Modern Asymmetric Peplum Blouse

I told you a handful of posts ago, in the write-up on my second Easter outfit, that I have been weaning myself off of an obsession with peplums.  Of course, I am biased towards thinking that vintage fashion offers the best peplums, but I just couldn’t resist testing out a new Burda Style one that caught my eye.  Can never have enough of something good, I figured, but this peplum is not a fantastic as I had hoped yet it’s still an awesome casual me-made to reach for over the next several months.  Happily this multi-season (spring, summer, and fall) creation that is loose, comfy, and one of those wardrobe staples which is seeing more wear already than I’ve expected.

Burda really has been offering the best asymmetric patterns over the last several years, and I love such styles.  I enjoy the creativity of asymmetric styles, and generally find them complimentary, yet they are not a commonly seen ready-to-wear design.  Many sewists like me seem to muse that high production manufacturing and the cheap labor such companies employ (so, so sad) does not lend itself to asymmetric styles on account of the single cuts that are necessary and the extra thoughtfulness and care needed to make them.  This is where the benefits of personal sewing come in – you can make things you can’t buy (and make them better)!  Asymmetric styles still take more thought no matter where or how they are made but at least they can be made just the way you like them in your hands!

THE FACTS:

FABRIC:  a 100% rayon challis

PATTERNS:  This top’s design is divided out into two almost identical patterns from March 2019 – Burda Style “Flounce Sleeve Blouse” #111, which has shorter sleeves and a longer hem, while Burda Style “Gathered Paneled Blouse” #112, which has quarter length sleeves and a shorter hem.

NOTIONS:  I used everything I had on hand – black thread, some interfacing scraps, elastic, a hook-n-eye, and one vintage button from hubby’s Grandma’s stash of notions

TIME TO COMPLETE:  This took me only 6 hours to make and was finished on May 9, 2019

TOTAL COST:  As this was half of the fabric ($30 in total cut), my top was only $15

Even though you’d never guess upon appearances, this is really a happy scrap busting project because it is also part two of a really fancy Burda dress I made last year – the Andrew Gn mermaid gown.  Half of the width was the butterfly print I used on the back of that dress…the other half of the width is this blouse now!  It was weird to have fabric leftover in this 29 inch width, and have 3 yards long of it, and the cute and predictable floral print was something rather “meh” for me, so I was excited to use it up on something interesting and experimental sooner than later.  I rather wanted to try a border print for this design like they show on #111, but my border fabrics are too precious to me for trying on something (like this post’s blouse) which I’m not positive from the outset that I’ll like.  There was a slight “border” to the fabric I used, after all – a bright green stripe was the printed division line where the butterfly print and the floral were separated.  I used that stripe as some sort of waist definition.

Ever since the Schiaparelli inspired summer set I made back in 2017, butterfly prints keep catching my eye and popping up in my sewing projects, but the previously posted Burda outfit was made back in 2015 so maybe my fascination with the delicate creature began earlier than I have been thinking.  Anyway, as one small segment of the other half to the fabric was still around, I couldn’t help but incorporate it in some small way!  The right side back that is all one piece (no separate waist seam) has a large butterfly over my booty.  Luckily the waistline was marked on the pattern, otherwise I would not have been able to line up the green stripe in the fabric to make such placement work!

More or less, if I had made this blouse exactly as the pattern directs, it would have been an overwhelming, uncontrolled tent of a top.  I’m not against loose and flowing styles, but I like some distinction to such a top with a whole lotta fabric and the busy floral hid the design lines all too well.  At least I had that green stripe where the peplum meets the waist.  The stripe ends where the peplum panel extends all the way up to the shoulder and gathers asymmetrically into the bodice.  The blouse’s print, as it turns out, goes with my pastel skinny jeans and a few pencil skirts so it’s a win, after all, especially as it pairs perfectly with my grandma’s necklace and earrings, too!

I couldn’t stand just leaving the top as it was, but I didn’t want a permanent solution.  So I had an elastic ‘string’ loop come out from being threaded through the right side seam.  It can bring the asymmetric peplum panel in to a controlled but stretchable and optional fitted look when I take the end of the elastic loop to close it on the matching, indistinguishable button at the end of the front stripe.  Poof!  One little add-on and suddenly I am so much happier with the top, its styling, and fit.  Yet, I can still wear it as it was intended.  No commitment tweaks to fix a ‘problem’ are awesome.  Hubby liked the top as it was, I wanted to change it – so I found a compromise and a great use for a random spare button!  It’s so nice to have to not install a zipper every now and then.

Otherwise than the tweaking the overwhelming peplum, the rest of the top had some slight fitting problems.  The sleeves, that I made basic short style, are slightly restrictive with reach room.  Even the shoulder line is a tad further in than it should be.  The neckline was chokingly close so I opened up by about an inch.  As I said, this was a quick, experimental make that is like a wearable muslin so I’m fine with such little deficiencies that I would never deal with in my regular sewing projects.  Just be warned if you want to try this for yourself to check it out on yourself carefully before cutting.

I did expose the back neckline opening more than directed to counteract the high, fully covered bodice.  The slit opening goes down about 8 ½ inches on my tops back, with a simple hook-n-eye to close the top edge.  I like a little oh-la-la view from the back, even if it’s just a little peek!

This might not be the best peplum I have made but I’m glad to have tried it.  Just when I think my peplum craze is satisfied…nope, something else catches my eye.  It will have to be a really good design to tempt me next…but my defenses for a peplum are still weak apparently, as well as for any asymmetric style.  At least I will have the best peplum collection ever if I keep this up!  I will be posting more of my peplums both here and on Instagram over the next few months.

