the trend on myself than I expected.  For a blouse, if it’s asymmetric and a button down, it seems to look like either a spin on an ethnic garment or some sort of fancy chef uniform, especially in a solid.  It seems that an asymmetric blouse has to be obviously haphazard or have interesting closure details to look otherwise, and I liked this striped version by Ji Oh in the 2018 Resort collection the best, as does Vogue.  After all, Ji Oh is supposed to be the specialist in shirts.  However, I went for a multi-season and slightly more feminine version with the white, rust orange, lime, and turquoise colored directional vine print.  I purposefully trimmed the hem of my blouse fronts crooked (adapting the Burda pattern) and cut the two fronts on differing diagonals, much like this striped shirt from another brand that excels in asymmetric tops, Anouki.  I must say that I had the idea for most of these details before I saw many of the inspiration pieces mentioned, but they gave me the guts to go ahead with my crazy thoughts.

Perhaps the craziest standout detail which sets my asymmetric blouse apart from any designer inspiration is my original and unique way of closing – faux leather buckle straps.  Yes, they are fully workable and not just for display!  Yes, it seemed kinda weird to me at first that this was the only way of closing that brought my top to another level of interesting and edgy.  But I already had both of them on hand, and I love the crossover between jacket and blouse that it adds, so I tolerated the miserable amount of hand-stitching that sewing them down required.  A small snap closes the wrap front on the inside opposite the buckles.  I guess I’m stuck to only hand laundering this blouse because it only occurred to me after they were on that the buckle and straps are meant for purses and might not survive a soaking in the machine wash.  I don’t really care too much.  High fashion and my dedication to an idea rules over convenience in the case of this blouse.  I truly love the result.

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 cut out from a downloaded PDF assembled together after being printed out onto paper, but it can also be traced, using a roll of thin, see-through medical paper, from the inserts in the appropriate magazine issue (although the older issues are harder to find).  It’s at this preliminary step that you pick out your proper size.  Some people add in your choice of seam allowance width directly to the pattern while some do this as they are cutting out the fabric pieces.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t.

I must stress that this pattern seems to run very large.  I chose my “normal” Burda size for this and it is quite roomy.  I actually don’t mind, though.  I don’t really think the wrap front look would have worked as well with a more form fitting blouse, and most of the designer asymmetric designs are loose and comfy in aesthetic anyway.  It’s not that there isn’t any shaping, thank goodness.  There are two fish-eye darts in the back, and angled half-French darts in the front panels.

There are large shoulder pads I added in the blouse and, as they blend right in (you’d never guess they were there, would you), I think the generous fit is all the better.  Shoulder pads that are not obvious are when they are just what a garment needs.  They add such a subtle definition to the shape here, squaring off the blouse strongly, besides picking up all the excess fabric I had drooping across my chest without them.  Even if you are not a fan of shoulder pads and you make this blouse, please add them and you’ll thank me later.

Continuing the oversized fit, the sleeves were also very long.  I was disappointed at first, but as I wear it more, the top the sleeves actually look good all bloused out at the wrist.  That is how all the long sleeved asymmetric blouses are anyway – too long in the arms.  It gives me full reach room as well!  Yes – I know I should have checked sleeve length first – but Burda blouses have never before come out like this for me, and besides I was finishing my blouse just the day before the event I needed it for.  I was definitely NOT going to undo the perfect tiny cuffs that were so hard to get right in order to change the sleeve length.

I swear, Burda must have been on crack when they came up with the measurements for the wristband-cuff piece because there is no way it works being that skinny small.  I was in misery (cueing off of Maroon 5’s “Misery” song of 2010) literally just making mine work in conjunction with gathering the sleeve end in, too, not to mention no room whatsoever left for buttonholes.  I merely did a thread chain loop and a metal hook to close the tiny cuffs.  If you want to blow your brains out trying, follow their cuff instructions like me…otherwise add an extra inch in width and save yourself some grief.  The delicate cuffs do look amazing, though, when I see them!

However, I do not want the sleeves always that long, and the rayon challis is so soft and silky that even rolling up the sleeves does not keep them up out of the way.  This is why I added sleeve straps 6 inches down from the shoulder line.  This is not something that is a part of the pattern and is a self-drafted piece which was entirely an idea of mine.  Most shirts which do have such a strap for holding ones rolled up sleeves are cotton or more casual in my experience, but I like the extra interest it adds besides that fact I needed such a detail.  To again break the trend, most mid-sleeve straps are button closed, but mine is fancier than that – a small fabric covered snaps do the job here.

