Parallel Geometry

I am certainly not a math loving person – yet I do greatly enjoy using it so precisely in sewing.  Even more so, I enjoy seeing how manipulating the basic shapes and parallelograms of geometry can create a garment that customizes to the human form.  I know – I’m weirdly technical sometimes.  Nevertheless, it’s true.  Some form of math can find its parallel in fashion, in art, in nature even.  There are lots of angles, geometric shapes, and fashion parallels in these photos of my new, but vintage, multi-season blouse.  How about a seek-and-find of some sort?

I really tried something different with some of the styling and accessories here.  I am completely loving it and it seems many passer-bys that day did too from the amount of compliment received!  This blouse is from 1941, still technically pre-WWII for an American like myself, when many of the styles of the era still had strong fashion influences from the previous 1930s.  The analogous black, white, grey, and cream colors in my outfit make this for a very undecidedly fall or summer set.  Since I am all about finding a confusing balance, apparently, I just went with it by adding a 30’s Tyrolean hat (a re-fashion by me, post here) with a snood in my hair, my Grandmother’s WWII star pin to keep my collar closed, her vintage long gloves and earrings, with reproduction skirt and shoes (B.A.I.T. Halina pump).

The amazing Tanith Rowan and her bringing back “Snoodtember” for 2017 was a big impetus to my even trying the combo of both snood and hat to match this outfit.  Her post for “Snoodtember” of last year (as seen here) and the amount of images from circa 1940 gave me a reason to break out my little used snoods and one of my favorite me-made hats to help date my new blouse a bit better by adding some vintage character that is not seen enough, in my opinion!  The transition periods between decades are generally so very interesting to me, anyway.  Most of the times they leave a lot of room for personal interpretation (while still being historical, if that is your thing, as it is for me many times).  A little bit from the decade ahead, a bit from the decade past, and there you have an outfit from a perfect tossed up mix of two sets of 10 years.  I am happy to have found a new way to enjoy and interpret the early 40’s, which I sew a lot from, with the combo of hat and snood.  This won’t be the only time either!

THE FACTS:

FABRIC:  100% rayon challis, bought from my local Jo Ann’s Fabric Store

PATTERN:  McCall #4520, year 1941

NOTIONS:  Nothing but thread and scraps of interfacing were needed here, and I had all of that on hand.  A vintage metal zipper from my stash on hand went in the side for the closing.

TIME TO COMPLETE:  This was a relatively easy and quick blouse – it was made in about 4 hours and finished on June 16, 2017.

THE INSIDES:  All lovely French seams with a bias covered hem.

TOTAL COST:  This was something I recently bought from Jo Ann’s in the last few months.  Actually, to tell you full the truth, this is something my 5 year old son picked out.  Yes, he enjoys going to the fabric store and many times if he’s not socializing with employees, he likes to pick out fabric, mostly for me, and sometimes for himself.  This rayon was something I let his taste be the judge of…and I think he did a pretty good job here!  I guess what I do is rubbing off on him!  Anyway, I bought 3 yards of this fabric, intending on making this into a dress before I thought the fabric would do better as a blouse.  I spend maybe $15 in total, but used half (1 ½ yards) so I could give the other half to my best sewing friend.  I can’t wait for us to have matching blouses together!

This is a great cheater’s pattern to have a top which looks like a traditional pointed collar blouse without being one.  No buttons needed!  Unfortunately the fabric pattern kind of hides the lovely placket detail so as to see everything of what’s going on.  There is a wide, squared off collar placket which gently angles up to the upper shoulders.  Depending on how deep of a chest exposure wanted, the placket can be left as it is for a deep V, but I prefer it pinned closed halfway up, the way you see it in my pictures.  Either way it’s pop on, zip up the side ready to go!

The smartest point about the placket is actually on the inside which no one sees.  The edges to the facing half of the placket are slightly wider to easily cover the raw edges.  Vintage patterns constantly surprise and impress me with their ingenuity in regards to the little things.  It’s the little things, though that sometimes make all the difference.  The small detail to the placket facing saved me time from hand stitching the placket down.  I could merely invisibly stitch “in the ditch” around the placket and easily catch the edge underneath, too.  I even left off my customary top stitching on the outermost edges of this collar, a rarity for me to do on a blouse, but the stiffer interfacing and a good ironing give a very polished look to the collar with no visible stitching to ‘mar’ the smoothness.

