“Winter Soldier” Blue Suit Dress

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

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

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

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

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

THE FACTS:

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

PATTERN:  Simplicity #1353, year 1955

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

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

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

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

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

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

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

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

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

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

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

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

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

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“Bright Confetti” Burda’s 1960 Suit Dress

Re-prints of vintage patterns are happily available everywhere nowadays.  Vintage re-released offerings from Burda are fewer than other pattern companies, and they are frequently quite challenging but awesome styles!

My Easter dress this year was one of Burda Style’s re-prints that have been out for a while now.  Ever since I dove into Burda patterns in 2013, this pattern has been one I’ve been wanting to sew – now I finally have made it, and I love it.  It has Paris-influenced details and a style that is put together yet deceptively easy to wear.  This is a year 1960 design of a suit jacket and pencil skirt in the form of a one piece dress…made boldly bright and cheery by using a fun bouclé that happens to remind me of confetti.  Confetti for Easter?  Why not celebrate!

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This makes project number two for the Easter Spring Dress Sewalong 2017.  However, for EasterSpringDress Sew Along Badge 2017those of you that follow my blog, you might have seen I have a ‘tradition’ for the Easter outfit I sew for myself each year.  I think it is an interesting challenge, but I know it probably just sounds weird and even quite quirky.  Starting with my 1929 Vionnet-style dress in 2013, I have been going up in decades (closer to modern times) for each successive year’s Easter dress.  For 2014, I made a silk 1935 dress with a matching slip, for 2015 I sewed a 1944 rayon dress, and then in 2016 I made a 1954 shantung dress and reversible jacket.  Whew!  This ‘tradition’ did make it a bit easier for me to choose what 2017’s outfit would be – a definite 60’s garment.  I blew away a whole lot of things I’ve been waiting to ‘check off’ on my sewing ‘bucket list’ by making this particular Burda Style 1960 garment, though.  It’s from a year which I have not yet sewn from, it is made of a pattern (and fabric) I have long been wanting to use, and it’s a one piece dress to make things relatively easy on myself this year.  Our church’s 1960 era Mid-Century Modern architecture matched perfectly with my outfit anyways!  Here’s to a doubtful but hopeful plan that I might actually find a dressy outfit from the 1970s which strikes my fancy so I can keep my Easter sewing ‘tradition’ going.

THE FACTS:Vintage Bouclé Dress 12-2012 #141

FABRIC:  an acrylic, polyester, ribbon blend novelty boucle lined on a sheer, lime green chiffon with bright pink cotton broadcloth for the facings

PATTERN:  Burda Style #141, released 12/2012, “Vintage Bouclé Dress”

NOTIONS:  Thread, bias tape, interfacing, a zipper, a button, and shoulder pads was what I needed – all of this was on hand already.  The single fake closure button on the dress front is from the stash I inherited from hubby’s Grandmother.

TIME TO COMPLETE:  This was finished on April 12, 2017, after about 20 (maybe more) hours to complete.

THE INSIDES:  This fabric shredded and un-raveled like a sewist’s nightmare!  Thus, all the seams are bias bound.

TOTAL COST:  Ah, here’s the sweet part!  The bouclé was bought when a Hancock Fabrics store was closing in 2015, and so I bought several yards of this for just under $2 a yard.  The lining was recently bought at my local Jo Ann’s Fabric Store on clearance for about $5 a yard.  Put all of that together and this dress cost about $15.  Awesome!  I do have one yard of the confetti bouclé leftover, so unless I share it or ‘donate’ it towards one of the projects of others I know who sew, you’ll probably see this again. 

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So much about this outfit screams Coco Chanel to me.  I mean, my ensemble is primarily pink (even my shoes), the fabric is a tweed-like bouclé, it’s a suit with fringed hems, and the Burda magazine summary says this dress has a French couture influence.  How much more Chanel can one get!  (If you’d like more Chanel pink inspiration through the decades, please visit my dedicated Pinterest page.)  In my own country, the famous first lady Jackie Kennedy wore a Chanel pink suit for one of the most iconic moments in Presidential history, 1963.  I did find that this particular waist tab styling isn’t really new, though, it can be seen in earlier decades looking at both the cover of Butterick #4022, year 1947, and a 1956 photo of Ghislaine Arsac.

