Concert Night – a Burda Asymmetric Buckle Blouse

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

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

THE FACTS:

FABRIC:  a printed 100% rayon challis

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A 1920s Aesthetic for Today

It has been a while since I have posted anything 1920s here!  Unfortunately, part of the reason is not only the fact that the decade’s silhouettes can be hard to love on myself, but also the fact that I want something from that decade to wear today without looking like I am doing historical re-enacting.  It seems to me that something pre-early 1930s can easily be obviously vintage.  I generally love to bring my vintage style into my everyday life and wardrobe in a way that keeps it modernly appealing yet still true to the history of the decade’s fashion.  This is a hard balance to find all the time, which is why you don’t see as much 1920s things in my list of makes…and also why I am posting (with great excitement) about my newest Burda Style dress!

I somehow feel like life is so much more fun, free, and easy in this dress.  There are no closures (zippers, or the like) needed with the bias crossover bodice.  It is a popover dress that is flowing, comfy, unconfining, and freshly different.  I absolutely LOVE the garment make of mine.  It embodies the late 1920s crazed hype that lived life to its fullest – and foresaw many of the modern conveniences (television, computers, etc.).  The late 20’s overdrive (1927 to the crash of 1929) produced both short above-the-knee skirts and many avant-garde inventions that would not been seen for many decades later.

This era of the 20’s had an amazing modernity that I feel has been captured by this dress.  There is a zig-zag print on the skirt to pay homage to the hardened, mathematical form of Art Deco that flourished in the time.  The bodice is a mock-wrap to pay homage to the popular fashions of the few years before (1926 and 1927).  It’s also made from a soft textured gauze which reminds me of the lace, sheer, and interesting fabric bodices of many fashions in the 20’s.  The high-low hem with a fishtail skirt ‘train’ is later, very 1927 to 1929, though (see this post for more info).  All of these years are my favorites to this decade.  So – yes – this dress is a rather accurate combo of everything I love best in the 20’s from an unexpectedly modern source!

THE FACTS:

FABRIC:  a cotton gauze for the bodice, with a poly blend gabardine for the waist ‘belt’, a poly print lined in cotton muslin for the skirt

PATTERN:  Burda Style #118 “Wrap Dress” from April 2015

NOTIONS:  nothing complicated was needed to finish this – just thread and scraps of interfacing

TIME TO COMPLETE:  maybe 30 plus hours…it was finally finished on May 28, 2018

THE INSIDES:  a combination of French, bias bound, and raw seams

TOTAL COST:  This is a project that spanned 3 years, so I do not remember anymore but I know it didn’t cost much with 1 yard for the bodice, and about 2 yards for the skirt, with only scraps left over from these two projects (here and here) for the contrast belt.

My 20’s style dress project counts for my monthly “Burda Challenge 2018”, my ongoing “Retro Forward with Burda Style” blog series, plus the “Sew Together for the Summer of the Wrap Dress” challenge.  Now, you might say this is only a mock wrap and not a proper wrap dress.  Well, yes and no!

The name for the pattern is “Wrap Dress”, for the first thing.  More than that, though, the full ‘lap’, cross-body, tie-on dress that we tend to think as a proper wrap didn’t quite look the same 90 years back.  In the 1920’s, a wrap dress was a garment that was often faking it, with a cross-over bodice, a one-piece skirt, and a sash or tie of some sort on one side to continue the deception.  A mock wrap to us of today was a full wrap dress in the 1920’s.  Not only this, but mock wraps were immensely popular in the decade anyway, even in the blouse or jacket form.

By the next decade of the 1930s, wrap-on dresses were normally a one piece, full tie on garment, closer to what we are used to today, with a caveat.  They were often reversible and considered more of an apron or pinafore like garment meant for housework or grocery errand duty…the hum-drum efforts which only result in sweat and grime appearing on one’s clothes.  Many of these full wrap-on dresses were called “Hooverettes”, after the American president at the time of the Great Depression.  These were like a gloried robe for women to iron easily and look sensibly cute yet incredibly comfy to do all the things that the hard times required of them.  With the rationing of the 1940’s, an easy-to-make full wrap-on dress was glamorized even further to being included as possible for evening looks (with the right fabric).  The 1950s and 60’s widely used wrap dresses with great ingenuity in many of their designs, but Diane Von Furstenberg and the trending Boho Hippy look in the 70’s democratized the wrap dress as we know it today for all shapes, occasions, and materials.  Yet, according to this article, even for Ms. Furstenberg, her early “wrap dresses” started off as a cross-over top paired with a skirt!