This placket-collar style must have been popular – and I perfectly understand why after making one myself!  I’ve seen each of the major, as well as some of the minor, pattern companies have a version of this neckline throughout the early to mid-1940s.  (See McCall #4130, year 1941; Du Barry #5785, year 1944; Simplicity #3900, year 1941; Hollywood #903, year 1942; and a re-printed De Pew #3504, year 1939 French pattern)  I realized after seeing a few of the other pattern covers that apparently this neckline style also seems to fit nicely under jumpers, vests, and sweaters without the “distraction” of buttons– part of the reason, no doubt, that it was popular apart from the ease of dressing and making.  I am really tempted to try the lovely striped version on the cover of my pattern but the perfect matching along the collar placket and bodice would probably blow my brains to pull off…still, I’d like to try at some point.

This is a very generously wide, loose, and sort of baggy blouse when it comes to the width across.  One can see this a bit more obviously from the back or when my arms are up.  However, this does make for a very comfy blouse.  The rayon is so flowing that however generous, it looks good.  A blousey 1940’s top needs to have something slimming or at least waist defining worn on the bottom half I’ve figured out.  My modern, vintage-style, A-line black skirt matches well, but my Burda Style black pants match well, too, as well as some neutral and grey bottoms.  Yay for a new staple separate!

A pattern which fits as-is straight off of the tissue is the best find ever!  I did lengthen the bottom hem just to make sure my blouse stays tucked in, but other than that I made no changes because this pattern was in my perfect size.  I suppose I could have added stiffening to the sleeve caps so the trio of darts (VERY early 40’s trademark, by the way) would not look so droopy, but I didn’t…I might add that later.  I also made the ¾ sleeves because I figured this will make this blouse more versatile.  After all, when it’s warm out, I frequently find myself rolling up the sleeves to short sleeves anyway.

Did you find some of the other geometric shapes on and around me?  My fabric is a grid of floral diamonds.  The 1910 to 1920 era building behind me is rich in square, rectangle, and octagon shaped brinks in a lovely glazed coating.  Fancy brick work is what my hometown historically did best out of the whole country, and that’s a fact – not just a brag!  I could name off a few more mathematical co-ordinations around me, but I’ll leave them up to those who want to find them.

For some vague reason this outfit reminds me of something that has a very European vacation flair.  Tell me if I’m crazy.  Maybe in my mind that’s just where or what I’d like to be doing at this moment instead.  Maybe just a great outfit in the right location in my own town is taking me back in time mentally a bit…to a past period in history where I wouldn’t be the only one dressed like this!  Oh well.

Save

Save

Save

Save

Advertisements

“Retro Forward” Burda Style – V-Neck Jersey Top

True 1930s patterns can be expensive, fragile, simplistic in instructions, and in a size that will not instantly fit – therefore not appealing to everybody.  Thus, I love it when a modern pattern comes out which is sneakily a true vintage design.  This Burda top is one that falls in this category, which is why it is part of my ongoing “Retro Forward with Burda Style” series. On its own it is a great design.  However, if you look to the past for verification (see this board for that), and add in an awesome sleeve adaptation (like I did) to suit both the 30’s styles and the 2017 “Year of the Sleeve”…you have modern does vintage (or is it the other way around) so seamlessly.  Yet this is not stuffy.  It’s every bit as elegant as it is as loose and comfy as a relaxed summer peasant tunic.  I’m extremely happy with this project!

DSC_0616a-comp,w

This project is perfect for me to count it as part of the “Sleevefest 2017” hosted by ‘Valentine & Stitch’ as well as ‘Dream, Cut, Sew’.  I re-drafted a very boring and basic sleeve into something elegant and detailed to match and complete the garment’s design sleevefest2017 badgeand era from which it seems to harken back to.  I always admire how the 1930’s were so rocking awesome at not forgetting that sleeves can have details, too, and add greatly to the overall rest of a garment.  After all, this is the era that had patterns specifically dedicated to offering many versions of sleeve styles to choose from and make for substituting in other garment designs.  Why not have elegant sleeves when our arms are something so useful, so full of movement, and so graceful in retrospect to the rest of the body?!  Bring on the sleeve drama!

This is by no means the only dramatic sleeve I have made this “Year of the Sleeve”…I am just behind on posting so many projects, so look for me to be leaking snippets of other garments with fancy sleeves on my Instagram!