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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 off of 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.

I found this pattern’s sizing to run on the large size, but perhaps this is because of the weight of material I used.  This confetti color bouclé does not hold its own shape or keep its own body.  A fabric that does both of those things would be the best way to really achieve the right fit and fake bolero appearance.  I know the pattern’s fabric recommendations say the same thing.  I’ll admit I often disregard such guidelines only to end up with a great finished garment, but they are really is important here.  Otherwise this dress is a more of a trick to make than it has to be.  Perhaps a boiled wool (lined, of course) or a suiting blend, might be ideal…however, the fabric recommendations also ask for a fabric which can fray easily.  As of yet, I don’t understand what would be a fabric that is the best of both worlds.  As long as I made it work to sew this pattern out of my lovely novelty suiting, all is well.  You see, I had been saving this up specifically to make a suit dress from the minute I laid eyes on this in the fabric store.  Some pattern and fabric pairings are just meant to be, like a match made in heaven.

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Of all the features, the front fake bolero ‘closure’ at the waist takes the cake to this design.  It is neat, but was so tricky to figure out and actually get it to appear as a bolero.  I whizzed through the rest of the dress, otherwise, but the front probably took up half or 1/3 of the total time spent.  What was really hanging me up was where to snip and what to do with the ends of the pleats which come into the dress from the front waist tabs.  As I figured out, they get tucked into the facings of the tabs, pulled down (more or less) on each side of the tabs.  I would have taken a picture of what I was doing at this step, but unless you make this dress, it’d look like mumbo-jumbo to show you.  Nevertheless, once I had the front mock closure reasonably correct, I further figured out that the real trick is to pull up the 2 inch wide seam allowance to the front waist and connect it to the top of the tab facings.  This way the bodice sort of overhangs onto the skirt, creating the appearance that there is a jacket over a skirt.  Only when I turn to the side or the back then someone might go, “…wait, what?”  What a tricky deceiver!

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The back part to this dress is very basic to vintage 50’s and 60’s patterns, and even modern ones for that matter, but I find it to be shaped very well.  It is common for me to adjust the darts to these type of dress backs.  I almost always need to fix the bootie and/or the shoulder points of the darts…but not this time.  This was quite a relieving change.  As I said above, the pattern runs a bit generous so perhaps this was the reason for my vacation from fitting adjustments.

There were a handful of relatively small changes I made to the design and/or layout.  I straightened out the skirt side seams – originally they tapered into the knee for something like a wiggle silhouette.  No, thanks!  Rather than a slit in the back of the skirt I made the classic kick pleat vent.  I raised the shoulder seam on the bodice (making DSC_0132a-comp,wroom for shoulder pads) and added in 5/8 inch to the sleeve/dress armsyce at the armpit point so I would have “reach room”.  I also cut the sleeves on the bias for more interest in the directional bouclé and for more “reach room”.  The sleeve length turned out quite long (as in bracelet length) so I shortened them by one inch.  Just to be on the safe side, I added in an extra inch to the length of the hem of the skirt bottom.  I did not do a separate lining for the entire inside, but cut out full pieces (except for the skirt front, which is its own piece) to back the bouclé and be sewn into the dress as a whole.  Finally, rather than cutting strips of fabric, shredding them, and finishing off the edges for the sleeve hem and neck, I merely used the fancy selvedge to the fabric.  It worked perfectly to use to selvedge, and I think it looks better and is more stable than using frayed fabric strips.  I only put the frilly edging on the sleeve and neck (not on the skirt) because (again) I was trying to keep up the whole mock jacket appearance.DSC_0110-comp,w

Oddly, what most impresses me is something you’d never see unless you make this dress or wear it for yourself – the inner lining.  The lining skirt has four darts and is significantly smaller than the fashion fabric skirt with its two box pleats.  This design ingeniously keeps the box pleats loose enough to keep a lovely loose shape.  It’s just like the 1950s and 60’s to have this ingenious fitting technique that’s so understated and disguised.  There is so much more than meets the eye to vintage patterns, and as long as a re-issue is decently ‘true’ to its original design, then more amazing techniques can be done by others to sew one’s very own special design, too.

