Conifer Night

Conifers are the mysterious ones among their fellow hard woods, the trees – they stand fully clothed when others go naked in hibernation.  They jealously kill the grass over their ‘feet’, have unfriendly prickles for ‘leaves’, and cast mellow, unholy shadows when they are planted in a huddle together.  Their perennial greenness is cheering, though – providing color and shelter outdoors in winter, the resiliency they represent ends up decorating our living quarters at the holidays!  Combining an overcast rainy evening with a patch of winter green becomes embodied together in this comfy set of viridescent and navy hues.

After my last 1940s suit from post WWII times, I’d like to share another focused on a slightly earlier time frame of the late 30’s to early 1940’s.  The now past holidays for all things green (St. Patrick’s day and Christmas) originally inspired me to keep to a certain color scheme linking each piece together.  This set is sans jacket, but at least it does have a statement hat!  This is also put together (like the last one I posted) with a mix of re-fashioning and sewing from scratch.  Just the same, it is also for winter, again composed of a span of years and fashion influences, and has a blouse pattern from 1941 as its common separate.  A vintage look, or a new outfit is only a re-fashion or a simple sewing project away!  This was relatively easy and fun to whip together, with only one pattern needed and lots of inspiration.  I do like to keep my styling connected to the past for the best practical glamor.

THE FACTS:

FABRIC:  a semi-sheer 30% silk/70% cotton blend for my blouse, a cotton flannel for my skirt, and a poly felt for my hat

PATTERN:  Simplicity #3714, year 1941, for the blouse.  The skirt was made with no pattern. The hat is loosely based off of Vogue #7464, view D

NOTIONS:  I bought the base for the hat at Wal-Mart (sounds weird, but I’ll explain down below), but everything else cane from my stash – the buttons are vintage “Schwanda” brand from the 1950s, the zipper is vintage (metal teeth), the wire for the hat came from hubby’s workbench, the interfacing was scraps on hand, and matching thread was already here.

TIME TO COMPLETE:  The blouse was made in about 15 hours and finished on December 18, 2017.  My skirt’s re-fashion took me about 6 hours, while I spent no more than 4 hours to make the hat – both finished only days before Christmas 2017.

THE INSIDES:  French seams for the blouse, bias finish for the skirt

TOTAL COST:  The hat cost me a total of $5; the blouse cost me $6 for two yards; I’m counting the skirt as free as it had been on hand for so long.  Thus my total outfit cost is under $12 – how awesome is that!

Although this is a winter outfit, these pieces are quite versatile on their own, especially the lovely blouse in its soft silk blend ordered direct from China!  The way silk breathes and adjusts to one’s body temperature makes it fabulous and perfect for any and every outdoor or indoor climate.  When combined with the easy care and softness qualities of cotton, it is such a winning blend (would be perfect for some heavenly bedsheets!).  This blouse can definitely be dressed up but also be quite casual, especially when used as a layering piece under a sweater.  Having semi-transparent sleeves keeps me covered in a very lightweight, yet dressy way that also both keeps me at a good temperature and are easy to roll up to short length for summer.  I am slightly obsessed with its creamy celery green color and loving what it does for my light olive skin tone.  This blouse is really the one new piece of my outfit that will be a dependable workhorse in my wardrobe, besides being the one linchpin which inspired the whole set’s idea.

The rest of my ensemble is from items on hand – even my true vintage gloves and earrings but especially in regards the skirt!  Originally, it was something I haven’t put on in years, though I did wear it many times when I was in my early to mid-teens.  I was more of a wall-flower then, not as comfortable in my skin, and was always cold in the winter.  If I went out in the cold, I liked my skirts long so I could wear boots and pants underneath, and I liked them basic because I probably preferred to keep my coat on (whether inside or out) and not be seen anyway.  The skirt was ankle length, A-line shape, with a wide elastic waistband and in-seam pockets on both sides.  Yet, it was not worn enough to pill up or look as well-loved as it was…prime for a refashion.  I know the skirt is definitely for cold temperatures being a flannel, yet it’s lightweight enough to not completely be a one season piece, either…which makes my sewing the most bang for the little time spent to freshen it up.  A good rich toned plaid is one of the many fabric weaknesses of mine, and perfect for the 1940s, so a basic WWII era skirt it was going to be so it could match with my silk-blend blouse.