Now, for as easy as this dress is to wear and put on, it was one of my most difficult makes, especially among Burda patterns.  As you see the dress now, it is in its re-fashioned form.  Yes, I do re-fashion my own makes…I’ll do whatever it takes to save a project and turn it into something I love!  So, this dress is not the original design – very close but still slightly adapted.  I did make the dress according to the pattern back in 2016 (at left), and it did turn out well after some difficulty with the curved, drop waistband.

However, as nice it looks on the hanger, the final fit on me was less than complimentary.  The gauze had more of a give/stretch than I expected, the dress’ fishtail train hung past the ground on me, and the drop waist back was way below my booty.  I really didn’t like that much of the contrast waistband, after all, too.  I did like the general shape, the colors I chose, and the print/texture combo.  So, the dress had been saved to sit in my “projects half finished” pile (which is quite small, I can brag) for these last two years until I felt I had the right idea of how to re-work it.  No wonder it feels so good to finally wear this!  This dress makes shaking my booty so good looking with such a swishy skirt!

A good drop waist dress should fall (in some small portion) somewhere through the hip area, slightly above the true hip line yet at least 5 inches below the true high waistline.  It technically should not be much below the bend of your body when you sit, from my understanding.  Thus, to ‘fix’ my dress, I figured on leaving the hem alone and making a new straight line (taking out the curved “belt”) across and around the mid-section, parallel to just below the bottom of the front contrast waistband.  I did want to keep a small portion of the contrast “belt” to transition the two fabrics with a solid color and give the appearance of a mock half-belt panel.  It was sure tricky to straighten out the skirt in turn around the back with that amazing bias to the skirt!  In the 1920s, the waistline traveled all over from very low to almost non-existent, but this dress’ waistline is a slightly higher, later in the decade style to match with the skirt.  Otherwise than this re-fashion step, I kept the bodice as it was except for pulling up the shoulder seam slightly.  To keep the full skirt weighted down nicely (so it wouldn’t turn wrong way up like Marilyn Monroe over an air vent) and keep it opaque, I fully lined it.

This dress’ skirt does need a tiny 1/8 inch hem so that it doesn’t get stiffened at all.  At the same time, such a tiny hem on a skirt like this was a major pain.  It might not be immediately obvious, but the length of hemline just seemed to keep going, and going…but all that turns out well in the end is worth it in my opinion.  Do tiny hems wear you out and seem overly tedious like they do for me?

It was entirely my idea to make a long tie piece and stitch it to the left side of the bodice, thereby continuing the mock wrap dress deception!  I especially like how much this little touch adds to the dress.  This is again another true 1920s feature, as most of the era’s mock wraps had ties on the corresponding side to continue the illusory appearance.  To me, the tie also adds a touch of asymmetric that was also so popular in the 1920s.

Somehow it seems so much easier for me to interpret a modern take on the 20’s when I am starting with a pattern from today, versus starting with an old original pattern.  I almost always recommend others to use vintage patterns because I think that they offer so much to learn from and have better details.  However, there are so many modern patterns that have veritable 1920s features if you know what to look for.  This presents two interesting points.

Firstly, here I am saying it’s hard to make an old 20’s pattern look modern, yet I’m also saying that many modern fashions (patterns and ready-to-wear) have very 1920s features.  Perhaps the era between WWI “The Great War” and the Depression of the 1930s has more in common with us of today than we think.  Looking at old fashion plates or extant garments might not make this as obvious as it could be…it just takes the styles of today to give us a new perspective!

Secondly, this proves how important it is to pepper one’s awareness of current styles with a knowledge of fashion history.  A good overall view of the big picture might just be something specific to me as others have told me, but looking around and seeing the beginning of a trend is always a good idea. Actually, style is something that seems to only be recycled over and over again the more one sees.  Besides, often finding the source, or at least seeing the ways a detail is re-interpreted, is fun, interesting, and always worthwhile…not to mention the benefit of giving me more ideas for my projects!  Don’t be afraid to dive into some fashion research next time you start wearing the “newest” thing and find out the reference of where it came from!