DSC_0120a-comp,wThe difficult but successful process of making yet another Burda vintage re-print has given me a very comfy and cheery dress that I am just plain happy wearing.  With my adjustments, I am not confined at all in this dress so I can walk and bend fully (to find those hidden Easter eggs).  The design makes me put together with one pull of the back zip (so simple).  Finally, the fabric is a lovely standout mix of colors (just like how spring is to the floral world).  So many times, being in a suit dress doesn’t mean all of those things.  Until I started sewing my own garments did I realize you can have the best of both worlds, if you plan a sewing project just right.  In Vogue magazine for February 15, 1954, page 84, Chanel was quoted as saying, “A dress isn’t right if it is uncomfortable…A sleeve isn’t right unless the arm moves easily. Elegance in clothes means freedom to move freely.”  I like that.  Easter is a time to celebrate and appreciate family, nature, and blessings, among so many other things, and I didn’t want what I was wearing to get in way of doing all the ‘good stuff’ to do.  Another Easter might have come and gone, but now I’ve got memories leftover as well as a great dress to wear again and again.  I hope you, too, had a wonderful holiday!

Belated Easter Sewing – Part Two of a 50’s Suit

This year’s Easter outfit from earlier this year’s spring left me with a lovely year 1954 reversible jacket and an exact one yard of lovely boucle suiting leftover.  Another dress I made this spring (yet to be posted) also left me with another one yard that seemed like it would match well with the suiting.  Humm…seemed like potential just waiting for the making.  I just couldn’t help myself but to continue the mix-and-match properties of the jacket and make a different look composed of separates from ’56 and ’58.  I’m so pleased to get further use out of my fabric leftovers on hand and give my jacket something else to match with.  The 50’s really can provide some effortlessly lovely pieces when you don’t have generous cuts of material!  I feel so put together in this!

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My jacket is was made earlier for my Easter suit (as I mentioned already) from a year 1954 Simplicity #4793.  Thus, if you think about it, my outfit in this post skips every other year through the middle of the 50’s.  I suppose this would be plausible for a lady of the 50’s to do something like this outfit, perhaps she might add to her wardrobe as the years went by with one more simple-to-make piece so as to keep up with the styles of the times.  I think it works well together – especially when I add a vintage headband-like netted hat, elbow length gloves, cat-eyed sunglasses, and my wonderful “Hunter” turquoise B.A.I.T. brand heels!

THE FACTS:

simplicity-1732-year-1956-teen-slim-skirts-front-coverFABRIC:  The boucle for the skirt (and jacket) is a rayon/acrylic blend; inside the skirt is a polyester cling-free lining leftover from on hand in my stash; the blouse is a cotton gabardine (leftover from another project yet to be posted).

NOTIONS:  I had all the bias tape, zippers, interfacing, and thread that was needed

dsc_0172a-comp-wPATTERNS:  McCall’s 4605, year 1958, view B, for the top; and Simplicity 1732, year 1956, view #3, for the skirt

TIME TO COMPLETE:  This was a fast outfit to make – the skirt took me 6 hours and was completed on March 22, 2016 while the top took me maybe 4 hours and was finished sometime in April 2016.

THE INSIDES:  So nice!  The skirt is fully lined and hemmed with bias tape while the top is French seams with bias hems and edges.