The pattern for my blouse has been used twice already, for my basic brown version and my “Leave Her to Heaven” look-alike.  I have this pattern down pat, but I love it no less for being the third time around…it’s a winner.  However, I did decide to tweak it a bit.  I spread the fullness of the thick single shoulder darts into three tiny darts of descending lengths which get shorter as they get closer to the sleeve caps.  It is an understated detail that feels very feminine and tailored.  I also added a bit more length in the sleeves with a little more fullness.  The sleeves are single layer of fabric so they are slightly sheer and delicate, perfect for the puffier shape.  The main body of the blouse has been double layered so that it would be both opaque as well as darker in color.  Instead of cufflink holes, as I do on most of my dressy blouses, I chose some wonderful pastel flower shaped buttons from my Grandma’s stash.  They really emphasize the creamy, bright color of the fabric in a way that cheers me up in winter and makes it perfect for summer, too.

My skirt was a pretty basic re-fashion, all I was basically doing was reshaping it.  I cut off the elastic waist first (keeping the side pockets), then chopped of only enough from the long hem to make a new, wide, interfaced waistband.  However, I needed to tailor the waist before adding that waistband!  This was the tricky part, trying to figure out how to take the waist in and how much to bring in.  This step took way too long and caused a lot of unpicking.  I had plenty of other more interesting ideas (pleats, a placket) that I tried before I settled for the basic, darted straight line skirt style you see.  Just a simple hem made, the zipper and waistband set on and my refashion might not look that dramatically different from its the original state.  It was merely fine-tuned and I hope classic enough to not just be a “vintage” style item.  Just imagine my skirt paired with tights on my legs and platform shoes or slip-on mules topped with a modern oversized sweater and a big belt…yup, it should be pretty variable.

Now, my hat is definitely and unequivocally old-style.  I have long admired the late 30’s (see this article) and early 1940s oversized drama hats.  This hat style seems to go by several names – most frequently called either the pancake hat or beret.  It just kind of subconsciously seeped into my realization to just start with a placemat. It’s round and lightweight and the perfect base for that kind of hat, but then again this is not the first placemat hat I’ve made (see this one here).  First I covered the hat in felt, but that was way too plain.  I had to spice it up.  I pleated the felt in an Art Deco style throwback in three tiny pintucks that angle in to disappear before they reach the other edge.  Art Deco details persisted through the 30’s into the post-WWII times, mostly in the built environment, so the pintucks call to mind my love of architecture.  A sculpted hat is sort of like architecture the way they are structured works of art, sometimes reaching for the skies, and craftily perched on the human head the way buildings cling and hold onto God’s good earth no matter what the angle.  I actually need my giant hat pin to keep this one on my head.

I wanted to make sure the placemat kept its shape, so, before I sewed the bottom half of the hat to it, I hand tacked an electrical wire to the underneath edge.  This was a good idea that ended up being a bad idea.  Electrical wire was the scrap I most immediately found on my hubby’s workspace and it was much too heavy for the job…why I need my hat pin.  I should have used my lightweight floral wire instead (as I don’t have any proper millinery wire).  We live and learn, and although this was not the best success, it is neither a failure.  It is a very wearable experiment that I love.  It turned out 100% better than my husband had expected and cost me pittance so what could be more awesome than that?!  I now had the perfect finish to my outfit and tried a new hat style I have long admired, besides learning what to do the next time!  The little silly hat front décor is straight out of my head, also made out of the same felt, and merely something cute and decorative to break up the overwhelming shape.

I love practicing the idealistic challenge and thrifty, global conscious practice of taking my wardrobe from years past and things on hand to use with my talents to update it for my current life and fashion tastes.  It’s not because it’s the new “in” thing to do, though…neither are we on that tight of a budget.  It’s purely because I want to.  I have been doing this for so many years, way before it was a trend, I am used to looking for what is on hand before I buy.  My husband calls it a version of shopping…where I go downstairs and rummage through my stash of unworn, but sentimentally attached garments I no longer want to wear the way they are to find something “free” to rework it and feel like I end up with a “new” piece of clothing.  Add in a fully new, made-from-scratch item, like my blouse, which was easy and fast to make in a natural fiber, and top it off with a luxurious statement hat made from ridiculously simple home decorating supplies on hand…and I get my fashion and overall creative fix satisfied.  You don’t need much money or supplies to be crafty and start sewing.  There’s a bounty of stuff nearby somewhere just waiting for a second chance.