The collar leaves me in awe, though.  This design is first rate if only for the collar.  As tricky and confusing as it was to assemble, it did turn out amazing.  Everything matched up, and is actually the best collar (especially one with a collar stand like this) that I have made to date.  The neckline pieces are so unusual and very steeply curved to accommodate the asymmetric front.  You therefore end up with this lovely bias that still makes a difference in the way the neckline lays so nicely even though it’s interfaced.  The right side collar that wraps around asymmetrically is actually wider than the other side and the bias starts right at the shoulder.  The left collar is smaller and not as pointed.  The neckline collar is rather oversized and almost overwhelming, reminding me of the 1970s, but hey – when it’s this special, you might as well flaunt it and make it noticeable, right!?

Not that anybody realistically noticed or cared what I had on probably with that many people there, but I am so happy to have matched with what Adam Levine, the lead and vocalist for Maroon 5, was wearing!  Not to brag, but we had really good seats and for a good part of the performance we were within a few yards of him.  It was go all out or nothing.  Do you hear the excited squeals right about now through the screen?  So amazing, sigh.  Anyway, I did my research on the amazing designer track pants that he was wearing at the concert that night (they were really neat with full embroidery down the sides) and found out that they are Marcelo Burlon County of Milan x Kappa brand Logo Tech-Jersey Track pants, sold online here through Barneys of New York.  “Their innovative aesthetic of streetwear with accents of intense color completes the label’s statement-making urban appeal” as described in Farfetched.

Oddly enough, the colors in Marcelo Burlon’s secretly feminine logo is pretty much the same colors in my print.  We both were channeling New York shown designer style.  Even if I was the only one to know (which I’m not anymore after writing this post) I would be happy.  I couldn’t have planned it any better, but it wasn’t planned.  I was just making something that seemed right.  I guess it was just what I was supposed to make for the moment.

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Casual Toffee and Wine

This sounds great for a nice evening, doesn’t it?!  I do like a good dark vintage…unless it’s on the dry side.  Then I reach for the paler tones.  I also seem to prefer a nice burgundy to over a bold red.  Oh wait – I am distracted.  Is this post about a good dessert and what vino I like to sip?  Or about what colors I prefer to wear in different seasons?  Well, both kind of – but I’ll pick the latter and make this about a wonderful wearable garment version of toffee and wine which I have made.

Sometimes I tire of wearing all the bright whites and pretty pastel colors during summer.  It feels good to mellow out for a change with a combo of muted earth and rich jewel tones such as this outfit.  Maybe I’m just trying to jump start myself into fall (when I usually wear such darker colors), or maybe I’m just being contrary.  I don’t know.  What I do know is that everything about this outfit feels good to me – from the cooling colors, to the texture and soft touch of the fabrics I used (rayon knits), to the easy relaxed fit, which actually makes me think I’m wearing Saturday sweats but looks like a nice weekday ‘going out’ set!  These two pieces are up there as my favorite Burda makes, and I think will be among my most versatile.

To make this set even more appealing and enjoyable, it came together in a ridiculously small amount of time.  Do you have a few hours on hand and a few small cuts of fabric?  In that amount of time I whipped up this set so I can spend many hours to come enjoying the newest separates that I have made for my wardrobe from some random but lovely fabric I bought with no clear project in mind.  Yes, you can have fashionable trousers that don’t require a zipper fly and need less than two yards of material.  Yes, you can have a top that only has two major seams, and with only one yard of fabric look like a million.  I’m sorry to advertise for these two patterns so much but I am really sold here.  I’m so won over that in fact I’m tempted to whip up a few more pants and tops from these patterns, trying out new material and color choices.  After all, these won’t take up that much time or fabric!  I will definitely be on default reaching to wear these more often than not.

THE FACTS:

FABRICS:  A striped rayon knit for the top, and a rayon/polyester blend Ponte Roma knit for the pants.  A scrap of burgundy colored cling-free polyester lining was used for the inner pants pockets and top neckline facing.

