“Retro Forward” Burda Style: Kimono Jacket

Why is it that the nicer or the more unusual the fabric is, the more pressure there is to choose the perfect pattern to make something of it?  Sometimes this pressure can sadly prevent me from getting around to sewing projects I would want to pick up immediately!  At the same time, I do try (unsuccessfully at times) to avoid the stereotype pitfalls (such as copying the envelope cover, for one) and stay creative with my makes…true to my own tastes and ideas.  However, I cannot resist some killer vintage inspiration!  This perhaps sort of explains why I made the quick and sudden decision to use a very special and unusual rayon fabric to make a somewhat simple, unfitted, unlined jacket.  Sewing this had went against my normal practices for my sewing, but I love the outcome.

This jacket amazes me by the way I went from each end of the emotional perspective from its beginning being sewn to the final photo shoot.  I started out as very skeptical of the pattern and rather dismissive to the fact that it vaguely appealed to me, only because the sizing was for tall women (which is definitely not me).  Then, finding a Burda Style contest became the other enticement to try this pattern.

After the jacket was done (in one evening, mind you!), however, I was disappointed when trying it on.  Not that it didn’t fit and turn out great – I was tired, it was a late night, and didn’t know what to pair it with, nor did I know if it looked complimentary on me.  After a good night’s rest and a new perspective the next day, I happily found several neat combinations my jacket can be paired with (in this post, a “White House, Black Market” strapless brocade dress is worn underneath).  I finally felt justified for my time, effort, and sacrificing of my precious fabric with my going out on a ledge here.  Besides, I am still trying to have a good relationship in completely liking and understanding peplums, and how they do work on me.  This was like an “I’m getting to know you, peplum” project.  Now, I am actually a bit frustrated in a good way because I love my new jacket and want to find occasions and opportunities to wear it.  This is a good problem, though, I suppose!  Can’t let a new favorite just hang lonely in my closet, now can I?!  Especially not when it’s made of fabric like this!  (Pictures don’t do it justice, by the way.)

THE FACTS:

FABRIC:  A 100% rayon, with a slight, soft, crushed wrinkle throughout.  It also has a dull metallic (like an oil slick kind of sheen) finish on one side with a crepe-like matte finish on the other.

NOTIONS:  I had the thread, elastic, and hook-and eyes needed on hand already.

PATTERN:  Burda Style “Short Sleeve Jacket with Plunging Neckline, #107, 04/2015“

TIME TO COMPLETE:  I only spent about 4 hours to whip this jacket together, not counting taking care of the pattern (tracing and re-grading).  It was finished on July 29, 2015.

TOTAL COST:  This fabric was bought on deep clearance when my favorite Hancock Fabric store was closing.  I bought 2 yards of this fine specialty fabric for only about $5.

The pattern for this jacket can be found in their May 2015 magazine, on the insert page for tracing out or at their online store as a buy-and-download printable PDF file.   It was originally part of the “Design Academy“ Collection” (one of my favorite Burda pattern collections! I have made 4 of them…), but then it was up for everyone to try and make to have a chance to be the new “cover” in their “2nd Ultimate Member Model Challenge”.  If you visit the page for the jacket pattern, you can see that I didn’t win.  Nevertheless, I have my own prize…I was prompted to make something I would definitely not have tried on my own gumption, something that I am glad I have to wear after all is stitched and written!

It is a pattern made in tall sizing, which is one reason why I dismissed it at first as I mentioned above.  However, I figured out the proportions for tall as compared to myself looking over their measurements chart and suddenly the sizing made sense.  What I needed to do was the opposite of the up-grading I’ve done for juniors’ designs – I add in 2 inches between the shoulders and waist for petite and juniors’ patterns so this tall ladies’ pattern needed 2 inches taken out instead, between the same spots.  Folding out one inch at a time in two different horizontal segments did the trick, at the chest and just above the waist.  I did also lengthen the peplum by about two inches as well so I would avoid having it too short to completely cover my hips.  I didn’t want the peplum to pouf out awkwardly, but it’s still so gathered, in the back of my mind, I secretly wonder if it really sticks out like some sort of ballet tutu anyway (so I think in the back of my mind).

