1941 Convertible “Pinny”

Sorry, but this is not a name for an unusual kind of motor vehicle, it’s just referring to an unusual, yet very useful and attractive kind of garment which I have made!  I now have a pinafore dress whose “top can come down”.

Don’t take that the wrong way – all I mean is that this 40’s pinafore has been made so that it can come apart to be two separate wearing pieces if I so desire.  After all, as much as I unabashedly wear this pinafore set out and about, I’ll admit it’s not something I’d want to wear in its entirety in every social setting.  This way, I really don’t have to change completely…just change tops for a new and updated look.  Such a dress, made the ‘convertible’ way, completely transcends the almost 80 year time gap, making it truly something that is ultimately useful and sensible…the goal of a pinafore anyway.  I believe I have nailed a way to bring the pinafore to the modern wearer.  I managed this outfit all on 2 measly yards, too.

Guess what makes this even more up-to-date?  There is a hidden division to this pinafore where the top and the skirt attach at the waistline – above it is authentic to year 1941, below it is a modern Burda Style pattern.  Together, they both complement one another to the point that they even the other out, like a good marriage.  I see the modern bottom making the vintage top more like a trendy “Shabby Chic”, and the ’41 pinafore top bringing out subtle past references from the current design.  Separate, each of the two pieces work well with others (in my wardrobe I mean) making sure one or the other sees the light of day more frequently than not.  As much as I make what I like, I do always try to make garments that are still practical on some level to keep things from just hanging in my closet.  After all, there’s no use in making something to wear if you won’t wear it, right?  And remember – having the gift of sewing open up the opportunity for limitless ideas and customization.

If you haven’t seen my previous post, or if you haven’t encountered this weird ‘thing’ I’m calling a “pinny” (which is short for pinafore), I’d recommend you head on over a read it, please, for an explanation. Face it, a pinafore is smarter than modern clothes anyway, because at least it has giant pockets that really do fit a smartphone (little would a woman of the 1940’’s have guessed such a use)!  It’s every bit just as comfy, probably more so in my estimation, and a lot more fun!  Finally, the way I made it, all I can say is thank you to the person who invented snaps and hook-and-eyes, however, because otherwise this two-piece dress would not have been possible!

In most pictures, I am pairing the pinafore with a vintage rayon scarf to keep my hair in place, and a vintage necklace of mother-of-pearl oblong beads with matching mother-of-pearl carved earrings from my Grandmother.  My newest favorite shoes, lovely Re-Mix “Dara” 40’s style wedge sandals in burgundy red, are a comfy and colorful option for casual class!  I am also sharing some other photos of just a few of the endless outfits that match with my new favorite me-made – this pinafore!

THE FACTS:

FABRIC:  2 yards of 100% rayon challis floral in rose garden print, with a solid navy 100% cotton broadcloth for lining the skirt pockets and underside of the pinafore top body

PATTERNS:  Advance #3152, year 1941, for the top pinafore bib half, and then Burda Style’s “Pocket Skirt” #105, from February 2017, for the bottom half

NOTIONS:  I used a card of size 2 snaps as well as 4 of those flat, slide-closed, waistband-style hook-and-eyes around the waist.  I used PLENTY of navy thread, and a little interfacing along with some mesh netting as another kind of stabilizer (more on this down later).  There is a vintage metal zipper for the pinny bodice, and a modern zipper for the skirt (even my zipper choices attest to the fact of which part of my dress is vintage and which is not).  Everything I used was extras on hand and came from my stash.

TIME TO COMPLETE:  This was made in July 2017 in about 15 to 20, which is not bad at all for all the gathering and extra trouble to make this into two separate garments.  This sound cliché, but to tell you the truth I wasn’t really counting time because I was enjoying myself…until it came to the snaps and hooks…ugh!

THE INSIDES:  So nice and clean!  All seams to the whole dress are either covered by fabric facings or in bright, rich burgundy red bias tape.  I do love the flash of color the bias tape gives when my tiny hem is seem as my skirt blows or I sit and bend over.  Surprise!

TOTAL COST:  This fabric was bought from Jo Ann’s store for about $12 and the cotton was just a few dollars more.

After my recent jumpsuit that I divided up into two pieces, I kind of knew the premise of how to make my pinafore a two-in-one.  The biggest complications were the facts that both top and skirt of my pinafore needed zippers, and the droopy challis wasn’t going to cut it as stand-alone ruffles without a supple support.  The skirt was whipped up first – practically a few hours in one afternoon – and then the pinny came in second.  As I was making this pinafore, I was severely doubting whether this was a total waste of time.  I’ve never really made a pinny before, unless you count my Dorothy from “The Wizard of Oz” apron, so how did I know that I would love it once it was done, tried on, and accessorized?