 

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Yet Another “Leave Her to Heaven” Lumberjack Blouse

As much as I love so many old black and white movies and films, there is something significant missing in all of them – true-to-life color.  It doesn’t really bother me, and I feel no disconnect with the stories because of it, but when a really amazing outfit is spotted…well, I am racked by the mystery of what that garments must have looked like in reality.  I have a suspicion this curiosity of mine is a major factor to why I am so drawn to the movie “Leave Her to Heaven”, from 1945.  Yes, the tale also has an eerie way of getting under the skin and staying in the mind from the excellent acting of a disturbingly intriguing storyline, but the outfits are spectacular – and all filmed in full color!

I’ve already ‘copied’ one lumberjack shirt worn in the movie (post here).  Thus, it was not like I was actively wanting to make another outfit from the same movie so soon, but when the right fabric happens to come along and fall right under your eyes…well, I couldn’t resist!  Besides, if I can channel vintage Hollywood with my casual wear (and I can always use more casual wear) and not just fancy stuff, I’m all in!  I do love a good blouse and the color pink.  So here is a short and sweet post about my second lumberjack shirt from “Leave Her to Heaven”.

Now, my first plaid blouse from that movie was a copy of one worn by the main actress, Gene Tierney.  This one that I am showing in this post had been worn by the “sister” in the movie, an equally beautiful and amazing actress Jeanne Crain, so it did not get as much screen time.  Jeanne Crain wore it to do the gardening (see pic at left).  My version is slightly dressier I suppose from the nice shirting material I used, rather than utilitarian flannel cotton like I used for my last lumberjack blouse.  Still, the mixed color plaid will hide any stains quite well and the fabric is pretty much wrinkle-free, so this is still a perfect casual day or outdoor work blouse which will still look so impeccable.  I love it!  This is why I make my own clothes.

THE FACTS:

FABRIC:  a polyester blend shirting

PATTERN:  a combo of my old stand-by Simplicity #3714 from 1941 for the body of the blouse, and Advance #3152 (from the same year) for the sleeves and cuffs

NOTIONS:  Except for the thread and interfacing, which was modern and on hand, I used vintage notions.  The buttons are true vintage bakelite from hubby’s Grandma in a rich burgundy and the bottom snap was from my Grandma’s box of notions.

TIME TO COMPLETE:  This was made in about 15 hours and finished on October 22, 2017.

THE INSIDES:  All clean with side French seams and the rest bias bound

TOTAL COST:  This was bought at JoAnn’s at about $15 for just over 2 yards.

This was such an easy-to-make project.  I have made both patterns before, after all!  I chose the vintage Simplicity because I like the collar and body shape…and it fits me perfectly.  It had already been used to make a basic brown long-sleeved winter separate to complete this suit.  There will be a third, solid color, dressy version coming in a few months, as well!

Different sleeves were chosen out of the pinafore set for this blouse version because firstly, it is from the same year (1941) and I wanted the arms of this plaid blouse to be more structured, masculine, and simplified.  The sleeve caps are a trio of darts and the wrist (above the cuffs) was adapted to have pleats, in a trio as well, versus having everything poufy and gathered as the Simplicity pattern called for.  The blouse sleeves and their cuffs are the only thing left to that Advance pattern besides the pinafore (which I posted here).  For some reason the blouse body was not in the envelope when I got it (that’s okay…it was only $3).  The two patterns matched up like they were made for one another.

With this version, I found greater appreciation for the pattern because the plaid brought out the design lines.  I wasn’t really trying to match up anything too much, mostly the side seams.  I remember being conscious in passing that the plaid was passing through the waist tucks and shoulder darts.  The finished effect is best when my blouse it untucked.

This blouse goes with so much in my wardrobe – anything brown, tan, or maroon, which I have plenty of in both trouser and skirt forms.  In these pictures, I am wearing it with my post WWII cuffed twill khaki pants (blogged here).  I do love how the bakelite buttons bring out the undertones to the plaid, complement the pink in a very unexpectedly bold manner, and make it work for rich red tones as well.  Such special buttons deserve to be seen and standout, anyway!