Styling can be deceiving, but this is a ridiculously simple and easy to make jacket.  It is unlined, and there are only 4 major pieces to use.  The lapels are all-in-one with the front and only an easy facing finishes it off (I used the matte side for a cool contrast).  There is no expert tailoring needed.  It is comfy, loose and unstuffy yet looks put together and fancy in a nice everyday sort of way (meaning, it can look just as good paired with jeans and a tank or over a good dress)!  This is why I feel this pattern is a good opportunity to use a really nice fabric.  As much as I try to save those complex or even stunning designs for equally killer fabric, this jacket has convinced me there is another option.  Choose versatile and easy-to-make patterns which both will let the fabric shine and will see more use than that special-occasion-only jacket.  Besides, using a simple design makes things more fail-proof, somewhat…or so we can hope, right?!

Kimono sleeves always make for such an easy bodice assembly, great reach room, and complimentary curving for the shoulders.  Kimono sleeves in the fashion world necessarily have no direct association anymore to the traditional Japanese garment that it uses in its label.  Now a kimono sleeve is commonly meant to designate a sleeve that is drafted as one with the bodice, with no armscye, and a deep taper under the arm that usually ends at the waist.  This double interpretation is so ironic especially since the word “kimono” literally means thing to wear” or “clothing”!  As Kimono sleeves do offer a looser arm and bodice silhouette, they were a frequent feature used in many women’s garments of the 1950s.  This is why a 50’s suit jacket in a strikingly similar green was my main inspiration (as seen on the far left, below) which gave me the gumption to use my precious fabric.  It wasn’t the only one, however, the many other wide lapel, waist closure, kimono jackets and blouse-like wraps of the 50’s I was finding gave me the strong feeling that this is very vintage-inspired, which is why I am including this project in my ongoing blog series “Retro Forward with Burda Style”.  Peplums, too, were a preferred feature to the 1950’s when exaggerated hips were wanted to contrast visually with the tiny wasp waists women were expected to have.

However, at the same time, as I said, there is a blousiness to this Burda Jacket – a lack of the impeccable body fit that much of the 1950’s was all about.  So – I also see an influence of the 1980s and early 1990s on its style.  Technically, these eras are now over 25 years old, thus as weird as this feels to me, they are vintage now!  Peplums were also a feature of these two eras, most especially the 80’s, but the clothes in general were a lot baggier…even when they were generally fitted.  Suits of that time were not the impeccable outfit that you were supposed to sit pretty in.  They were unassuming and meant to move with you…the feeling I get when wearing this Burda Kimono jacket.  My preliminary inspiration might have been 50’s, but I think the 80’s and 90’s influence wins out here with the shiny, bright, almost neon green of my jacket.

The most challenging part of the jacket was figuring out the closure method for the double-breasted wrap-front waist.  Not that it was really that hard, either.  It’s just that the elastic gathered waist added an element of difficulty.  The waist seam made its own casing for the elastic when you sew it down, so luckily there wasn’t any more bulk than there needed to be and that was pretty simple.  I didn’t want buttonholes to pull on buttons, or snaps that could pop apart, so I used the most basic hook-and-eyes that I had (about ½ inch, large size 3) to make sure the closures wouldn’t get buried among the gathers.  I used the spring of the elastic to work in my favor here, because hook merely has to find the eye and I let go – the elastic pulls it closed for me!  The first inner hooking was easy because I just had to find a comfy fit around my waist, but with the overlapping second hook it was much trickier.  You need to keep a certain amount of the elastic to still stretch between the two closures to make the waistline seem evenly gathered.