The pinafore pattern I used was in a size too big for me, and, from my experience, smaller brands like Advance run on the large size.  However, as this should also have the capability to be worn over a blouse and be loose and comfy anyway, I only cut off 3/8 inch (the seam allowance amount) from the side seams and it still ran roomy with my sewing in ½ inch allowances.  I went a size up than my “normal” Burda Style skirt size, to match with the roomy waist of the pinafore top.  The generous waist pulls in nicely with a belt when worn alone, and doesn’t need pulling in when it’s attached as part of the whole pinny.  The awesome belt loops save the middle of my divided pinafore.

Technically I could count this as part of my ongoing “Retro Forward with Burda Style” blog series because the skirt’s lovely arched pockets have continuous cut-on belt loops for the waistband much like several 40’s patterns I have come across.  Advance 4344 or Vogue 7519 have very similar pockets.  I faced the entire wrong side of the pocket in the navy lining cotton, and it’s a good thing because the pockets have a wonderful flare out to add shape to the skirt silhouette besides also making sure they don’t get lost amid the rest of the busy print.  I added a center back belt tab to the waistband as well, to make sure wearing a belt actually keeps things in place.

Those awesome ruffles are hiding a neat trick I tried out for a new kind of interfacing.  In order to make the rayon challis keep its shape without the stiffness or fuss of applying interfacing, I used wide mesh tulle netting.  I’m talking about that see through stuff that is in a million different colors, and is formed in honeycomb design.  I bought some already to use as crinoline for another project, and it worked well.  For the pinafore, navy tulle is in the front center and back center panels of the bodice, sandwiched in between the rayon and the navy cotton lining, giving the body a nice semi-firm bib fit which would gently keep its squared off shaping.

There is a layer of tulle in each of the over the shoulder bodice ruffles, as well, in between the lining and fashion fabric similar to how I did it for the body panels.  Because I under stitched the ruffles’ outer seam allowances to the lining cotton, the outer edges are thread free, clean edges.  I was initially worried at how the tulle would gather along with all the layers in the ruffles, but sewing them was no harder than any other gathering I’ve done.  The trick to having the ruffles lay perfectly over my shoulder, away from my head, was to direct the seam allowances the right way for this on the inside and then invisibly “stitch in the ditch”, through all layers – floral rayon, tulle, and cotton lining – at the base of the ruffles to keep everything in place.  Keep in mind the pattern never said to do most all of these steps that I’m explaining – the tulle interfacing, lining the ruffles and bodice, and even stitching through the seam lines – but my pinafore top is so much better for it.  Sometimes overthinking can get me into trouble, but this was a case of merely thinking a project through, I believe, from how well my ideas worked to improve some potential ‘problems’ with my fabric choice.  Sometimes, I do believe sewing is truly a branch of engineering.

I can find no clear explanation for the very frequent use of ruffles on pinafores, other than the fact that it probably comes from their relation to both the child’s garment as well as the folk-influenced fashion of the dirndl.  1940s pinafores, peasant styles, and dirndls all can employ ribbons, lace, rick-rack, felt appliques, or embroidery for optional decoration so ruffles on a pinny were probably added for the same reasons as the rest of the embellishments.  Remember that even though a fashion dirndl is officially a skirt, the Germanic form does include a bib-suspender combination which unifies the whole thing, and the blouses to be worn under them could have the frills instead.  Peasant blouses and dresses can be somewhat obnoxious, oversized, and frilly like a pinafore, too, besides the shared fact that the adolescent crowd made them popular.  Even if adults wore these fashions they were supposed to bring on a ‘youthful’ connotation.  The cross-over is unexpected perhaps, but worth consideration, I believe. I’m guessing, though, the use of these embellishments for a pinny could merely stem from the simple desire to jazz up a basic garment meant for work and maybe play.

The system I devised to close and connect the waists of the two-individual pieces into one might look and sound like a convoluted mess – but really it’s not!  Both the top and the skirt each have their own side zippers, with a hook closing tab at the end like any garment.  The bodice closes on the right while the skirt closes up the left so that the two zipper wouldn’t end up overlapping each other.  In between the two sides of my waist, is a predictable pattern of two snaps and two hooks as well for each front and back, with one extra under the center back skirt belt tab.  That’s about 9 extra closures!  All of this hand sewing and measuring needed for this finishing of the horizontal waist band connections was such a pain in the neck, I really was gritting my teeth not to give up on my idea completely.  Finished now, I’m in no hurry to do this again but as much as I love the versatility of this divided set, my guess is that I’ll do this kind of thing again soon enough.  Many bib-style pinafores were button on and off in the 1940’s, but I wanted something that would give a stronger hold like the combined effort of hooks and snaps.