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A classic pencil skirt is more or less about one yard of fabric very simply wrapped around and darted to make an awesome basic wardrobe staple every bit as suitable today.  With such a basic design, it’s all the little details that make pencils skirts stand out to me in the 50’s.  This skirt is no different even for being a “teenager” pattern.  Look at all the cute options on my Simplicity 1732 – you can bet you bottom penny that I intend to try that suspendered jumper option, as well as the asymmetric front pleated style.  My skirt version definitely has subtleties – two cute little pointed tabs out of the front waist darts and a triangular closure tab at the center back waist.  Aren’t they cute?!  At least I think so.  Sure they might emphasize the hips but this is the 50’s after all and the top I chose is meant to balance things out.

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My skirt’s tabs co-ordinate perfectly with the tabs on the top.  The tabs are small enough not to make my set too matchy-matchy.  The pattern originally called for one tab at the neckline and one above the hemline.  Since I planned on generally wearing the top tucked into bottoms, I switched things up and had the two tabs together at the neckline going opposite ways.  There’s more interest this way.  However, I suppose I sort of ruined what this pattern really is designated to be – a “Misses Overblouse” as the envelope back says.  The definition of an “overblouse” is “a blouse usually fitted or belted and worn untucked at the waist.”  Oh well, so much for that…the irony of the situation makes me shake my head at myself.  I suppose view C in blue on the far right of the pattern cover is fully an overblouse with its belted-look bottom, all buttoned down.  This just goes to show your sewing is whatever you choose to do with it.  Learn from it, be proud of it, and (most importantly) rock what you’ve made when you wear it!

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The large square neckline is of course the other main feature to this design.  It’s sort of hard for me to wear something this wide and it doesn’t always stay straight or necessarily lay flat on my smaller shoulders.  Nevertheless, it is flattering (so I feel), different, and classic of the 50’s to widen the shoulders and neckline… it also helps create a visual trick which slims down on the waist (always good).  This combo of my skinny skirt and square neck top looks similar some dress designs already out there – Butterick 5032, a reprint of a 1952 pattern, as well as Simplicity 2233, a pattern from 1957 or 1958.  Yet, there is something that still seems slightly 60’s about this to me, too, maybe it’s the cover hairstyles…oh yeah, well it is from ’58.

I must say the top, for being such a simple pattern, was really somewhat of a problem.  Getting the top fitting right was difficult. I kept taking the darts and the side seams in a little at a time again and again in between trying it on until I got tired of this.  The pattern was supposed to be my size and an overblouse is supposed to be fitted but I just couldn’t get this top to really contour to me as well as I would have liked.  Next time I make this (and I do want to try some of the other views soon) I will take out maybe and inch from the center front and back to bring to neckline and darts in more.dsc_0171a-comp

Complicating the simplicity of the making of this top was the pattern itself.  I’ve seen McCall’s patterns between late/mid-50’s until the mid-60’s have this “Easy Rule” feature on them and I do not like it.  There is so, so much type and explanations covering the entire pattern pieces making it hard to see what is going on.  If it is too hard to see the basic stuff like darts that are needed on a pattern what is the use?

There are just a few special touches and tweaks to the skirt I would like to mention.  I did change up the pattern just a bit when it came to the back slit.  Originally the back slit was supposed to be more like a box pleat opening, but I’ve done these before and besides the boucle seemed too thick for something like this to turn out successfully so I merely made a basic, fully opening slit.  I don’t mind showing a bit ‘o leg!  Extra pains were taken to hand sew a blind hem to the skirt…and this from one who cannot do hand stitching.  Luckily pencil skirts have short hem circumferences.  I needed to make a really wide hem – it turned out ankle length before finishing…way too long!  Finally, I enjoy the bright, rich green lining inside the skirt.  The pop of color makes me smile every time I put my skirt on.