As my blouse is a ‘copy’ attempt from a movie, this is my first entry into the “Sewing the Scene” challenge sponsored by the “Unfinished Seamstress”.  I had meant to make it in time for last years’ same challenge, but I ran out of time making this outfit for it.  I went ahead and made my blouse later on in the year anyway so I could get some use out of it through our cold season and am posting it now.  It’s a challenge for sewing bloggers to get their priorities lined up when juggling a lot in life (don’t I know!).  I make sure to have thoroughly enjoyed an outfit before I even write a word about it.  Sometimes some outfits are so loved I don’t exactly get around to posting about them like I want because I am too busy enjoying them – but that is a good thing!  Life can get in the way of sewing plans, but at the same time, both life and sewing is best when it is a joy and not a chore.

Down on the Polka Dot Range

There are so many things I have planned in my sewing queue, that many get shelved for the future out of necessity to make way for what I do want or need to make at the moment.  Although I am “Seam Racer”, one can only make so much in a month or year!  I have never liked the idea of myself in polka dots (yeah, call me weird), yet sewing a polka dot blouse has been on my “list” now for several years.  After seeing a lovely rich navy shirting in my local fabric store recently with polka dots in a size that finally pleased me, I snapped it up and decided now was the time to whip that long awaited blouse up!

With the Burda Style 2018 Challenge going on, I immediately had the perfect pattern in mind for it, too, to make my at-least-one-a-month goal.  I love the seaming to this finished blouse, which I highlighted with piping.  It has an ever so slight nod to western fashion, with a touch of menswear in the detailing.  This is a great, first-rate pattern, one that you don’t need much fabric for (on account of all the piecing), and I am so absolutely thrilled with the finished result!

THE FACTS:

FABRIC:  a super soft, 100% cotton shirting in polka dot, with a 100% rayon challis to line the shirt panels inside

PATTERN:  Burda Style pattern #117, from January 2018 –  View A is the “Blouse with Embroidery”, while View B is the “Pleated Blouse” (but they’re really only tucks down the front actually!)

NOTIONS:  I bought the piping pre-made, and had to buy the buttons new to match as well.

TIME TO COMPLETE:  8 to 10 hours – it was finished on March 21, 2018.

THE INSIDES:  Most of the seams are covered by the lining for the shoulder and chest panels inside, as well as the button panel piece, but the other seams are French seamed.

TOTAL COST:  Since I bought this with a discount (at my local Jo Ann’s Fabric store) and I only needed 1 ½ yards, counted with the piping I bought this blouse cost me $12.

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.

As much as I love the detailing and complexity of the original design, I did not think the front tucks suited a polka dot and nor did I feel like doing all the decorative stitching at the moment anyway.  Thus, my blouse has been simplified down to the major seam lines only.  Yeah, call me lazy, but deep down it was a styling choice.  Seeing how happy I am with my finished blouse, I do not expect this to be my only time using this pattern, so next time I hope to go for a solid with lots of add-on interest in front, as originally designed!  I’m also envisioning a full-out Western version in two colors with chest pockets on the front panels!

To eliminate the vertical pleat-looking front section, I took the pattern piece that was sectioned off to shape the tucks and added it directly to the bodice front at the pattern stage.  This way I had one solid piece to cut out from fabric.  The pattern originally has you cut out panels for those tucks, mark the large sections every so far apart, and fold and stitch.  Then you take those panels and cut them out according to the shape of another pattern piece, the one that I added onto the bodice front tissue.  Adding the panel to the bodice front was a bit tricky because there is a gentle, inward tapering curve, starting about 7 inches down from the top, to the front bodice where it meets the button placket.  This is indistinguishable until you get out your ruler, but nicely shapes the blouse over the chest.  I merely slashed the add-on panel for the tucks to curve it in with the shape of the bodice before taping them together.

I made no adjustments besides grading between sizes for the hips to the waist and above, and this fits impeccably.  There are no bust darts, and this blouse is so very long and simple in shape, with an arched shirttail hem.  Nevertheless, I find it to be a nice in-between tent sized and fitted.

The sleeves are not restricting, there is plenty of reach room.  They are roomy yet tapered and I love the pleating into the skinny button cuffs.  Granted the tiny work of the bias covered cuff opening and the skinny cuffs were sort of tricky, fiddly work, but I found that grading down the seam allowance with a scissors helped immensely.  I did not even need to lengthen or shorten the sleeves!

The collar too, came together perfectly and looks impeccable, if I do say so myself.  It has a small collar and then a collar stand for a very structured, yet not overwhelming neckline.  As I sew so many vintage pieces, I am so used to large collars, or at least the more commonly found convertible, wing, or cut-on collars that I am taken by this one.  It keeps a subdued place alongside all the piping I added in the seams.