You might be wondering, “How does she get this thing on like that?”  Quite simply, much like any dress, except that the front waists are hanging separate and the back waist is still connected as one.  Once on me, the bodice is zipped up, the front waists are connected together around over to the other side of me where the side skirt zip is then closed.  Nothing quick, but it’s not complicated or fiddly – just methodical and definitely sort of a unique experience.

If you follow my Instagram account, you might have seen back on March 14, I posted a picture crushing over this dress’ fabric right after I bought it.  Then, I planned on pairing it with an orange/peach coral toned polka dot cotton for a matching blouse.  Yes, I still am holding to my plan – it’s just that with so much else to pair this dress and its separate pieces with, I’m in no hurry now to make the polka dot blouse.  When I do sew it up, which I plan on that being no later than spring of next year, it will be made using a vintage Simplicity #4734, year 1963 “action-back” bowling blouse, to totally see how far this set can work with any decade of fashion.  I have high expectations it will work…this set keeps amazing me.  It literally works with just about anything and has unlimited styling capabilities.

Hollywood has not shied away from using pinafores on their best actresses with amazing, complimentary success.  The 1940’s seems to have the most instances so I will focus on actresses and films from this era, with half of my inspiration in this pinny post, and the other half in my next.  First, the cheery and beautiful Donna Reed can be seen in a 1940’s picture wearing a pinafore dress very similar in style to my own.  Next, there is a lovely Loretta Young who wore a classy and dignified long length pinafore in the political version of a Cinderella-story movie, “The Farmer’s Daughter” from 1947.

Finally, the best I saved for last – the 1942 movie “The Major and the Minor” with Ray Milland and Ginger Rogers.  This hilarious film has the best and the most examples of pinafore wearing in any movie I’ve seen yet – I counted at least 5!  What I appreciate about the pinafores in this movie is the persona Ginger Rogers puts on with the pinafores she wears.  Most of the time her pinnys are worn when she attempts to be mistaken for a 12 year old, but towards the end of the movie she dons a pinafore smock to be mistaken for her own mother!  Being an awkward, no-makeup wearing pre-teen is not something anyone can think of as being the elegant Ginger Rogers, but her talent is supreme, so her pinafores ended up giving me a good idea of how a pinny is youthful, but still can be styled well enough for an adult woman to be charmingly complimentary.  I see the sheer plethora of pinafore styles (each of them is different) as a tribute to her face and figure, the costume designer, and the fun, playful theme of the movie.  I am amused at how a slightly different style of pinafore is used to designate her as being dignified, comfortable, and respectable older woman – different pinafores for different duties and different places in life.  How interesting – I wonder if this was the case in real people’s social world, too!  Either way, thank you, Hollywood for helping my inspiration!

For some modern options, Simplicity Pattern Company has recently been offering pinafores, smock dresses, and apron-style garments with the Dottie Angel patterns, such as #8186, #8230, #8438, and #1080.  Even Burda Style has an apron-style top – Pattern #132.  For more pinafore inspiration throughout the past decades, please visit my Pinterest board.  Until then, my next pinafore post will be following soon!

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The “… So Many Raindrops” Dress

This might be weird to make a parallel, but rain is kind of like sewing to me – it’s refreshing, relaxing, beautiful, sometimes messy, but always the water for creative growth.  So why just stay inside on a rainy day?!

Perhaps it wasn’t the best idea to go out in a pouring, thundering rainstorm in a white dress (of all things, va voom!) but I didn’t want the wet weather to ruin my plans for wearing my newly finished project that weekend.  The print does remind me of raindrops, after all, trickling down, beading up as they occasionally do, while they take their gravity guided course.  This was my first light colored, early summer worthy garment that I made for this year.  It is a Burda Style dress with subtle, but interesting design features that was as easy to sew as it is easy to put on, all of which I really appreciate.  This might not be my best dress for this year, but it is a comfy, different, pretty dress that is versatile…and it’s out of my favorite material, rayon!

THE FACTS:

FABRIC:  100% rayon challis, a Kathy Davis Designer brand print, bought from Jo Ann’s Fabric Store

PATTERN:  Burda Style #102 A, Tie Waist Dress, from March 2016

NOTIONS:  Nothin’ but white thread, a small scrap of bias tape, and a hook n’ eye!

TIME TO COMPLETE:  The dress was whipped up one afternoon, May 25, 2017, in about 5 hours!

THE INSIDES:  All French seams…

TOTAL COST:  Maybe $10 to $12

I have been seeing this style of a loose, knee-length dress with a side seam attached waist tie offered here and there through other pattern companies throughout this year (see New Look #6519 for one example), but Burda did it first in 2016 with this pattern.  In my opinion, I like this version the best, out of all the look-alikes I have seen.  And yet, I am not used to a dress that does not have a whole lot of fitting, so even though I wanted to whip up a version of this the minute I saw the pattern on the cover of the March 2016 magazine, I was unsure.  With the dress pattern simmering on the back burner of my project queue, it eventually won out, as I suddenly decided this spring season to cave in when I saw what I (finally!) felt was the right fabric for the design.