Burda Style V-Neck Jersey Shirt, 06-2010 #108, line drawing & garment exampleTHE FACTS:

FABRIC:  a weightlessly thin polyester interlock knit with a satin-finish

PATTERN:  Burda Style pattern #108, from June 2010

NOTIONS:  Nothin’ but thread was needed…and I always have that handy here!

TIME TO COMPLETE:  The top was finished on March 29, 2017 after only about 5 hours

TOTAL COST:  Two yards of the jersey cost under $10

Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced from the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  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 know.

DSC_0601a-comp,w

My base for my re-draft was the original pattern simple sleeve, after extending it to a full long sleeve length (it is bracelet length, otherwise).  Then, I used this very technical sleeve hack plandiagram which I found off of Pinterest as my guide for my re-draft.  (You can see more re-drafting ideas that I like and plenty eye-candy images of lovely sleeves in my Pinterest board.)  I paid close attention to measurements and proportions in the diagram and I am impressed at how perfectly the finished sleeve turned out.  Please note that the gathers are not a separate panel but are merely an extension of the sleeve – they taper into it from a dart.  I actually ended up making the final version of my sleeve with a double-long cuff so that I could fold it in completely on itself.  In other words, below the gathers, the end of my sleeve is doubled up for a substantial support to the sleeve, one that beneficially weighs it down just a tad.  I love to use my sewing capabilities to achieve exactly what I want!  I know this sounds terribly selfish, but I see it as fulfilling in reality something which previously existed in my head…which gives a very satisfactory and relieving feeling for me!  What I picture sometimes and what really ends up doesn’t always match…

DSC_0608a-comp,w

Even with the sleeve change, this was a super quick and quite easy to make project, especially as I was working with a knit that needed no finishing inside.  The only slightly tricky part was the V-neckline’s bottom point – it’s also were the front panel ends.  As long as you break stitching of the bias band facing on either side of the center, and not stitch in one continuous V, it works.  It still was a bit fiddly there.  Making the front panel lay nicely required some hand stitching at strategic points and plenty of steam from the iron, as well.

DSC_0605a-comp,w

I did go up in size from my “normal” fitting number with other Burda patterns to make this top.  I felt that a form fitting top would ruin the front gathers somewhat but even with stitching a bigger side seam allowance, my blouse is still generous.  I never really found a nice in between baggy and tight fitting for this top, but I’m ok with the looseness, for it feels very comfy and drapey, as if it is really only a play/casual top.

I paired my top with my Grandmother’s vintage jewelry and a white linen skirt for a real summer tropical theme.  My Grandmother’s jewelry is, as far as I heard, something she bought one time was in St. Augustine, Florida, circa 1950’s.  However, it seems to fill   in the wide open neckline nicely, add fun colors, and even look very similar to actual novelty vintage jewelry from the 1930s.  Our pictures were taken in a tropical conservatory in town, so with the humidity and rare, exotic plants and wildlife inside, I really had a true warm weather tolerability test in my top!  The interlock knit is light as a whisper on the skin and the long sleeves keep of both bugs and the sun’s rays.  Needless to say, my top passed with flying colors, or should I say turquoise, white, and pastel colors!

DSC_0621a-comp,w

Summer Gingham and Straw

My first sewing for this year’s summer season is effortlessly simple.  It’s also basically everything associated with an old-time American summer picnic – gingham cotton, basket-like straw, bright red cherries, easy and comfortable dressing (no less cute, though), and good times in the backyard.

DSC_0270a-comp,w

I had to bring my pet dachshund into the picture for good measure!  He’s a loving little shadow to me, though he is camera shy.

Butterick 7161, yr. 1954THE FACTS:

FABRIC:  a 30 by 45 inch cut of an all-cotton, loosely-woven ‘homespun’

PATTERN:  Butterick 7161, year 1954 – it was a free gift from a kind Etsy seller.

NOTIONS:  I only needed thread, a bit of interfacing, some bias tape scraps, and 3 buttons – all of which I had on hand

TIME TO COMPLETE:  My blouse was whipped up in 2 hours one afternoon at the end of April 2017.

DSC_0417a-comp,wTHE INSIDES:  cleanly bias bound edges

TOTAL COST:  The fabric, my only expense, was bought at Wal-mart’s remnant area in their fabric department for only $2.23!