PATTERNS:  the “Shirt with Bat Sleeves” pattern #123A from April 2015 (also listed as “Boxy Top” #123B, also from April 2015) and the “Flounce Bottom Pants” pattern #117 from February 2018

NOTIONS:  Nothing special was needed – just matching threads, a bit of interfacing, and a handful of snaps and a waistband hook-and-eye

TIME TO COMPLETE:  The top was made in two hours and the pants were made in about 4 hours.  Both were finished in the middle of June 2018.

THE INSIDES:  The fabrics for both pieces do not have edges that ravel, so they are left loose and raw inside so they can stretch better anyway.

TOTAL COST:  Both fabrics were bought very recently from “Stylish Fabrics” on Etsy (the Ponte Roma can be bought here, while the striped rayon knit is here) so the whole outfit cost me just under $20.

Perhaps you can see since I used the line drawing from the magazine instructions, but the top has the sleeves ‘built into’ the front so that the raglan seam in front is the only stitching line besides the side seams (and small bust darts).  The back wraps over to the front.  I was certainly glad for minimal seams with such a delicate fabric as rayon knit is, especially a ribbed version!  ‘Chic’, to me, is effortless, amazing details that are low key but there to notice all the while.  That is this top!  Yet, it feels like a Saturday tee shirt to wear.

At first, the pants were something that I wasn’t sure if they would even work for me, as I have heard that shorter people don’t tend to work well with cropped hems if you want a silhouette that doesn’t take visual inches off your height.  I just kept coming back to considering them, however, being intrigued by them, and I think the wide hem with its interesting detailing saves them for me.  These should work for year-round wearing, as the shorter length should show off my boots that have interesting ankle decoration!  I mostly love the fact that the “fly” front is different, interesting, and especially zipperless, as I had mentioned.  I can deal with sewing on a few hooks and snaps, instead…no problem!  The left side has a ‘normal’ centered front placket, but then the right side has a folded over section which extends over to the pleat on the other side of the waist.  I might come back and put a snap in the asymmetric front fly just for complete confidence, but it really doesn’t open up so I’ve taken the easy road so far and just have closures on the waistband.

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 patterns were traced from the inserts in the magazine issue, but they are also available online as a downloaded PDF that needs to be printed out and assembled together.  What works best for me is to use a roll of thin, see-through medical paper to trace your pieces out.  It’s at this preliminary step that you pick out your proper size.  Some people add in your choice of seam allowance width directly to the pattern while some as they are cutting out the fabric pieces.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t.

Both patterns are rather straightforward and not too challenging to understand once you get into making them.  However, the wide pattern pieces are a bit deceiving.  The pants were an amazing fabric space-saver because they are divided up (with the wide cuffs) and cropped a shorter length than full pants.  They were also almost entirely laid out on the straight grain.  I only used 1 5/8 yards to have make these, leaving me with another 1 ½ yards leftover to make something else yet – yay!  Of course I did shorten them because the sizing chart is designed for a woman 2 inches taller than me, so I took that much out of the body (leg) of the pants pattern.  With the blouse it was a bit trickier to lay out on the fabric and adapt the design.  In order to have the stripes miter into the seam I had to cut the front body with the fabric folded selvedge to selvedge, then open up and refold.  The back/sleeve piece was long and unusual.  It was cut with the fabric opened up and folded oppositely from the front to have the long, whole 60 inch width be the perfect, exact length for the hem end to front sleeve seam for my chosen size 34.  Of course this layout was only really possible because on the pattern I shortened the top’s hem by a few inches and turned the sleeves into a short length.  Any other size bigger or longer length sleeve would need about 1 ½ or maybe even 2 yards of fabric, then.

Sizing was really predictable and good for both patterns, too.  With these pants, I cut in between sizes 36 and 40 to play it safe.  For my black divided jumpsuit I sized down and they felt slightly snug while my navy Marlene trousers were kind of big going a size up.  Going in between might be a bit unorthodox to many sewists but is perfect for me – apparently the sizing chart doesn’t lie.  For the top, I wanted a closer fit and saw how roomy it appeared to run.  It kind of has to be boxy and oversized when making it with a woven, because there is no closure of any kind – this is a pop-over top.  However, as I wanted a closer fit and I was using a stretchy knit, I went a size down.  Even still, I had to take the top in about 2 more inches on each side seam to get the still comfortably loose fit you see on my top.