All the fullness is in the front.  This includes the fanned out pleats in the neckline and the excess which allows this to be a pop-on, no closure dress which is pulled in by the waist ties.  However, the back is so slim, trim, and fitted with darts, with a shaped waistline and small knife pleats at the neckline for shoulder freedom – it’s like two different dresses front and back!  The wrap-around bottom band unifies it all in my mind.

Rain water flows horizontally for a city dweller like me when it’s rushing through a street gutter, so the bottom panel has the blue “raindrops” running opposite the rest of the vertical direction on the body of the dress.  I also choose the same horizontal layout of the ‘rain print’ for the set-in waist ties, like a little rivulet running through my middle.  (I know I have a weird rhymes and reasons for my sewing choices sometimes! Whatever feels right inside!)  The print is so low-key, this play on thought process and the direction of the print is not as apparent as I would like, and yet I think something dramatic (like bold colored crazy stripes) would have been too much…so, I’m generally happy with it the way it is.

The best part to the dress is what I changed, in my opinion!  I extremely simplified the design by eliminating the center back zipper, opting for a front neckline closing instead.  It is just a strip of wide bias tape, stitched in a loop, snipped through and turned under with a tiny hook-and eye at the top corner hidden under the facing edges.  Besides making this dress quicker to sew and get dressed in, the front slit placket keeps the closing easy where I can see it, as well as freshening up the very high and conservatively designed neckline.  I decided after cutting out from the fabric to do this closure-free adaptation, otherwise I would have cut both the bodice back piece on the fold to eliminate the seam where the zipper was designed to be.  It was still a good thing that I cut this dress pattern out the way I did because I had enough left over to squeeze out a much needed new pillow case for my side of our bed!

I’ve never seen sleeves like these that have a shoulder cap with a shaping dart to get a curve over this angle of the body.  The darts start from the shoulder seam end and taper into the middle of the upper sleeve.  This is very interesting and different, yet not as effective in shaping after all as I would have thought.  However, it’s always nice to have a change and try something different!  In hindsight, I now wish I would’ve checked ahead of time and adjusted the overall fit of the shoulder and sleeves.  The shoulder seam is a bit short compared to the somewhere in between generous and spot-on fit of the rest of the dress.  I also wish I had given myself more reach room under the arms.  If you make this pattern, I suggest you raise up the side seams and make the sleeve seam longer at the armscye (maybe by about ½ to 1 inch) to have full movement for yourself.

To more than make up for any ‘meh’ feelings toward the dress, I paired it with some awesome accessories that are favorites from my wardrobe.  Firstly my necklace is from my beloved Grandmother’s jewelry collection, and it’s just so different – I love it.  My shoes take the cake though.  They are all leather, inside and out, and Clark’s brand so well made and so comfy.  These are something I splurged and bought for myself (much to my mom’s dismay) with my birthday money, about 17 years back.  Sorry mom, sometimes that monetary gift cannot be saved when a one-of-a-kind pair of shoes comes one’s way!  I think this was my first major indulgence in my taste for interesting shoes…and these take the cake. Why? They actually have jewels set into the bottom of the already decorative sole. Yasss!  I must admit I do like to kick up my heels, cross my legs, and overall let the soles be seen when I wear these, judiciously I might add, but I do not save them…they need to be enjoyed!  Hubby says these shoes remind him of the words in a song by Paul Simon, “People say she’s crazy, she’s got diamonds on the soles of her shoes.”  Thanks.  No, but this is not the only way I’ve accessorized it – every time I wear it (which is frequent) I have tried different jewelry, shoes, sweater (or jacket) combos, and even tie the belt differently.  This dress is like the unlimited “I can go with anything” go-to dress that just keeps making me glad now that I made it.

On to other tunes that I do like and cannot help but sing when I wear this dress –they are “Raindrops” of 1961 by Dee Clark, Enya’s “A Day Without Rain” and her “It’s In the Rain”, and finally (my favorite) Engelbert Humperdinck’s version of “Raindrops Keep Falling On My Head”.  And then there’s the amazing “Isn’t This a Lovely day To Be Caught in the Rain” with Fred Astire and Ginger Rogers. I know there’s plenty of other popular classics which mention rain, but these are my personal picks!

Just like a living thing cannot go on without water, just so I seem to survive in a different way on the creativity and self-expression that the outlet of sewing has to offer.  This is why it makes total sense for me to combine rain and sewing in one project.  I’m surprised I haven’t done this combo earlier!  Perhaps this post can even encourage you to not stay inside on that rainy day, but get out and make the most of it…just don’t necessarily wear white in it like me unless you really intend to!