This blouse just makes me happy.  I love the styling – just enough ‘vintage’ touch to be neat and unique, yet still classic.  The colors are muted and cool, and pair well with so many different bottoms (skirts, pants, and shorts) in all colors (mostly khaki, denim, and black, but even red will do).  From a practical point of view, this was so cheap!  Yet, for how well it fits on me and nicely finished I made it, this is such a deal.  No wonder I buy fabric and sew for myself versus picking up ready-to-wear!DSC_0282a-comp,w

Making this top sleeveless was not precisely by choice, but I like it.  I was lucky enough to make a blouse from this as it was!  My blouse does look really good with sweaters, luckily, for when I’m stuck inside freezing air-conditioning or out in a chilly night.  I find it interesting how generous and comfortable the armscye is on a 1950s era sleeveless blouse.  The armholes from the next decade of the 60’s are so much tighter, and I’m always paring them down but it’s never good enough.  Maybe I’ll need to try sleeveless 50’s fashions more often.

The only major special detail to this blouse is the gathers which come from under the collar.  They are an ingenious way to both add an interesting design element and provide bust shaping.  I thought about pleating the excess fabric rather than gathering it (as I did), but I plan to use this pattern again and I can try that out then.

DSC_0283-comp,wHalfway through sewing this blouse, I had a scare.  I realized this ‘homespun’ cotton was quite fragile when I was stretching the blouse back neckline into the collar piece.  It tore way too easily into the seam allowance.  Thank goodness it didn’t tear any further into the blouse or I would have been devastated because this blouse is my new go-to, throw-it-on frequent favorite.  Once that rip happened, I was glad I had cut the as-is size of the pattern, which was technically too big for me.  I ended up leaving the blouse its generous size because I didn’t want another tear happening in the body of the fabric, which I could totally see happening just from being worn if it fit tighter.  The cotton is so soft, it kind of ‘droops’ down anyway and you can’t tell how generous it is on me.  Between the comfy fit and the loose homespun, it does make for an “I-don’t-feel-it-on” weightless summer blouse.DSC_0285-comp,w

A view of the back is rather basic but my vintage 50’s hat makes it amazing, if you ask me.  Look at that stunning weave of the two different kinds of straw!  The perfect condition and the steal of a price that I paid, makes this one of my prized vintage hats.  To complete the accessorizing details, my fun cherry fruit earrings are vintage from my dear Grandmother.

Blouses, especially 50’s era blouses are my newest ‘thing’ currently.  I’ve been whipping out several already with a few more in my projects queue to sew yet.  Thus, look for more separates to come here on the blog in next few months!

Basic is Beautiful

Don’t you just hate it when a longtime favorite and much loved wardrobe staple of yours gives up its ghost?  Yeah, always a bummer!  My decade and a half staple – a bohemian-style, maxi length, lightweight denim skirt – ripped apart from too much love.  Well, for someone who sews all chances of having a replacement is not entirely lost.

DSC_0388a-comp,w

It took me two years to find the right pattern and fabric to finally have a lovely replacement that I love almost just as much as my original – this is saying a lot!  Sure, I had plans to make a pattern from my old favorite but I realized it might not be a bad thing to move on with my style and try something similar yet different at the same time.  Also, because one basic staple deserves another, I have my new denim skirt paired with a slightly seductive, vintage, knit white tee for another wardrobe filler.  I’m hoping my set has a slight nod to the 1970s era yet still stays modern.  To have a garment be an indispensable staple piece, yet also vintage and modern, is the best combo ever for those days when I want to blend in yet still wear styles which pay tribute to the past.

Every time I make something really needed and purposeful (not just what tickles my fancy), I realize how beautiful sewing the basics can be.  This is why my outfit (specifically my skirt) is part of the Petite Passions’ Wardrobe Builder Project for the month of May. As you can see, it is helping me get the motivation to build on my everyday casual wardrobe!

THE FACTS:McCall's 6623, year 1979-comp,w

FABRIC:  Skirt – 2 yards of a lightweight, light wash, denim chambray with scrap Kona cotton for the waistband lining; Top – less than one yard of a ribbed cotton knit

PATTERNS:  Skirt – Burda Style “Tiered Denim Maxi Skirt” #102 B, from April 2017;  Top – McCall’s #6623, year 1979

Tiered Denim Maxi Skirt 04-2017 #102BNOTIONS:  Besides the invisible zipper, which I bought because I don’t necessarily keep ‘specialty’ zips on hand, everything else needed was basic (thread, interfacing, bias tape) and came from on hand.