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It never ceases to amaze me at what can be made from fabric cuts leftover.  At the same time one can only keep so much stuff on hand.  It’s hard to find the balance of time, ideas, storage space, and places to wear one’s projects.  I don’t really see any one yard patterns offered anymore…unless they’re vintage, especially between the 1930’s and 1970’s.  I think one yard cuts need to be advertised and better known to help us who hold onto our leftovers (and those who have a great fabric stash) go through our store without too much effort!  Even without extras on hand, buying one yard is generally a practical purchase whether the fabric is on the expensive or cheap side of the wallet.  Style doesn’t have to be short because of the amount of the fabric, especially with mix and match pieces.  Do you use one yard patterns, or not?  Do you also sew sets that match?

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“Past Project” Highlight: Two Winter Wool Skirts

Winter’s worst is past where I live but I know this is not the case everywhere across the globe, so here’s a post that feature two skirts for brisk weather.  These skirts were made by me about 10 years back but they still are enjoyed and worn.  They recently even got an upgrade done to the waists to make them even better.  This waistband re-fashion might come in handy for others to try so I figured these skirts deserved a feature here on my blog.Butterick 4803 border print & front overlay skirts

THE FACTS:

FABRIC:  Grey border-design skirt – 100% wool;  Blue toned boucle skirt – wool and acrylic blend; lining for both skirts – polyester cling-free lining

NOTIONS:  elastic and thread with maybe some hem tape or bias tape

PATTERNS:  Simplicity #4593, year 2005, for the blue/navy/black skirt; Butterick #4803, year 2006, for the bordered grey wool skirt 

Simplicity 4593 skirts-envelope front and line drawingTIME TO COMPLETE:  a few hours to make each skirt with just a little more time to re-work the waist

THE INSIDES:  all seams are finished off by a serger/overlocker…these were made while I could use my mom’s Bernina.

These skirts are so cozy and a way to look nice while still busting chilly winds.  The long length looks elegant with the bias of the blue/black boucle skirt while the grey border print one is great for making me feel taller.  Both skirts can be even toastier when worn with long underwear or pants underneath and boots, too.  I know many people reach for pants in wintertime and the fall, but I go for skirts – they rock!  You can still wear your pants or even layer, but with a skirt over them is like having a warm blanket fashionably wrapped around you to keep you warm…and no one knows the better!

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Anyway, both skirts were pretty much made as-is, but I added in full lining as well as my own darts to further tailor the waists of both of them.  The blue/black boucle is a very loose material, but lofty and matches well with many tops, sweaters and suit coats.  The loose boucle goes perfectly with the asymmetric bias panel in the front.  This skirt received one skinny dart on the other side of the waist that doesn’t have a seam.  The grey wool skirt is from a fabric that is thick more alike to felt, while its  border print is embroidered on – not printed.  I remember it was so expensive, but so unusual I had to have it and my mom pitched in, but I only bought one yard (in 60 inch width) with a coupon to help.  This cozy skirt has two long darts that are more like pleats to control the fullness and add interest.  I just can’t seem to leave a garment mint from pattern design without adding my own touch to personalize it.  That’s o.k., this is why I sew my own fashion.

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The waists of both of the skirts had been nicely made but they were just basic casing-style with an all-around elastic gathering.  This was alright for me as I was growing up, but now I want a slightly more refined style and one that I can wear with a top tucked in, perhaps with a belt, too.  So I cut off the old casing and turned under the edge nicely.  Then I put the skirt on and pinched in the sides to figure out how much fabric needed to be brought in on each of the two sides.  Next, I took some wide 3 inch non-roll elastic and cut two pieces into the amount I figured needed to be brought in on each side of the skirt.  Since when you sew elastic down as you stretch it out it ends up longer, I decided to cut off an extra inch to the two elastic portions.  For the first skirt I did this to, I didn’t finish off the cut ends of the elastic before sewing it down, but for the second time I covered those edges in hem tape or bias tape (this is much nicer).  Now, I pin the elastic edges to the skirt, and stretch the elastic out ‘til it’s even with the skirt fabric and pin!  This process was helped by my hubby, otherwise I don’t know how I would have done this without having someone to hold it for me.  Then I stitched the elastic down to the fabric in four rows running parallel to the length of the waistband.  I was able to re-work one skirt waist in just under one hour.