I neglected to even so much as bother to try and figure out how the instructions told me to do the invisible button placket.  I just made it on my own, however it made the most sense.  After making this Burda dress, with its invisible hook-and-eye placket, I discovered I’m just better off just using my sewing and engineering sense.  I cut one button placket for the left side, and two for the right, as this would have the buttonholes which needed to be covered by an extra panel.  Now, I did use lightweight interfacing for all three pieces because with all of the plackets and the piping, I figured it could easily become too stiff.

To keep the two right pieces straight in my head (but also because I ran out of fashion fabric), the under placket which would have the buttonholes was cut from the solid lining fabric.  Each of the three pieces were folded in half to make the plackets, but the invisible one (out of the solid fabric) with the buttonholes was trimmed (by 1/8 inch) along the long seam allowance so it would be slightly less wide than the over placket, and therefore be truly invisible.  For the left, the placket was sewn on, folded in half and seam allowances folded in and top-stitched down to cover raw edges.  The same was done for the right side, except there were two plackets layered together.  Lastly, I hand stitched the invisible placket to the over placket in between each of the buttonholes.

It was funny, yet not funny, how impossibly hard it was to find matching navy buttons.  Have you ever realized what variety there is in the color navy?  There is the popular navy blue, which is bright and has a good amount of true blue (royal cobalt blue) in it.  There is another navy color I found that has a dusty, grey tone to it.  And then there is a navy color that is almost a blue-black…and this is the tone that was crazy hard to find in a basic shirt-button, ½ inch style.  I had to buy this “craft” multi-pack of 50 something different colored buttons just because that was the only pack in any fabric store in town that had the black undertone navy blue color I needed.  Even then, the navy buttons were labelled as blue.  I know we all see color differently, but there are so many helpful means of standardizing color today, you’d think it would carry over into helping us who sew find the buttons we need.  Maybe match the numbers for color with the numbers for the thread offered…or maybe just follow Pantone’s charts?  I never knew the color differences of navy could be that frustrating until I needed to finish a sewing project.  Many varieties of thread colors are offered nowadays, but not as many button colors.  What do you think?

This blouse may be the beginning of a conversion to liking polka dots after all, but I still think I will be selective with the colors and sizes I prefer.  Whatever – I do love my new blouse!  I have been on a blouse making spree for the last 6 months (making way more than have shown up on the blog in that period of time) and with this one, my “kick” doesn’t seem to be waning…yet!

“School Teacher” 1940’s Suit Set

So many times, more than I can tell you, I hear from people who meet me, “…and, you’re a school teacher?”  As if it’s a half statement, that’s still a half question.  I really don’t know why this is – I do like tutoring but maybe it’s the eye glasses, he he!  Nevertheless, I’m embracing the school teacher vibes this time – the vintage 1940’s way!  My teacher’s outfit is authentically completed by a vintage oversized key brooch on my lapel, true 40’s alligator leather heels, and a post-WWII school building as our photo shoot backdrop.

This 40’s suit is achieved from an eclectic mix of vintage and vintage repro, sewing and refashioning.  The jacket is a true vintage piece that had seen better days (sadly), so I refashioned it using the skirt to salvage something wearable.  The skirt is made from a modern re-issued Simplicity pattern and some polyester plaid.  The blouse is made from a true vintage pattern and classic cotton for a basic, versatile wardrobe staple.  All these pieces have differing years in the 1940s as their sources.   Together, I end up with a cohesive 1940’s suit that is warm and classy to wear in the winter, and something I love to wear!

THE FACTS:

FABRIC:  The blouse is cotton broadcloth, the skirt is a poly suiting, and the vintage jacket is a wool-rayon blend twill or gabardine

PATTERNS:  Simplicity #3714, year 1941, for the blouse (the legs on the cover women are intolerably, ridiculously long!); Simplicity #4044, a 2006 reprint of a 40’s pattern, now out of print

NOTIONS:  I had all the thread I needed, I used a modern zipper in the skirt, modern shoulder pads for replacement in the jacket, and new two-tone metal buttons (with an open filigree middle!), with bias tape packs to make all the insides nice and finished.  The only real vintage notion used here was the buttons on my blouse – they were from the stash of hubby’s Grandmother.

TIME TO COMPLETE:  The jacket was re-fashioned in about 6 hours and finished on January 8, 2016.  The skirt came together in about 4 hours on October 24, while the brown blouse was made in 8 to 10 hours and finished on November 27, both in 2015.