TIME TO COMPLETE:  The top was sewn a while back now, finished on August 24, 2015 after only 3 hours’ time.  The skirt took me about 5 hours to make and was finished on May 16, 2017.

DSC_0416a-comp,wTHE INSIDES:  My skirt is all clean inside with both French seams and bias tape while my knit top is raw edged inside (as it doesn’t fray).

TOTAL COST:  The top’s ribbed fabric was a miserable little scrap remnant – technically it was about one yard but was badly hacked into with all the corners squarely cut off.  See below the “tight squeeze” to fit the pattern pieces on it.  The knit was bought for about $2 when Hancock Fabrics was closing.  The denim was bought the year before from Jo Ann’s Fabric store for about $9 (more or less I don’t remember).  I suppose my outfit is about $12 but priceless in utility to me!    

100_5934a-comp

Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced from the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  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 know.

There were only subtle changes that I made to the skirt for my version.  The main change, to lessen the gathers of the lower panel, was part taste.  I planned on doing that anyway, but the amount of the gathers was dictated by the fact I was working with only 2 yards of material while using a pattern calling for at least 3 yards.  I am a smaller woman, and on the edge of being petite height, so I figured such a full maxi skirt as the original design might be a bad idea.  I really do like the skirt fullness as it is now even if I did not get to choose exactly how I wanted it.  Sometimes “making do” works better than trying to start from scratch to be ‘perfect’.

DSC_0411,p,a-comp,w

Other than changing the amount of gathers, I sewed the gathers onto the upper skirt piece like a normal seam rather than top-stitching on like the pattern called for.  This top-stitched panel would’ve created a frilly ruffle where the two panels came together.  I was decreasing the gathers for a slimmer skirt and a frill through the middle of a half-gathered panel would have messed with the silhouette.  This regular seaming also saved me the trouble of finishing the one edge of the gathered panel so I could equalize my time spent to invisibly hand-stitch down the hem.

I already took out 3 inches from the overall length but my hem even still became a wide 3 ½ inches.  This baby runs very long as if it is a “Tall” sized pattern.  It does sit on the hips, with the top of the skirt riding just below my true waist.  As one who wears a lot of vintage, which almost always has a high-to–true waist, I still like this feature which is more modern, it’s just a change for me (not a bad thing, as I said above).

DSC_0404a-comp,wAs I went through the extra effort to make no stitching visible, under stitching the facing at the waist and having a hand-done hem, I figured an invisible zipper here was the only way to go.  After having my last invisible zipper failing on me and trapping me in my dress back in 2012 (post on that here), I have taken a long hiatus from this specific notion but coming back to it has been a refreshing and rewarding success.  I love how you don’t see anything but the zipper pull…but, yes, I realize that’s why they are called invisible!

My top is the third time I have used McCall’s #6623 pattern – this is unprecedented for me!  (Here are my first and my second versions of this pattern.)  I still yet want to have the gumption to make and wear that strappy cold-shoulder version.  The tank is so lovely and basic I need to make a few of those in some basic colors.  For some reason I really love this one pattern, and it loves me by the way it fits me so darn well.

DSC_0409a-comp,w

I find this pattern interestingly unique, not just from the fact that each view top has its own pieces (none shared), but because of the small “From a Norton Simon Inc. Company” logo next to the McCall’s logo.  This pattern’s year, 1969, was a decade after Norton Simon himself retired from active involvement in his business.  What’s up with that?!

McCall's 6623, year 1979-comp,zoomNot too many people know that Norton Simon, the smart art collector and businessman behind Max Factor cosmetics, Avis Car Rental, and Canada Dry Corporation (to name a few), also controlled the McCall Corporation and all its publishing (magazines and such) between 1959 and 1969.  How I have not heard of this man, who seemed to have an influence in so much of the companies and products that are a part of our modern lives, before recently?  He was on the cover page of TIME magazine on June 4, 1965, in People magazine (1976), and even ran for the United States Senate (in 1970).  His conglomerate is now ranked 112th on FORTUNE’S list of the 500 largest American corporations    I wonder why this is the only McCall pattern I have seen with his naming rights on it.  See – patterns are so interesting in so many ways!