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Now the waist is smoother front and back, with the gathers over the hips (where they end up making nice shaping anyway).  The large elastic stitched right to the fabric makes for very small and unnoticeable gathers which are tightly and evenly spaced.  This waistband also keeps my skirt sitting at my true waist because the elastic seems to sit on top of my hips.  A casing waistband always seems to twist around and droop down on my middle unless it’s quite snug, and this new waist solves these problems.  I’m systematically working on weeding out the old all-around casing waistbands from my past made skirts (such as this paneled micro-suede one) and doing this new style.

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There’s only one small tip to my new waistband method.  Don’t cut the elastic pieces even, cut them like an ‘isosceles trapezoid’ to be exact.  If the upper edge of the elastic that goes along the waistband top is the one with the smaller length, the finished look turns out much better. Cutting the elastic in this shape tapers in the waist for an even smoother finish.  Such a small point does make all the difference.  I didn’t cut ‘isosceles trapezoid’ shaped elastic for the grey skirt, just block rectangular pieces, and see how the top edge stretched out from stitching more than the blue skirt, which does have the special shape cut.

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I see a number of these dated out-of-print patterns for sale in the internet stores (Etsy, Ebay, and other private site sellers).  Just because a pattern is dated doesn’t mean it can’t still have value and be made in an interesting manner…it just needs more creativity 😉

Every so often on my blog in the future I will feature a past project which is still a winner in my book, being worn through the years.  I figure why should just my newer creations get the spotlight?!  Besides, every review or picture of a pattern sewn up by someone has the possibility to help someone else who might want to sew with or be interested in that pattern.  I know so many other bloggers’ have helped and inspired me!

“Spring Green” 1954 Easter Suit Set – a Dress and Reversible Jacket

In a world where amazing vintage designs need upscale occasions in order to be made, what could be a better day than Easter to go all out with pretty pastels and fancy fabrics…complete with an ostentatious hat!

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This suit set pays homage to what I think is the best the 1950’s has to offer in elegant design and interesting details. My hubby’s first spoken adjective for this duo was the term “swanky”. Either way, I so enjoyed the challenge of sewing this dress and jacket, and wearing them is a like an upscale dream. I’m showing off my new best clothes, too, you spring buds and flowers.

This is part one of a two part post set. The jacket, being reversible, can be worn with more than this Easter dress, so part two post will show the other pieces I made to match with the leftover fabrics for a complete four garment ensemble. Sorry if it sounds like overkill, but I really like versatility and using up all the material on hand…besides when an idea strikes, sometimes I have to listen.

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THE FACTS:

FABRIC:  100% polyester shantung for the dress and jacket and a boucle, in a rayon/acrylic blend, for the jacket, as well. A small amount of scrap lining from on hand went into the skirt panel.DSC_0096a-compDSC_0095a-comp

NOTIONS:  I already had bought most of what I needed (thread and bias tapes) to make this set when I decided on it the year before, but I did have to go back for more thread and a zipper. The buttons were already in my stash as were the shoulder pads.

PATTERN:  Simplicity #4793, year 1954

TIME TO COMPLETE:  The dress took maybe 20 hours (maybe a few more) and I spent about 15 hours on the jacket.

DSC_0176a-compTHE INSIDES:  My dress’ insides are all smoothly bias bound while the jacket is reversible, so…no seams!

TOTAL COST:  Both fabrics were bought on clearance at Hancock Fabrics store. Each fabric was dirt cheap at about $2.00 a yard. So, for 1 ½ yards of boucle, and 2 ½ yards of shantung, I spent maybe $10.00 in fabric and another $5.00 in notions for a total of about $15. Not bad! However, one yard of the boucle went towards another garment to match the jacket.