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“Retro Forward” Burda Style – V-Neck Jersey Top

True 1930s patterns can be expensive, fragile, simplistic in instructions, and in a size that will not instantly fit – therefore not appealing to everybody.  Thus, I love it when a modern pattern comes out which is sneakily a true vintage design.  This Burda top is one that falls in this category, which is why it is part of my ongoing “Retro Forward with Burda Style” series. On its own it is a great design.  However, if you look to the past for verification (see this board for that), and add in an awesome sleeve adaptation (like I did) to suit both the 30’s styles and the 2017 “Year of the Sleeve”…you have modern does vintage (or is it the other way around) so seamlessly.  Yet this is not stuffy.  It’s every bit as elegant as it is as loose and comfy as a relaxed summer peasant tunic.  I’m extremely happy with this project!

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This project is perfect for me to count it as part of the “Sleevefest 2017” hosted by ‘Valentine & Stitch’ as well as ‘Dream, Cut, Sew’.  I re-drafted a very boring and basic sleeve into something elegant and detailed to match and complete the garment’s design sleevefest2017 badgeand era from which it seems to harken back to.  I always admire how the 1930’s were so rocking awesome at not forgetting that sleeves can have details, too, and add greatly to the overall rest of a garment.  After all, this is the era that had patterns specifically dedicated to offering many versions of sleeve styles to choose from and make for substituting in other garment designs.  Why not have elegant sleeves when our arms are something so useful, so full of movement, and so graceful in retrospect to the rest of the body?!  Bring on the sleeve drama!

This is by no means the only dramatic sleeve I have made this “Year of the Sleeve”…I am just behind on posting so many projects, so look for me to be leaking snippets of other garments with fancy sleeves on my Instagram!

Burda Style V-Neck Jersey Shirt, 06-2010 #108, line drawing & garment exampleTHE FACTS:

FABRIC:  a weightlessly thin polyester interlock knit with a satin-finish

PATTERN:  Burda Style pattern #108, from June 2010

NOTIONS:  Nothin’ but thread was needed…and I always have that handy here!

TIME TO COMPLETE:  The top was finished on March 29, 2017 after only about 5 hours

TOTAL COST:  Two yards of the jersey cost under $10

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 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.

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My base for my re-draft was the original pattern simple sleeve, after extending it to a full long sleeve length (it is bracelet length, otherwise).  Then, I used this very technical sleeve hack plandiagram which I found off of Pinterest as my guide for my re-draft.  (You can see more re-drafting ideas that I like and plenty eye-candy images of lovely sleeves in my Pinterest board.)  I paid close attention to measurements and proportions in the diagram and I am impressed at how perfectly the finished sleeve turned out.  Please note that the gathers are not a separate panel but are merely an extension of the sleeve – they taper into it from a dart.  I actually ended up making the final version of my sleeve with a double-long cuff so that I could fold it in completely on itself.  In other words, below the gathers, the end of my sleeve is doubled up for a substantial support to the sleeve, one that beneficially weighs it down just a tad.  I love to use my sewing capabilities to achieve exactly what I want!  I know this sounds terribly selfish, but I see it as fulfilling in reality something which previously existed in my head…which gives a very satisfactory and relieving feeling for me!  What I picture sometimes and what really ends up doesn’t always match…

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Even with the sleeve change, this was a super quick and quite easy to make project, especially as I was working with a knit that needed no finishing inside.  The only slightly tricky part was the V-neckline’s bottom point – it’s also were the front panel ends.  As long as you break stitching of the bias band facing on either side of the center, and not stitch in one continuous V, it works.  It still was a bit fiddly there.  Making the front panel lay nicely required some hand stitching at strategic points and plenty of steam from the iron, as well.

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I did go up in size from my “normal” fitting number with other Burda patterns to make this top.  I felt that a form fitting top would ruin the front gathers somewhat but even with stitching a bigger side seam allowance, my blouse is still generous.  I never really found a nice in between baggy and tight fitting for this top, but I’m ok with the looseness, for it feels very comfy and drapey, as if it is really only a play/casual top.

I paired my top with my Grandmother’s vintage jewelry and a white linen skirt for a real summer tropical theme.  My Grandmother’s jewelry is, as far as I heard, something she bought one time was in St. Augustine, Florida, circa 1950’s.  However, it seems to fill   in the wide open neckline nicely, add fun colors, and even look very similar to actual novelty vintage jewelry from the 1930s.  Our pictures were taken in a tropical conservatory in town, so with the humidity and rare, exotic plants and wildlife inside, I really had a true warm weather tolerability test in my top!  The interlock knit is light as a whisper on the skin and the long sleeves keep of both bugs and the sun’s rays.  Needless to say, my top passed with flying colors, or should I say turquoise, white, and pastel colors!