Sewing this top was super simple and easy.  This is the first time I have used this pattern un-altered.  I did have to add in snap on lingerie straps made from ribbon to anchor the shoulder to my underwear.  Otherwise the shoulders on this open-back hottie piece slide a bit all over the place.  Basic bias tape adds a bit of soft shaping and contrast finishing for the neck edges, and a little left chest pockets adds some small utilitarian interest.

DSC_0405a-comp,w

My biggest setback was working with the rib knit – a very first for me to work with.  I thought I had this pattern understood but not this time.  I had to sew the side seams several inches smaller than normal to accommodate the give of the ribbing.  It acts like a slinky toy!  It was a tough call to figure out the sweet spot between too loose of a fit and too snug.  I didn’t want the rib knit to lose its design when fitting over me yet I wanted it to be body complimentary without being a second skin.  After several stitchings, un-pickings, and re-stitching spells I like the balance I found.  This top does look so hilariously small on the hangar – the ribbing springs back so it seems like something for a 10 year old girl.  It also is best dried flat after washing.  The weirdness of the rib knit also meant all my hems are unfinished – not by choice but at least I think the raw edges look good on this occasion.  This quirky material has a definite personality!  Working with it was a definite learning curve.

DSC_0399a-comp,w

Between all the challenging and involved projects that I want to make (from my too numerous ideas), sewing basic necessities always is a pain to get around to.  Who completely wants to sew something merely because you need it, when nowadays ‘stuff’ is so easy and available to buy?  And yet, such sewing also always ends up so satisfying for me and it always amazes me.  The staple clothing necessities that you reach for everyday can be an uncommon source of creative pride and possess better individual style if you don’t exclude them from receiving the personal touch of hand sewing.  I’m practicing what I preach lately by giving away a good amount of the ready-to-wear that I do not like or use so that my ‘me-makes’ and my vintage pieces can take over my wardrobe.

Do you make your tees, and jeans, and anything else basic?  If yes, do you like them better than the ready-to-wear option?  Have you ever worked on sewing up a replacement for an old favorite garment?  Is sewing what you need something that you have a love or a hate attitude towards? Maybe, like me, you feel a bit of both?  What is your experience (if you have one) with rib knits?  One last query – has anyone else seen a McCall’s pattern with a “Norton Simon” logo?  If you have any feedback for these questions, please do share – I like to ‘hear’ what you have to say!  As always, thanks for reading.

Save

Escape and Evasion: a Post-WWII Map Blouse

A map can help you find your way, it can provide a safety net, be a memento, create a fashion statement, or even be the product of someone’s profession (cartography).  Believe me, a map is much more than markings and directions on material.  Are you ready for a trip?  Let’s have a go with a vintage blouse that incorporates all of those things I first listed, constituting the most out what truly is a map.

100_3709,pa-comp,w

The world is always changing, so a map necessarily documents a moment and place in time.  My blouse, although made in our modern times, pays tribute to 1946, and its post-World War II times and practices.

THE FACTS:

FABRIC:   100% cotton is the content for both the map fabric and the inner lining fabric.  The map fabric is a ‘Tim Holtz’ brand print, from his “Eclectic Elements Expedition” line, and it is very silky soft.  The lining is a beige tan batiste, tissue thin but also super soft.1692-Simplicity

NOTIONS:  I bought the buttons to specifically match with the top (I’ll explain my reasoning further down), and other than that I really needed only thread, which was already on hand

PATTERN:  Simplicity #1692, a 1944 pattern re-printed in 2013

TIME TO COMPLETE:  My blouse was completed in maybe 8 hours, and finished on September 8, 2014.

100_3760a-comp,wTHE INSIDES:  Nice and clean – the side seams are flat felled, the bottom hem is bias covered, and the shoulder seams are covered by the lining.

TOTAL COST:  The fabric was ordered from an online store and the “La Petite” buttons came from (now defunct) Hancock Fabrics for a total of about $25.