This is another one of my ‘consecutive decades’ Easter outfit. In 2012, I made a dress from the 1920’s (year 1929 to be exact), and year after that I sewed a dress and slip from the 1930’s (a ‘feed sack print’ silk set from 1935). Last year I realized the “hop” up in decades I was doing and continued it by making a 1940’s dress (in rayon floral from 1944). I’m just keeping this “thing” going by making a 1950’s Easter outfit. I’ve already picked out my 60’s dress suit set for next year, with a special hat to match, too. I know, I know, you might be thinking, “What will you do going up to now when you run out of decades?” I’ve thought of that. My sewing plans might be to go back to the 20’s and start over again or even go fashion-forward or futuristic…that will be figured out when I get there.

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Looking at it you probably won’t believe me, but my 1954 dress set is by far my easiest Easter creation. It involved some tricky sewing parts, which I enjoyed and learned from, but nothing that I couldn’t still zip through. This was one Easter outfit where I was super unsure about whether it would fit, whether it would look weird, or if I would even like it at all. Part of the problem responsible for such doubts, I think, was the shantung fabric.

DSC_0140-compArtificial shantung is a new fabric for me to work with, and I am on the fence about it now, too. I find myself impressed with it only as long as it is nicely ironed, so it was hard to tell how it would turn out as I was sewing with it. Fancy appearance aside, wearing a tightly woven polyester that doesn’t breathe is not a very pleasant thing for me unless the temperature is comfortably just right (otherwise I either freeze or sweat to death). Any raw edge shredded like crazy and there is an ugly shiny side to it, as well. However, the nubby side is nice and classy and comes in a lovely, tempting variety of colors at my local fabric stores. The stiffer “hand” to it is fun because it’s something I don’t usually work with, but a bit to artificial in texture. Surely the real shantung in silk is much, much better and I think it (the fabric) deserves another chance to redeem itself to a higher par in my estimation (hint, future costly fabric purchase, hubby).

The neckline of the dress was a tricky spot that actually stumped me for a while. My beingDSC_0093a-comp stumped by a technique only comes around every so often in my projects and I like it. I need to find more projects that threaten my ‘comfort zone’ of sewing skills and push me to figure out something new with a great garment waiting ahead as the motivation. I worked on the dress first, then was confused by the neckline, so I put it aside to make the jacket so as to get a breather. Sometimes walking away from a sewing technique refreshes my mind enough to figure something out but sometimes also it only takes my sitting down and working with it, too, which is what happened once I tried. Pinning it this way and that, I realized you make some sort of tuck horizontally slightly parallel to the top end of the center front seam. What a very smart construction…good for expanding one’s sewing ability.

DSC_0164-compThis dress’ neckline does strongly remind me of another pattern, Burda Style’s 1960 “Vintage Boucle Dress”, except here the same detail is softened in its corners and sent to decorate the waist. My neck fold over detail was at first just kept in place by my pin (which I’m not sure if it’s from the right era but it looks good, I think). Then, I went back to tack down the edges in three small places so I don’t specifically need a pin to keep it closed. Tacking the neck detail does unfortunately make it blend into the rest of the dress more than I would like, though.

The dress’ bodice is cut on the bias with the grain mitering into the center front and back seams. When wearing this I can feel how the bias helps the kimono sleeves, and both the bias and sleeve style make it surprisingly easy to move and reach in. I have larger upper arms, so many cap sleeves, shoulder caps and armscyes (without adjustment) do not provide me enough ‘give’ to do things, but this dress’ bodice is wonderful for me. It also hides my upper arms, tapering them by actually making my shoulder line softer and larger (thanks to shoulder pads, too). The decade of the 1940’s also knew the “large shoulder” trick actually makes one’s waist look so much smaller than reality, but the 50’s took things one step further by widening the hips, too, which is where my dress’ pointed extending pocket flaps come in handy. Appearances are everything for me to rock a proper 50’s silhouette as I do not have “traditional” 50’s proportions like Marilyn Monroe and others of a bigger bust and a tiny waist.