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Courage, Compassion, and a One-Shouldered Jumpsuit

Inspiration for my sewing comes to me from some unexpected places, sometimes.  For this outfit, it’s mostly coming from the new Wonder Woman movie but also (on a practical level) this month’s Wardrobe Builder Challenge of “Vests, Shorts, Playsuits”.  Both inspiration sources have inspired me to get my courage on and try something I’ve formerly avoided – a jumpsuit.  I went all out with my first jumpsuit and chose to make a real statement piece, using a pattern from one of Burda’s designer features, and even sneakily dividing it up so both top and pants can be worn separately to maximize my options.  I am quite taken by this outfit!  I really get the good and interested looks around me when I wear it.

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About my main inspiration, there literally hasn’t been anything since the Marvel television show Agent Carter that has had me so excited, inspired, and willing to become entrenched in the culture like the new Wonder Woman movie.  If you follow me on Instagram, you might have seen how I went all out when I saw the movie on opening night!  What I most admire about Wonder Woman is that her compassion for others only makes her more powerful – and her strength adds to her beauty in a way that has depth and character.  Her courage is innate, as is her compassion, so she breaks boundaries and expectations – it’s part or who she is and what she feels she has to do!  Her care and concern for others is her driving force, sadly at the expense of herself…much like Agent Carter.

Wonder Woman amazon logoThat said, a full-out Wonder Woman outfit will be reserved for this Halloween.  Until then, I wanted sew something “everyday wearable” to channel the Grecian/Ancient Italian-influenced look Diana had on her Amazon island paradise.  What better way to do that than to choose a design from Dimitri Panagiotopoulos, a half Greek and half Italian designer who founded his label in 2007, featured in the Burda Style April 2017 magazine.  He lets the heritage of his culture influence his lovely designs, and his styles are meant to evoke strength and confidence in a feminine way.  I love how this jumpsuit is so glamorous, bold, yet relaxed all at the same time.  This jumpsuit does take a certain courage and self-assurance to wear, I’ll admit, which can be kind of hard but is also empowering.  What a perfect design and designer to sew a modern day ‘Diana’ outfit!

All it needed was my Wonder Woman armband and head crown to complete the Grecian and DC influence!  I will revert to the fact my son wanted me to buckle and buy the armband and headband set because he now sometimes calls me Wonder Woman…what can I say, I’m soft.  Not to brag but I do think I somewhat look like her put together like this!

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I wanted to slightly call to mind the 1970s jumpsuits as well by wearing my Grandmother’s nice Trifari brand vintage jewelry (jet cabochon necklace and palm leaf earrings) with my sling back, peep toe, gold Chelsea Crew heels.  I’d like to think of my vintage gold belt as an adapted Wonder Woman “truth rope”.

THE FACTS:

FABRIC:  a semi-thick and tightly stable poly-cotton-spandex blend Ponte knit.

PATTERN:  Burda Style pattern No. 121, only in the Burda Style April 2017 issueBurda121 line drawing & pic of Dimitri

NOTIONS:  I had to buy the invisible zipper, but everything else (the thread, interfacing, and hook-and-eye) needed was on hand.

TIME TO COMPLETE:  This was finished on June 12, 2017 after about 10 hours

THE INSIDES:  left raw as the knit is so stable it doesn’t fray in the least

TOTAL COST:  The fabric came from JoAnn’s Sportswear section, and with the zipper this jumpsuit cost about $30 dollars

As to the sewing part, it was really pretty easy to put together, the biggest challenge came from the pattern running so generously large.  I had to take out about 2 inches overall from the side seams of both the top and pants.  I drafted out the size that I always use in Burda Style patterns so it must have been the pattern.  I remember this problem with the other Burda designer patterns, so I’ll make the assumption that these generally run large and go down a size from now on.

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My changes were small.  First off, I added an extra 5/8 inch to the top bottom hem as I was not going to sew it into the pants but keep it as a separate top.  I did also have to add a small ¼ inch bust dart coming off of the neckline on the right side to shape the sleeveless side.  I made my own bias banding to finish off the neckline edge with a small rolled decorative edge, but merely turned under and double stitched the single armscye’s seam allowance to keep that low key.  I also was able to eliminate the need for a zipper in the top since I was using a knit and making a separate top.

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The pants have very full pleats together with handy pockets, making these comfy but something that makes me self-conscious.  Pleated pants are somewhat hard to like looking down at myself, I feel fat even though they are in a slimming black and do look good when I look at them in a mirror or picture.  Oh well!  At least I am proud of another well done, truly-invisible invisible zipper in the side!