I stuck to the casual feel of the jacket and left the inside edges raw and free, to do their own ‘thing’.  My reason for doing so at first was because I decided to add one more project to the sewing contest as well and I only had one more night to get it done.  Nevertheless, the fabric really doesn’t fray that much but for some weird reason, I – the perfectionist herself – actually like the soft, imperfect, and handmade feel of seeing and knowing those seams are left as they are.  Yes, as I said up at the top of my post…this totally is not my normal sewing practices.  You know, though, it feels good to change things up and gain a new perspective!

Making a style you’re unsure towards is hard enough, then to turn it around and actually find a way to have it work for you is a difficult and satisfying thing to achieve.  For a seamstress, taking the time to make a new style, especially when it needs a tricky size adjustment, or using a special fabric which would not be seen otherwise, is both a perk of sewing one’s own wardrobe and a scary challenge because it opens you up to the possibility of either failure or success.  Luckily this project was a victory, but if it wasn’t, I would have worked my way through it because an idea (and a good fabric) is worth it.  Keep those ideas coming everyone and don’t be afraid to make something out of that notion that popped into your head!  Nothing in the sewing world is off limits to have a crack at if you put your mind to trying and succeeding.

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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!

A 1958 Happy Ending Horror in Knit

As pretty as this dress might seem at sight, this beast was a nightmare to make.  Luckily there is at least a happy conclusion!  I do love wearing this – it totally feels like the best of a classic dress (in a vintage design no less) which is comfortable, feminine, handy (with the pockets), and oh-so flattering!  This is a faux asymmetric wrap dress reissue, first released by Burda Style in January 1958, very applicable and wearable for today.

I did have a different plan for how I intended this dress to turn out for this project but I felt it was best to listen to the fabric and leave what’s well enough alone!  I’ll admit that a good part of the problems I encountered here were because of my choice of fabric.  I hate the fickleness and frustrating delicacy of an all-cotton knit!  But that can’t take all the blame.  You see, I find Burda Style’s vintage designs to be quite problematic and almost always an exhausting near disaster that requires much fine tuning and the outlook of possible tragedy acceptance to turn into a success.  It’s not so much the fault of the garment design lines…I find the problem is mostly with the patterns’ ill assembly and poor sizing.  This is why I stupidly keep using Burda’s vintage designs – because in the end they do turn out a wonderful vintage garment with a modern, timeless feel!

A 1950s Dior-style flower, made by me as well from fabric leftovers of the lining, was sewn onto a clip and became both my matching accessory and color contrast.  My prized vintage style leather Miz Mooz heels tie in the retro feel and provide a neutral tan.  However, the blooming rhododendron bushes (behind me) at our towns botanical gardens sure made me realize that blue is more of a neutral color than I thought.  It pairs well with all the colors of spring!

THE FACTS:

FABRIC:  dusty blue 100% cotton knit for the outside, and polyester interlock to line the inside

PATTERN:  Burda Style #122, “Retro Style Dress” a 1958 design from January 2018

NOTIONS:  All I needed was thread and a zipper, both of which were on hand

TIME TO COMPLETE:  My dress took me about 30 hours, which is twice the time it takes me for a “normal” dress.  It was finished on April 20, 2018

THE INSIDES:  All raw edges are completely covered by the second skin interlock lining inside!

TOTAL COST:  Taking into account that the fabrics for my dress have been in my stockpile for maybe up to 15 years now, I’m counting this project as a free, no-cost, stash-busting success!

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.  Now, prepare yourself for unbridled criticism in the form of a sewist’s horror story.

When I was making this dress, there were so many inconsistencies with the balance marks not fitting quite right and little areas everywhere that needed stretching in the ease just to have everything match up.  I do not necessarily think this was due to faults from my tracing out of the pattern either – I am usually so very precise about being ‘perfect’ at the preliminary stages to a project.  These pattern irregularities make me definitively say that this needs to be made with a knit.  I’m not talking about one with a high spandex content or one that is super drapey.  The model garment is I believe made using a wool jersey.  I can see a quality scuba knit even working out well here.  Either way, I would recommend choosing something with a nice body and a stable give to its stretch for this dress to be a success.  A knit will be more forgiving to the inadequacies of the pattern’s assembly, yet it also needs to be a material that will help this lovely dress keep it wonderful 50’s design.