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Speaking of a tiny waist, the skirt portion to this dress is very body hugging – it is a total wiggle garment. Somehow, between the way my hips are hugged in the fabric, the slightly confining skirt, and the high heels I’m wearing, I do end up with a swagger from the bottom down when I walk and it feels perfectly natural. I love it! The skirt does have a rectangular insert panel to the back skirt vent, making it modest and looking more like a box pleat. I don’t do long strides in this dress, but the vent still helps with movement. There are the standard 5/8 inch seam allowances in my dress, so I have room to let things loose if I suddenly decide on less of a “wiggle” skirt.

For the jacket, I couldn’t decide which material I wanted to wear with my dress…the matching shantung or a contrast boucle…so I figured, why decide on one when I can have both! I simply cut both fabrics out of the exact same jacket pieces (in lieu of cutting one smaller as lining). The facing pieces for the jacket were cut out of interfacing and ironed on the wrong (shiny) side of the lime shantung for support along the neck and front edges. Then both jackets were sewn together except for a small hole at the back bottom to turn the whole thing right sides out and roll out the edges to top-stitch them down.

Check out those amazing, unique pockets on the jacket! To me, they look like postal DSC_0158-compenvelopes for letters. They were stitched on the jacket before the two fabrics were sewn together into one because I didn’t want the stitching showing on the other jacket side. My pattern shows two make two pockets, one for each side, so I improvised and still made two, just out of both fabrics with one pocket on each opposite side of the jacket fabric. Now, no matter how I wear my jacket there’s one pocket inside and one outside. The side fold ‘envelope flap’ is purely decorative and the entry for both my hand and whatever my pocket will carry goes in from the top.

The jacket is really surprisingly warm, which is exactly what I need for this year’s Easter. This year, Easter is quite chilly still and rather overcast, but the shantung not being breathable together with the plush loftiness of the boucle makes for a jacket that traps in my heat and blocks out any chilly wind. Didn’t see this one good benefit coming but it’s most welcome!

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No changes were made to the design of the pattern, other than for fitting. I did grade up slightly in the dress for my waist and hips, but did not do the same grading for the jacket. I also switched up the construction method so as to make my dress easier to fit, if needed, by making the entire front and the entire back (meaning both skirt and bodice together) so I could sew up the entire side seams as one continuous seam. Many 1950’s patterns have long back bodice torso lengths for my proportions, so I shortened the back bodice by 5/8 inch. This way I avoid the ‘bubbling out’ of the zipper like I have a hump back all because of too much fabric. After making clothes from every era, it really helps to remember to have some foresight and look out for fitting trends I’ve notice with certain decades’ patterns.

My hair is an attempt at an elegant optional 50’s style of wavy bob. It kind of is similar to a 1930’s style, but the 30’s hair had more waves and curls, especially around the face, Grace Kelly and Frank Sinatra 1956 in the movie High Societywhereas the 50’s had soft waves with either fluff or smoothness for the rest of the (short) hair. The 50’s wasn’t only all pompadour bangs, obnoxiously large victory rolls, gamine crops, and a bouffant. Marilyn Monroe (in the early 50’s, as seen here) and Grace Kelly wore a similar hairstyle (in the 1956 movie “High Society”). If these two ladies can wear their hair like that, it must be alright for an elegant optional 50’s look, even though I kind of did a bum job at imitating. I really wanted to do some sort of fancy top knot or curly/wavy French twist (like in this book re-printed from 1954), but sometimes I can only go with what my hair can do for the day (it has a mind of its own sometimes). Maybe next time I “do” the 50’s…

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Now, if you’ve made it this far in my post…thank you so much! I am quite proud of my outfit which is probably one of the main reasons for being so long-winded, but this project was also quite interesting for me with many special details to share. I hope you like it as much as I do. Do you also like to treat yourself to a new handmade outfit, whether dressed up or down, which makes you feel special? I can’t wait to hear (or see) what you have all made for Easter or spring, too.