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Easter Backup – An Easy Sew, Late 40’s Peplum Blouse

Do you ever listen to that “just in case” voice reasoning inside your head?  Well, maybe I was just needing an excuse to whip up another pretty outfit.  You see, I had started this late 40’s peplum project last year’s end of summer and realized (after I cut this blouse pattern out) that I was running out of warm weather time to make it worth my while to sew. Sigh – each season never lasts long enough for all the plans I have.  Nevertheless, I had a project ready to go, just waiting for a few hours’ commitment and nice weather.  What if I didn’t really need another, second Easter outfit?  Whatever…don’t mind if I do.

Now, as my title alludes to, the peplum blouse is the only item I am featuring in this post.  The skirt is something I did make myself, but it has already been blogged about here as it was the bottom half of my 1946 Agent Carter suit set.  It was basically the same pattern as the skirt in with my peplum blouse pattern and this brown one was a great fill-in because it happily matches!  My wide platter hat (definitively bringing this into the late 40’s Dior era), my purse, and gloves are all true vintage items, with my earrings in particular from my Grandma’s old jewelry box.  My fabulous shoes (if I do say so myself) are Miz Mooz brand.

THE FACTS:

FABRIC:  an all-cotton pink printed floral, lined partially in a polyester anti-cling lining

PATTERN:  Simplicity #8463, a year 2017 reprint of a 1947 pattern (originally Simplicity #1928)

NOTIONS NEEDED:  basic stuff here – a little interfacing, a zipper, and thread

TIME TO COMPLETE:  This came together in the blink of an eye.  It took about 6 hours and was finished on March 30, 2019.

TOTAL COST:  The blouse only took just over 2 yards and I used a remnant of lining (free in my stash) so with the zipper (the cotton being about $5 a yard) my total is only $15.

If you have been following my blog, you may have noticed I have had a renewed fascination with the late post-war 40’s since about 8 months ago.  Anything between 1946 and 1949 has frequently been blogged about here lately.  What has also been going on in the background for me since then, is a new fascination for peplums, as well.  I mean I’ve had an interest in peplums so bad it has been almost like an addiction.  Don’t worry – it’s under control now, after a couple vintage dress purchases later, ha!  However, when it came to sewing something that would relieve my ‘fix’ this 1947 Simplicity re-issue was one that of course had to pop up as it ticks both post-war and peplum boxes.

Now, what makes a peplum?  According to the basic google dictionary definition, it is a “a short flared, gathered, or pleated strip of fabric attached at the waist of a woman’s jacket, dress, or blouse to create a hanging frill or flounce“.  However, I find the technical use of it much broader than that.  Especially in vintage fashion – particularly in the post-war 40’s when fashion styles were easing out of rationing into the full-skirted, sumptuous 50’s silhouette – a peplum was frequently only a small detail that emphasizes the hips by evocation (much like this 1949 dress I have made).  It doesn’t always have to be as obvious as the blouse in this post.  What matters is the prominence a peplum places on the hip line.  A peplum achieves that through excess fabric artfully added in the area between the waist and the upper thigh.  That – pure and simple – is a peplum.

I did change the pattern slightly.  I wanted to taper the back half of the peplum into a slightly lower hem with a point at the center because I don’t have anything like that.  Possessing so many different peplums now, I guess I’m starting to become picky!  I also took or just two inches out of the peplum gathers coming into the waistband.  Other than these two customizations, I made the rest of the pattern as designed and didn’t even need to adjust the sizing, which I found spot on.

Yet, there was something I added to help the peplum hang better.  Ideally, this blouse should be made out of something draping or flowing, and that wasn’t this cotton…but that wasn’t going to stop me!  I cut and extra double of the peplum out of my lining to go underneath.  This way it slides over whatever skirt I wear under this top (because it does also match with about two other skirts, anyway).  Another layer, no matter how lightweight, adds a little more heftiness to the peplum helping it hang straight, also making the formerly ugly wrong side so pretty and cleanly hemmed now.  Lining a peplum is definitely the way to go when sewing such a style.

Most of the times I ditch fiddly facings in lieu of bias edging or full lining but I kept them here.  This blouse has cut-on sleeves – kimono shoulders with a cap (as it’s called) look – which dip very low.  This style is very comfy for me with my larger upper arms and give a soft shoulder widening emphasis.  Such an arm opening also makes however you finish the sleeve edges visible…why I stuck with the self-fabric facings.

I love the bust shaping on this top.  This is not the first time I have experienced such drafting.  It is also on my 1951 dark purple slip (posted here).  For this 40’s blouse, though, there is more dramatic shaping, not for any flat chested or very small busted woman.  I didn’t change the neckline depth, and find it a nice in between – not showing cleavage yet prettily open enough for showcasing a necklace.  My little simple single diamond is something I am happy to show off, anyway.  It is quite special to me.  I received it as gift for a special occasion when I was about eight.  So much of my outfits are tied up with memories…

Before Easter is yet another distant memory for this year and summer is upon us, I just wanted to share my other very spring photos of my latest make.  I realize I have been posting so many 1940s creations here as of late and I will share more variety soon, I promise!  If you are on Instagram, I hope to be posting on that platform more of my true vintage original peplum dresses that I have acquired.

Do you have a particular style of peplum that especially appeals to you?  Have you not tried peplums yet?  Is it just me or does my 40’s purse somehow look like an Easter basket?  Let me know – I love comments!

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.

 

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!