The shirt’s facing is still non-stretchy (interfaced polyester lining) because something needs to support and keep the wonderful neckline shape in place!  The neckline of my top turned out like a slanted-in square just like how I see the line drawing showing.  However, the model’s garment in the picture looks to be more of a true square neckline.  I like my top’s shaping better.  I did cut off the self-facing to the center front panel and tape it in place to the curving facing for the rest of the neck so I ended up with one single piece.  The facing does end up with a center front seam, but this way I knew I was getting the right shape for my super shifty fabric, and no extra seam in the corners made things simpler.  I’m all about the K.I.S.S. principle (keep it simple, stupid!).

Talking about making things simple, I did leave the pants cuffs unhemmed and raw, so they end up a bit longer than planned, but it makes things easier for me and helps the pants looks better.  I had managed to have no visible stitching on the rest of the pants, doing hand-picked stitching all along the waistband.  I didn’t want to have to do more of that.  Besides, I sense that a hem to the cuff flares would give them undue stiffness, and not have them hang so softly as they do for my version.  Not too many fabrics can hold up to leaving a raw edge on a trouser hem like Ponte Roma can, though!

I only have a few caveats to these two patterns, and don’t take them to heart.  I’ll warn you that these really have to do with my harsh pickiness with achieving the impossible – perfection – with what I make as well as my fabric choices.  First, with the pants, I feel like the loose and poufy asymmetric front doesn’t do the best illusionary complimenting for my tummy.  I self-consciously think I look fatter in these.  I need the “Whatever!” attitude that my hubby has to that thought of mine.  Also, the Ponte Roma makes sure that any panty line and any hem of whatever top I tuck in to my pants shows through from behind over the booty.  Oh well!  For the top, the neckline just makes it over my head.  It’s rather funny because it gets caught on my nose.  Most of the time this is a bother because I often fix my hair before I get dressed.  Making the neckline more open even just ½ inch wider all around would I think help this little hang-up without changing the look very much.  Next time!

Somehow, I was discreetly riding off of some vintage inspiration (no big surprise) for how I styled my outfit, but mostly for how to change up the air of the boxy top into something relaxed and shapely.  You see, there is an old sewing pattern from the year 1935 for an easy one-yard striped top, and I could swear is the same as this Burda Style pattern.  The back is again one piece with the sleeves, which similarly wrap around to the front for a raglan seam.  Again, they use stripes which miter into the raglan seam.  Who would have guessed?!  I only found this cover image due to some random vintage sewing pattern searching and my weirdly sharp photographic memory.  It’s amazing to see how a whole new setting can change the way we see a garment design.  This might explain why I felt confident in softening the “Boxy Top” pattern so something very opposite of its name, and why I went and shortened the sleeves. Thus, my goal was to aim for a slightly modern 30’s influence, with the wide legged trousers which I made, the long necklace, the faux bobbed hair, an old 1960s era Biba Art Deco scarf at the waist, and vintage influenced Re-Mix brand sandals.

Even for my most modern outfits, vintage accessories or at least past inspiration can be found imbedded in there somewhere.  I don’t think that the same situation is that far off for many couture and designer offerings today, as well.  Personal interpretation of past fashion is the glory of what we have today, especially for those of us who sew.  Individual expression in what we wear will be the saving grace from the enslavement of boring, unfitted fast fashions.

So – if my normal fall season colors sound good in the middle of summer…I’m doing it.  If I can’t make a modern outfit without looking for where it originated, all the better.  Knowledge is power.  The desire for self-expression is strong and the world of today offers many avenues for that, but the silent yet deafening message of fashion is still so underrated today, in my opinion.  This outfit only needed a few hours of my time and few yards of fabric to send my newest message of current inspiration and personal tastes.  I’ll go mellow out to some wine now.  Anyone up for dessert?

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!

India’s independence, 1947

What better way to celebrate 70 years since India’s independence than with a culturally-influenced vintage 1947 dress which commemorates that momentous year.  Not only did I find a lovely, symbolical, amazing border print rayon challis for my India’s tribute dress, but I came up with (what I’ll admit) my most creative use yet of both a sewing pattern and fabric print.  More often than not, the ideas that pop in my head surprise myself,   especially when they come out as planned!