Even though a knit-friendly interfacing seems to be recommended for the pants waistband, I went with a thick and stiff interfacing to support the heavy pants and stay the pleats.  I thought a gathered back to the pants like the design calls for was a bad idea, both for my taste and for the rest of the outfit.  So I merely made a duo of pleats to the back fullness, instead.  I figure I can always turn the pleats into darts if I want in the future.

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Please forgive the folds and creases in the fabric of my jumpsuit.  I cannot use a high heat on this fabric and the on-the-bolt fold seems like it is set on permanent press.  The fabric is so supple and flowing, those unwanted fold lines are just something I have to DSC_0768a-comp,wlive with for now, just wanted to let you know it’s not like I didn’t try.

I see a lot of possibilities with this outfit.  After all, a pair of black pants goes with anything!  The one-shouldered top half (whether worn with or without the matching jumpsuit bottoms) pairs well with the other one-shouldered Burda shirts (post here) that I made a few years back now.

Find the courage to try that new kind of garment to wear, as well as finding the Wonder Woman type of courage to do what is right.  Be strong.  Have compassion on yourself and others – we all need to feel awesome and cared for.  Let some of this carry over to your life and even sewing (why not?) for a truly wonder-ful result!

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Basic is Beautiful

Don’t you just hate it when a longtime favorite and much loved wardrobe staple of yours gives up its ghost?  Yeah, always a bummer!  My decade and a half staple – a bohemian-style, maxi length, lightweight denim skirt – ripped apart from too much love.  Well, for someone who sews all chances of having a replacement is not entirely lost.

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It took me two years to find the right pattern and fabric to finally have a lovely replacement that I love almost just as much as my original – this is saying a lot!  Sure, I had plans to make a pattern from my old favorite but I realized it might not be a bad thing to move on with my style and try something similar yet different at the same time.  Also, because one basic staple deserves another, I have my new denim skirt paired with a slightly seductive, vintage, knit white tee for another wardrobe filler.  I’m hoping my set has a slight nod to the 1970s era yet still stays modern.  To have a garment be an indispensable staple piece, yet also vintage and modern, is the best combo ever for those days when I want to blend in yet still wear styles which pay tribute to the past.

Every time I make something really needed and purposeful (not just what tickles my fancy), I realize how beautiful sewing the basics can be.  This is why my outfit (specifically my skirt) is part of the Petite Passions’ Wardrobe Builder Project for the month of May. As you can see, it is helping me get the motivation to build on my everyday casual wardrobe!

THE FACTS:McCall's 6623, year 1979-comp,w

FABRIC:  Skirt – 2 yards of a lightweight, light wash, denim chambray with scrap Kona cotton for the waistband lining; Top – less than one yard of a ribbed cotton knit

PATTERNS:  Skirt – Burda Style “Tiered Denim Maxi Skirt” #102 B, from April 2017;  Top – McCall’s #6623, year 1979

Tiered Denim Maxi Skirt 04-2017 #102BNOTIONS:  Besides the invisible zipper, which I bought because I don’t necessarily keep ‘specialty’ zips on hand, everything else needed was basic (thread, interfacing, bias tape) and came from on hand.

TIME TO COMPLETE:  The top was sewn a while back now, finished on August 24, 2015 after only 3 hours’ time.  The skirt took me about 5 hours to make and was finished on May 16, 2017.

DSC_0416a-comp,wTHE INSIDES:  My skirt is all clean inside with both French seams and bias tape while my knit top is raw edged inside (as it doesn’t fray).

TOTAL COST:  The top’s ribbed fabric was a miserable little scrap remnant – technically it was about one yard but was badly hacked into with all the corners squarely cut off.  See below the “tight squeeze” to fit the pattern pieces on it.  The knit was bought for about $2 when Hancock Fabrics was closing.  The denim was bought the year before from Jo Ann’s Fabric store for about $9 (more or less I don’t remember).  I suppose my outfit is about $12 but priceless in utility to me!    

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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 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 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.

There were only subtle changes that I made to the skirt for my version.  The main change, to lessen the gathers of the lower panel, was part taste.  I planned on doing that anyway, but the amount of the gathers was dictated by the fact I was working with only 2 yards of material while using a pattern calling for at least 3 yards.  I am a smaller woman, and on the edge of being petite height, so I figured such a full maxi skirt as the original design might be a bad idea.  I really do like the skirt fullness as it is now even if I did not get to choose exactly how I wanted it.  Sometimes “making do” works better than trying to start from scratch to be ‘perfect’.

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Other than changing the amount of gathers, I sewed the gathers onto the upper skirt piece like a normal seam rather than top-stitching on like the pattern called for.  This top-stitched panel would’ve created a frilly ruffle where the two panels came together.  I was decreasing the gathers for a slimmer skirt and a frill through the middle of a half-gathered panel would have messed with the silhouette.  This regular seaming also saved me the trouble of finishing the one edge of the gathered panel so I could equalize my time spent to invisibly hand-stitch down the hem.