THE INSIDES:  The blouse and the skirt are all nicely bias bound with lace hem tape.  The jacket’s lining covers up all inner seams.

TOTAL COSTThe vintage suit was bought for $15, the cotton was maybe $10 for 1 ½ yards, and the plaid suiting was on clearance at Jo Ann’s Fabrics at $10 for 2 yards.  A total of $35!

Before my re-fashion, a beat up mess of a suit set was offered to me for a small amount during one visit to a local vintage re-sale shop.  The owner knew I sew.  She gave me one of those “Buy this if you think you can do something with it or else I’ll probably end up throwing it away, but I did spend some good money on this” offer.  The shop owner was thankfully very forthright letting me know the condition history of the suit set.  The suit was originally so dirty when she got it there was ‘no choice’ but to throw it in the wash machine…which ended up shrinking the wool, making the lining’s stitching to fall apart and the metal buttons rust, thus causing brown staining.  She had then spray painted the buttons silver to cover the rust.  Ugh!  That one wash sure got the jacket clean but caused a MESS of problems for me to fix.  The shoulders pads had balled up and fallen apart inside, as well.  The left sleeve to the jacket was chewed up, but not by moths.  It looked like it had been caught in some machinery or run across something sharp that tore it up all the way down the underside from the elbow to the wrist.  Other than the sleeve, though, the body was luckily free of holes or fading.  The matching skinny straight skirt was generally fine, with a few fade spots and random holes.

The suit did fit me and with its lovely design lines and details, and felt I had to save it for all its potential still left.  I guess it’s like going to “just look” at a new puppy – I tried it on, so I was hooked.  The capability to give it the attention I felt it deserved is well in my ballpark, anyway.  The bittersweet fact is that many vintage suits do not have their matching skirt as this one, but that skirt was unfortunately sacrificed for the jacket to save face.  I was hopeful, but slightly doubting my efforts would turn out so well.

As it had been washed once already, I took the old buttons off, added stain remover to take out the rust marks, and washed it once again.  With the lining was loose, I could reach right into the jacket and take out the old shoulder pads and unpick the sleeves.  I unpicked them completely to use the pieces as a guide to trace out a pattern.  The new sleeves have their bias slightly off due to the size restrictions of the skinny skirt, but are overall the exact same.  Then, with the sleeve set in, new shoulder pads, and the lining all stitched up by hand, and the new buttons (pic below) as the icing on the cake, I must say this was an amazing renewal for a formerly desperate vintage item.  Now, with a new separates sewn to match, it really can shine again for years to come in my wardrobe.

The best basic perk is that it is nice to have a new suit jacket without all the effort of starting from scratch.  Besides – they just don’t make them like they used to anyway – in way of styling, fit, and material!  It’s more like the weight of a coat, it’s so lofty!  I am amazed at how sturdy this jacket is to have survived everything it has and still polish up like this.  It’s amazing enough to have something from the 40’s last until today as it is.  I do really think, from the look of the inside seams, the shoulder pads, and the lack of a label, that this could have been private seamstress or tailor-made, but it’s done so well, it’s hard to tell.  As it is now, how unique is a part me-made, yet still vintage garment?!  It’s ‘true-vintage-with-my-personal-touch’, I guess.

There are many reasons why I absolutely LOVE this blouse.  Firstly, it’s in a nice rich earth tone – not ugly or boring and uncomplimentary as some solid browns can be, but it has many undertones that I notice every time I wear it with a different color scheme.  Pictures do not do it justice.  Not your basic dirt shirt here!  Also, it was an easy make, coming together in no time, and it’s perfect for layering with the slimmed down details.  It’s a true 40’s pattern, yet without being as obviously vintage as some others, as this one’s lacking a giant sized collar and gathers in the body.  There still are the gathered sleeve caps, but there is giant darts that shape the chest from the bust up to the shoulder tops.  Looking at the pattern envelope front, this is primarily because it is designed to go under a jumper, but to me it is just as good on its own to change up my vintage style.  The simplified, toned-down details make this versatile to customization.  With a tweak here and a variation here, I can have a different style.  This time, nevertheless, I stuck to the original design and left it unchanged.