This dress deserved the trip to visit and appreciate our town’s Hindu Temple, one of the largest of its kind in our country.  It is a stunning piece of architecture and the most appropriate place I could think of locally to observe an event that impacted the religion and culture of India.   For those of you reading that know about this point in history, yes, I know it technically wasn’t just India that received independence (due to Jinnah), and yes, I am fully aware of the strife, turmoil, genocide, and hard times that both preceded and followed August 15, 1947.  I enjoy history and learning – it is the opposite of a chore – so I have read and researched an overwhelming amount of information regarding all areas relating to India and Pakistan’s freedom.  But don’t worry – I will not fill up this post with all of that here.  I only want to let you know how much depth and appreciation for a culture and an event from their past has went into this dress.  Designing, sewing, and posting about my Indian-influenced 1947 dress is not just about a creativity I am proud of doing, it also a manifests my deep amazement at what determination and a belief in one’s convictions can do for people…in this case, India 70 years ago.

THE FACTS:

FABRIC:  100% rayon challis, bought from “Simply Fabric of Oakland” Etsy shop

PATTERN:  a Marian Martin pattern #9208, year 1947

NOTIONS:  All I needed was thread, a bit of interfacing in the form of cotton broadcloth scraps, and a zipper – noting odd or out-of-the-ordinary, so it was all on hand already.  I’m still on the fence as to whether or not to add in shoulder pads!

TIME TO COMPLETE:  The dress was made in about 15 hours and finished on September 2, 2016

THE INSIDES:  Nicely French seamed

TOTAL COST:  As you can see on the site, 3 yards of fabric (I bought plenty extra to have more of the border print) cost me $18 – so reasonable for as silky the quality is and how unique the print is!For some reason this pattern seemed to run very large.  Most of the mail order and now-defunct companies such as Du Barry, Hollywood, etcetera, frequently seem to run generous, but this pattern was technically an inch smaller than my real measurements (32 bust), and it sewed up as if it was a 35 or 36 bust with a very long waist.  I had to take out almost a whole two inches off of the bodice bottom just to have the waistband come close to my true waistline…and it still is not as high as I would like.  Of course, rayon challis is so drapey and flowing it can make a garment seem a bit bigger than if the same was sewn in a cotton or some such stable woven.  However, this one was a true oddity I believe, and as cool as the design is, the sizing and some of the balance marks were just plain off.

Mail order patterns I see are rarely officially dated.  Most of the times I go by postage stamp codes and style lines, with the occasional notes scrawled down which sometimes have a date.  From my research, the postal stamp is mid to post-WWII, with this asymmetric paneled style being so very specific to circa 1947, as well as very frequently used for Marian Martin line.  (See my Pinterest board “Asymmetric” for examples.)  There are some dresses and patterns similar in the years 1946 and ’48, but the average year comes back to ’47 and with my India-theme going on, I am going with 1947 for this project.  Besides, the silhouette is lean and elegant to this dress, and the full, quarter circle bias skirt in the front only (yes! so lovely) is something obviously later post WWII, when fashion was gearing up for a whole ‘new look’ of the 50’s.  The ‘straight off the heels of rationing’ patterns of 1946 would never have a skirt like this one…the likes of which are not to be seen since pre-WWII, year 1939 (such as my Whitney Frost “Superior” dress).  I originally had the notion of making this dress pattern a full wrap-around button down designer-knock-off design, like this one in the book “Forties Fashion” by Jonathan Walford.  But, no, not this time around…This dress is sneakily not draped even though it looks like it – it is actually asymmetrically paneled, sewn like that with the borders facing in.  The only true drape is in the back – a separate sash attached and hanging down from the one shoulder to anchor at a loop in the opposite side’s waistband.  This I added…it was my own idea both to use extra fabric (practical level) and to make it closer to a true Indian garment, one that would be appropriate for religious occasions (culturally respectful level).

My fusion of western and cultural influence in my dress is not just something from me – it is something that the most well-known (native, non-British) ladies were doing at the time in post WWII India.  One of the most inspirational women of our modern times actually gave me the idea for this outfit – Maharani Gayatri Devi, princess of the Indian princely state of Jaipur.  Many of her most well-known pictures (such as the early 40’s ones by Cecil Beaton or the one I’m including from The Calcutta Telegraph, 1945) show her wearing a sweetheart neckline dress, with a sari sash across the front, a look I sought to imitate by having the border print swoop directly parallel with one angle of the neckline.  She was a successful politician (winning in a Guinness recorded “world’s largest landslide”), and a supporter of the cultural arts and learning for girls, so she was much more than just a pretty face, although she was known for her beauty and fashion sense.  Also, post 1946 saw a boom, a resurgence of the already steamrolling Bollywood business and famous actresses such as Nargis all could be seen post WWII wearing dress styles very similar to my own – especially in the 1949 movie Andaz.