However, the most glaring and sad shortcoming of the pattern was the way the waist length of the un-pleated asymmetric bodice front was several inches too short to connect to the skirt or even match with the bodice back.  I am mystified at what happened here and want to blame the pattern but at the same time I cannot positively rule out that it was an error on my part.  Either way, I was stuck to adding on a panel swatch to lengthen the waist.  There was no more fabric leftover for another bodice piece to be cut, so an awkward add-on was my only bet to save this dress project.  I do not think it is really that noticeable, although I have called it to your attention now!  It kind of looks like a mock belt to me, anyway, and half of that bodice is tucked under the overlapping one after all.  All I can say is watch out for that spot on this pattern if you try it for yourself.

The mock wrap to the bodice is further unconventional in the way that the left is over the right for my dress.  This is the tricky part about asymmetric fashions there is a very precise right side up to the pattern pieces.  In order for them to specifically be for the left or for the right side they have to be cut with a foresight that justifies the puzzle that asymmetric fashions are.  I traced out the patterns as they were on the insert sheet and assumed they were giving them to me with all the right sides up…not so!  The bodice fronts actually are traced out wrong side up.  Do not put too much faith in a pattern but always think things through for yourself.  That said, I myself am not perfect, and have been struggling with some ill heath lately, so I was not at the top of my game going into this.  Only when I was too far along assembling this dress did I realize how my asymmetric front was oppositely convoluted.  At that point, I felt it was more important to have the pleated half as the top layer of the mock wrap bodice.  I reconciled myself with the fact that this would be a uniquely individual garment, and as long as it turned out I would be happy with the right and left side traditional closing being off.

As if these last problems weren’t enough, I had a mishap with the fabric and was forced to turn my dress into short elbow length sleeves.  I originally intended on the full quarter length as shown, but there was an inkling in the back of my mind that I might not like them.  As traced from the pattern, the sleeves were actually quite longer than quarter length – more of a bracelet length, reaching just a few inches above my wrist.  I felt that such sleeves might overwhelm the dress and make it seem more like a winter garment (it was released in January 1958). However I wanted a transitional cool weather spring dress.  Well, the dress made up my mind for me.

You see, I do not get along with all cotton content knit.  Sure I have several success stories with it in the past (here and here for only two examples).  Yet every single time I use it, I hate it.  I think this blue knit is about the last of its kind in my stash (there’s one more), and when it’s finally gone I should celebrate.  I use the right needles that I should be using (ball tip, for jersey knits), and in the past I have tried every other kind of needle just as a test, and I still get the same sad results.  This fabric for me is a no-mistakes allowed fabric because wherever there is a stitch made, there will be a hole leftover if that stitching is taken out.  It says together decently enough when stitched as long as those stitches are left alone, but even too much stress on a seam and things will get ugly because cotton knit gets runs in it just like pantyhose!  Has anyone else run into these problems with all cotton knit?  Surely I am not unique with this.

Anyway, I had particularly bad hole, leftover from an unpicking attempt, start unravelling the fabric in one of the sleeves a few inches down from where the underarm gussets end.  Well, I had to laugh.  I had been struggling with this dress enough, and still had the entire lining to sew at this point.  I wasn’t sold on the full length sleeves in the first place.  The best fix was to go with my gut and make them short sleeves, like I thought!  I love the length of this sleeve and must say I think it does wonders for the overall shape of the dress.  The sloping shoulders and the gussets are a tad confining, anyway, so the short sleeves make this dress much easier to move your arms in, too!

I did not really make any major or unnecessary changes to the design, except those done to save the dress from ruin.  After all the troubles I had come across, I kept the skirt simple and opted for no back walking vent.  Such a feature would not really work with a knit fabric anyway.  Having a one piece skinny tapered skirt really amps up the curvy silhouette to this dress, after all!  I am not one for popular, stereotypical pin-up styles, but the no-slit skirt is I feel as small nod to those fashions.  I have no trouble walking in it without the leg vent, as the knit is a bit forgiving anyway.  There is a very wide 4 ½ inch hem at the skirt bottom to make as long as you see it on my 5 foot 3 inch frame.