Now, I know history buffs out there like me will see my “Facts” and notice and say, “Hey, she’s making a Post-WWII 1946 blouse out of a war-time 1944 pattern!”  Well, yes, I know.  Many styles in fashion then did not have any radical changes during and right after the war, due to many factors.  It wasn’t until 1946 that rationing and “making-do” just began co-existing with a postwar boom all things – more patterns, new fashions, buying of material goods, and even a plethora of babies 😉  Besides, I adapted the pattern design to be more appropriately a 1946 style with its kimono-style cap sleeves and button back.  My adaptations to the pattern were based off of this old original 1946 silk chart blouse as seen in Jonathan Walford’s “Forties Fashion” book (below), as well as this vintage Globe novelty print 40s blouse seen here on Etsy.

Map blouse from 'Forties Fashion'

I luckily made all sorts of annotations to the pattern after my first and second versions and knew what to do to make my third time around the best success yet.  My notes of how to fit the pattern to myself helped me concentrate on changing the design and lengthening the set in sleeves to become another mid-1940’s classic style.  Rather than cutting the back bodice on the fold, I cut mine with a seam and extra seam allowance.  A long underlap was drafted, as was the skinny bias tubing, so I could have the back be button closed.  Sure it is somewhat of a contortion trick to close it on myself, but it is also very 40’s (and looks awesome).  Hubby always shakes his head at the things we women go through to make and wear these vintage fashions.

100_3721-comp,w

The print is some sort of conglomeration of fragmented antiquated maps with wind info and some random highlighting of towns.  It has a nice earthy yet pastel-like background composed of the basic colors in traditional camouflage.  I would have preferred more of a topographical chart or a real 1940s WWII chart, but this is not the last time I intend to sew with maps, so perhaps next time I’ll get exactly what I would like.  On my blouse, the continent of North America with the USA is right over the heart on the left of my chest – at least this is just how I’d like it!

100_3762-comp,wAlthough my blouse is made from cotton fabric (albeit quite nice cotton), it is intended to imitate extant original Post-War clothing which had been made from no longer used/needed Escape and Evasion Charts.  The use of more aerial fighting, bombing, and reconnaissance necessitated maps to be the newest ‘not-to-be-without’ equipment for WWII.  These charts, nicknamed EVC’s, are not bombing aids yet they are also more than just maps.  By being printed with specialized information onto fabric they instantly become an all-in-one survival tool to help someone such as a downed pilot, a lost ground troop, or a POW evade danger and survive both the surroundings and possibly unfriendly people.  Navigation aids, terrain info, edible animals and plants, and crude personal care are listed.

Now, just to be clear, I am talking about the true EVC’s made by government cartographers, not the one’s made out of alternative materials by and for POWs attempting to escape incarceration and also not the maps for remaining alive in aquatic regions, although all of these do fall under the “SERE (Survival, Evasion, Resistance, and Escape)” training military personnel receive.  That out of the way – originally, WWII EVC’s were small and either handed out or sewn as the lining to airmen’s jackets.  The Map pouchAmerican Charts were normally oiled rayon, while the charts issued elsewhere (mainly Britain and Australia) were pectin-coated silk.  The coating strengthened the material, kept the ink from running, and provided airmen with something rather flexible and non-crinkly (silent to use) yet waterproof so their chart could catch water and keep something dry.  The modern EVC’s are not only more detailed, but also made out of spun olefin, branded as Tyveck (house wrap), and have evolved into something as large as a blanket so they can also be used as a hammock, shelter, and bandage, to list a few out of many uses.

After the war, these charts because the source for much re-purposing, and during the war a hubby or sweetheart that no longer needed his chart could provide the rationed woman some precious extra material.  (See here what an old WWII charts looks like before being made into garment.)  Surplus and de-classified Evasion Charts were often a memorial of what a hubby and/or sweetheart endured, as well as silk or rayon that wasn’t going to be wasted.  Thus, so many of these special charts became clothing for a good number of women in the years following WWII.  I find it funny how most of the charts became underwear and lingerie – rather cheeky!  Visit my Pinterest board for EVC re-use to see more inspiration and info.

100_3707b-comp,w

Of all the re-using and re-fashioning that went on during WWII, Escape and Evasion charts are by far the most enthralling, most intriguing part, in my opinion.  What is so neat is that they are still useful today, being used after over 70 years!  It just goes to show the depth of history involved in things we take for granted in our everyday lives – maps, clothing, and just pure surviving.  Of all the novelty blouses that I could make, this one has the most passion behind it.  I hope this post made you think, and let me share with you about one of my favorite subjects!