The border to this fabric was lovely – multi-layered like a sedimentary rock and therefore very useful for many purposes and fun to play with.  The border started along the selvedge with the dark green strip, which I used as the waist band for high contrast.  Small snippets of the green can be seen on my one shoulder and at the bottom asymmetric hip seam, but I didn’t want that color to stand out as much anywhere else besides the waistband.  Next, come layers of dizzying, fanciful, decorative scroll work and relief images, such as one would find on a building.  These layers were lined up with one side of the sweetheart neckline, and the asymmetric front dress panels.  Boy, was this step tricky!  I actually miss cut, and luckily I had just enough extra fabric to make a new bodice piece.  The border on the upper bodice piece dissipates down, while the lower hip panel has the border going up towards my head, making the whole of my front middle appear as if it’s a swath of a sari wrap.  The only full border is on the long sash that I made.  This sash come from the one shoulder which has the border print, and it can hang down loosely, but I mostly like it when it drapes across my back, made possible by looping into a small bias tube casing I added in the waist of the opposite side, where the side zipper closes.

The fabric’s background is equally as lovely and intricate, but the toned down colors of khaki and white hide the print which adds to the symbolism of the dress.  If you look closely there are ceremonial decorated elephants in white!  Elephants definitely one of the animals of importance to the culture of India, partly – no doubt – due to the fact Ganesh, one of the best-known and most worshiped deities in the Hindu pantheon , has the head of an elephant.  However the pachyderms on my fabric are so fancy they are they look like the ones paraded through festivals, such as the Dasara festival at Mysore or the amazing Tysar Purim festival.  Elephants are at the entrance of the temples and were heavily used for construction of large structures such as temples and palaces.  They represent some wonderful attributes, such as strength and prosperity, and the rare white elephants (like on my dress) actually represent rain to India’s culture.  Luckily, it wasn’t inclement weather for our pictures, only a lovely sky to match the “Krishna blue” on the Hindu temple behind me.

To match the rich, dark colors in my dress, I wore my B.A.I.T. “Violet” peep-toe heels in forest green.  This is a killer 1940’s style heel that is synonymous with Agent Peggy Cater, used (in a navy blue) for the first season of the Marvel television show Agent Carter.  These are not that comfortable at all, and the ball of my foot aches and my toes sort of go numb after only several hours of wearing…not good, I know.  However, I got a good deal for these and they do match with a lot in my 40’s wardrobe, so, for relatively short periods of wearing, these shoes are awesome.  I put a lot of thought and detail into my hairstyle, too, although you can’t really see it in the pictures.  It is a mix of ethnic and 40’s, just like my dress – each side has a twist up which ends on top my head, with victory rolls and pompadour rolls front and back, sort of like this picture of the actress Brijmala.  With my ethnic brass hoop earrings, my outfit is set!

Sadly, I do not have enough places or reasons to wear my Sari inspired dress as often as I would like.  It is not something that fits many general occasions.  I think I will just have to put it on and wear it when I want to – there is no sense making something I love otherwise!  Often times, the vintage pieces I wear get people I meet and even random bystanders around me to make comments, ask me questions, and get a conversation going.  I like this, even welcome it – it is an opportunity I enjoy.  Hopefully, this dress will give off the same mojo as my other vintage outfits (whatever that is…) and get me and others talking.  We do have some very good friends that are just like family – they have parents who lived through the years of change in India, as well as distant relatives still in India – so this dress, and my research associated with it, will hopefully lead me to have an understanding of their culture like never before next time we talk.

I hope this post has inspired and informed you a bit regarding a little known facet of history which has had so much to do with making the modern world be as we know it today.  Please take a few moments on this anniversary of India’s independence to look up some extra info if you’re really motivated!  Let me suggest the short and sweet “Rarely Known Facts About India’s Independence and Partition” or the chock full of videos and pictures “Five Things You Didn’t Know About India’s Independence” for starters.

As always, thanks for reading!

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