However, the best perk is that this pattern fits me like it was designed for my body in mind, and I can use it without needing to adjust anything.  Finding such a pattern in the world of sewing is a real treat.  They’re a true gem to hold onto (and copy!) when you have one, especially when it comes to vintage patterns, as sizing and fit standards have changed throughout the decades, and yet even for today as modern wearing ease can be unpredictable.  For this blouse pattern, I can just lay the tissue pieces out, cut it out, and whip it together, almost like I don’t really have to think much at all to do it.  I suppose the greatest demonstration for how much I treasure this pattern is the fact I have made three different versions of blouses using it, as you will see in the next few posts.  I really have been meaning to make the jumper, too, as I like the rest of the pattern so much!

The skirt was another quickie project, thankfully.  When making your own suit set, even though I didn’t start from scratch for the suit coat, sewing more than one garment to have an outfit can become wearisome by the time you come to the second or third item!  This is partly why I made sure that the skirt was so easy-to-make!  I kind of knew how this skirt would generally run a bit roomy, as I have made the trousers from the same pattern, so I had the assurance of what size to choose to fit as well as really liking the front curving detailing to the waistband!  I also love this skirt – it is a go-to item that matches with lot of other items that I have and has a nice dressed-up look without being too formal.

To make up for my limited fabric amount and to match up the plaid in a more pleasing manner, I went rogue against the grain line recommendations.  Don’t judge me here, please!  I rarely do this and then it’s only when I have thought things through.  The fabric was a tight, rather stiff man-made polyester so it was not going to have much of a grain line from the fabric, so I merely stuck with matching the plaid up well.  In order to fit the two skirt pattern pieces on my yard and s half, I stuck with the same tact as some of my other 40’s plaid skirts.  The A-line shape is emphasized by having the plaid line up horizontally on the side seams, while the plaid miters together at an angle in the middle front and back seams.  For a fabric more drapey, this layout probably would not work as well, but I like making the most of the little of what I had to make an idea work.

The finely detailed and openly-spaced plaid lends an interesting visual texture to the suit set, I think.  At first I wasn’t sure that such strong colors on my top half would overwhelm the muted but busy skirt fabric.  However, the plaid does have the tendency to look weird from a distance in the full shot pictures for some reason!  There is a sneaky bit of turquoise in the plaid actually, if you look up close.

As I mentioned at the beginning of my post, this is the first time I feel I have been able to assemble a cohesive outfit from garments across the entire decade of the 1940s.  The blouse is from the beginning of the era – year 1941 – when many styles were still very 30’s inspired, fully feminine and dramatically distinctive in the decade.  The suit is I suppose from circa 1946, when extra fabric was again allowed, as it has a longer length, flared peplum, and decorative pocket lapels.  The skirt is (again, from my estimation) a little later than the suit, circa 1947 or 1948, especially with the slightly longer length.  It was common for a woman from back then of the 1940s to have worn garments many years old already, but with all the inventiveness, the refashioning, and desire to not publicly show that rationing was putting a cinch in their fashion life, I imagine an outfit that spans 7 years might have been a stretch.

To me, I see set differences every two years at a time in the styles of the 1940s (such as hem lengths, sleeve styles, body emphasis), but I will leave a discussion of this for another time.  I will say that, for some reason, it seems the conventional stereotype for the 1940’s seems to be circa 1945, when skirts were quite slim and under the knee, as if the wartime fashion was the benchmark for the era.  In reality, there was so much variety in the decade that a dress for 1940 compared to one from 1949 would and could totally confuse someone as to how to “do” 40’s fashion.  There was as much going on in history at the time as there was in the garment realm, and so 40’s style can be all over the place!  There is no “one way”, and that’s the beauty of how the 1940’s can appeal to so many people with so many individual style tastes and body shapes.

I always like to respect the style differences I notice in each year of the 40’s because I see it as important to realize the rhyme and reason behind them.  However, my sewing is about personalizing fashion for me – after all I am the one making things – and learning and feeling fulfilled are the greatest perks I enjoy about it along the way.  Thus, I enjoy the fact that I am able to a slightly less predictable style of a blouse from pre-war, and incorporate it with a skirt from post-war, and a suit blazer from the very end of the time of the fighting and rationing.  I certainly did take a very “made do and mend” 1940’s attitude to the pitiful condition of the jacket as I found it!  I hope the original owner of this blue suit would be proud at how I saved it to reinvent a new suit set 70 years later.  1940’s year differences, modern fabrics, vintage tailoring, self-made fashion, and a refashioning mentality have all made peace together with my outfit!

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

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

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

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

THE FACTS:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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