The front skirt details were the most successful and relatively easy part of the whole dress.  Granted the pockets did not fit together very well when I lined up the skirt over the side hip panel.  Big surprise!  But the mismatching pockets actually helped the hip section of the dress to pouf out properly, which in turn disguises how roomy those pockets actually are.  I have already made a dress from the previous decade (one of my Agent Carter 40’s fashions) which had a very similar side front hip pocket style so this must have been a popular feature in the middle 20th century.  I not surprised.  Since when can you have a dressy dress that actually has very useful pockets that are part of the smart design lines?!  Just remember, with this kind of skirt you cannot have a tight fit because not only would that pull open the pockets, but it would ruin the important element of that design feature.  The skirt front is meant to complement the waist by exaggerating the hips (as the 1950s were wont to do) in conjunction with softening the shoulder line by using kimono sleeves and underarm gussets.

One last note that is neither bad nor good – the waist to this dress is quite high.  I didn’t see it on the model until after I realized it on myself.  The high waist on my body is about 2 inches below from the dress’ waist seam, and it looks to be about the same for the model dress from Burda Style, too.  This is kind of odd, and I don’t think that lowering the waistline no more than a few inches would hurt the overall design.  In same breath, I also would like to say that much as I’m not crazy about the higher waist seam, I actually think it does this dress good.  Many 1950s dresses or tops with kimono sleeves have them so deeply cut that they are supposed to taper right into the bodice at a high waist (such as on this dress of mine), thereby shortening and widening the top half of the female body (image wise, granted) and overemphasizing the hips by not just padding, pleats or what not, but also by starting at a high hipline. Even though the 1950s were heavy on the body mage crafting, especially when it came to employing torturous undergarments to achieve that idealized shaping, the general silhouette can still work well today on many body types.  Accepting and embracing our womanly curves and shaping with fashions that delicately, thoughtfully compliment them (such as this dress) is empowerment at its best.  It is the 1950s finding its modern freedom of re-interpretation.

When I was planning out what fabrics to use for this dress I had these grand plans to add cut-out floral designs to the bodice and skirt hem of the dress.  These designs would have been in the style of the amazing Alabama Chanin – see what I mean here.  This is the primary reason why I used my lovely peach remnant of interlock as the lining.  I expected the peach lining to show through when I would cut away the dusty blue top layer.  I do enjoy how the little bit of peach peeks out from the seam edges along the pocket tops and bodice wrap neckline!  It’s like a sneaky peek hint of the time I spent to make the inside just as pretty as the out, besides being a fun and unexpected color combo.

After the dress was done, I sort of like the chic simplicity of the design as it is.  Is has a refreshing appeal that can be made a bit more casual or dressed up with the right accessories, and a clear asymmetric design that would be detracted from with any other added business going on.  Besides – the way the fabric frays and comes apart I was definitely not doing any unnecessary cutting!  My dress was done, it was lovely, it fit me and I saved it from way too many near disasters.  Most importantly my sewing sanity was still intact.  I’m smart enough to know when to stop with the ideas…most of the time!

I do hope I haven’t scared you off from trying this pattern for yourself.  Rather, I would hope this post might be regarded as equipping you to succeed if you try the pattern.  The 1950’s are indeed at decade of lovely fashions, and I think this dress is a really easy way to wear a truly vintage look without appearing to be in a retro style.  It’s like vintage blending in with the modern world, and this is the styles I love to find.  Our fashion of today is often lost and misdirected in the whirl of four seasons a year of new fads, new ideas, and attempts at creativity.  Sometimes we just have to slow down, look around back to where we came from and let those smart fashions been seen right in front of us, where they have been all along…in the past classic styles which have never gone out of season, never needed updating.

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!

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

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

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

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

THE FACTS:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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