I already took out 3 inches from the overall length but my hem even still became a wide 3 ½ inches.  This baby runs very long as if it is a “Tall” sized pattern.  It does sit on the hips, with the top of the skirt riding just below my true waist.  As one who wears a lot of vintage, which almost always has a high-to–true waist, I still like this feature which is more modern, it’s just a change for me (not a bad thing, as I said above).

DSC_0404a-comp,wAs I went through the extra effort to make no stitching visible, under stitching the facing at the waist and having a hand-done hem, I figured an invisible zipper here was the only way to go.  After having my last invisible zipper failing on me and trapping me in my dress back in 2012 (post on that here), I have taken a long hiatus from this specific notion but coming back to it has been a refreshing and rewarding success.  I love how you don’t see anything but the zipper pull…but, yes, I realize that’s why they are called invisible!

My top is the third time I have used McCall’s #6623 pattern – this is unprecedented for me!  (Here are my first and my second versions of this pattern.)  I still yet want to have the gumption to make and wear that strappy cold-shoulder version.  The tank is so lovely and basic I need to make a few of those in some basic colors.  For some reason I really love this one pattern, and it loves me by the way it fits me so darn well.

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I find this pattern interestingly unique, not just from the fact that each view top has its own pieces (none shared), but because of the small “From a Norton Simon Inc. Company” logo next to the McCall’s logo.  This pattern’s year, 1969, was a decade after Norton Simon himself retired from active involvement in his business.  What’s up with that?!

McCall's 6623, year 1979-comp,zoomNot too many people know that Norton Simon, the smart art collector and businessman behind Max Factor cosmetics, Avis Car Rental, and Canada Dry Corporation (to name a few), also controlled the McCall Corporation and all its publishing (magazines and such) between 1959 and 1969.  How I have not heard of this man, who seemed to have an influence in so much of the companies and products that are a part of our modern lives, before recently?  He was on the cover page of TIME magazine on June 4, 1965, in People magazine (1976), and even ran for the United States Senate (in 1970).  His conglomerate is now ranked 112th on FORTUNE’S list of the 500 largest American corporations    I wonder why this is the only McCall pattern I have seen with his naming rights on it.  See – patterns are so interesting in so many ways!

Sewing this top was super simple and easy.  This is the first time I have used this pattern un-altered.  I did have to add in snap on lingerie straps made from ribbon to anchor the shoulder to my underwear.  Otherwise the shoulders on this open-back hottie piece slide a bit all over the place.  Basic bias tape adds a bit of soft shaping and contrast finishing for the neck edges, and a little left chest pockets adds some small utilitarian interest.

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My biggest setback was working with the rib knit – a very first for me to work with.  I thought I had this pattern understood but not this time.  I had to sew the side seams several inches smaller than normal to accommodate the give of the ribbing.  It acts like a slinky toy!  It was a tough call to figure out the sweet spot between too loose of a fit and too snug.  I didn’t want the rib knit to lose its design when fitting over me yet I wanted it to be body complimentary without being a second skin.  After several stitchings, un-pickings, and re-stitching spells I like the balance I found.  This top does look so hilariously small on the hangar – the ribbing springs back so it seems like something for a 10 year old girl.  It also is best dried flat after washing.  The weirdness of the rib knit also meant all my hems are unfinished – not by choice but at least I think the raw edges look good on this occasion.  This quirky material has a definite personality!  Working with it was a definite learning curve.

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Between all the challenging and involved projects that I want to make (from my too numerous ideas), sewing basic necessities always is a pain to get around to.  Who completely wants to sew something merely because you need it, when nowadays ‘stuff’ is so easy and available to buy?  And yet, such sewing also always ends up so satisfying for me and it always amazes me.  The staple clothing necessities that you reach for everyday can be an uncommon source of creative pride and possess better individual style if you don’t exclude them from receiving the personal touch of hand sewing.  I’m practicing what I preach lately by giving away a good amount of the ready-to-wear that I do not like or use so that my ‘me-makes’ and my vintage pieces can take over my wardrobe.

Do you make your tees, and jeans, and anything else basic?  If yes, do you like them better than the ready-to-wear option?  Have you ever worked on sewing up a replacement for an old favorite garment?  Is sewing what you need something that you have a love or a hate attitude towards? Maybe, like me, you feel a bit of both?  What is your experience (if you have one) with rib knits?  One last query – has anyone else seen a McCall’s pattern with a “Norton Simon” logo?  If you have any feedback for these questions, please do share – I like to ‘hear’ what you have to say!  As always, thanks for reading.

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