“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!

DSC_0616a-comp,w

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.

DSC_0601a-comp,w

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…

DSC_0608a-comp,w

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.

DSC_0605a-comp,w

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!

DSC_0621a-comp,w

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.

DSC_0739a-comp,w

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!

DSC-0787a-comp,w

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.

DSC_0756a-comp,w

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.

DSC_0798a-comp,combo,w

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.

DSC_0747a-comp,w

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!

DSC_0786a-comp,w

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.

DSC_0388a-comp,w

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!    

100_5934a-comp

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’.

DSC_0411,p,a-comp,w

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.

DSC_0409a-comp,w

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.

DSC_0405a-comp,w

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.

DSC_0399a-comp,w

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.

Save

“Retro Forward” Burda Style – “Fill in the Blanks” Gather and Tuck Dress with Purse

If garments could be reasonably conscious, this dress would definitely be very confused.  My original plan was to make a knock off a Dolce & Gabbana outfit from fall of 2016, but the pattern which I used for the dress is from 2013.  The knit tulip fabric I used is vintage from the 1970.  My husband says the finished dress reminds him of the 1980’s, and here I thought it reminded me of the 1930’s!  Finally my purse was self-drafted off of an existing 1940’s leather purse from my wardrobe but has more of a 1950’s air now that it’s completed. Gosh – almost every decade from the past 80 years has some sort of influence (in our eyes) to this outfit.  Confused much?!  Is your brain alright?  I know my head is swimming.

DSC_0378a-comp,w

Linda of “Nice dress! Thanks, I made it!!” hosted the “Designing December” months back now and personal illness combined with a busy holiday season made for my being unable to even get around to making this dress and purse until recently.  Besides, everything that had to come together for me to even work on this project was slow and time consuming, but don’t get me wrong totally worth every minute.  Thus, my outfit is being blogged late but perfect for those chilly spring season days that hang around right about now.  It might be spring, but it feels like winter some days in our climate…and this subtle but cheery, long sleeve black dress with a season-less hound’s-tooth fashion purse suits those times perfectly.  I know because it was quite brisk and windy the day we took these photos, and I am sensitive to the chill.  Sigh…a warm enough spring is so long in coming sometimes.  That’s why I need to wear some bright tulips!

THE FACTS:

FABRIC:  for the dress: The tulip fabric is a polyester interlock knit vintage from the 1970s ordered through an Etsy shop, the skirt flounce is a modern, newly bought solid black poly interlock while the lining fabric is the same except in white.  The neckline facing is a cotton broadcloth remnant.  For the purse:  novelty hound’s-tooth felt and polyester imitation snakeskin (leftover from this dress) for the outside, light blue lining on the inside with a big pocket made from a scrap of cotton leftover from this apron.#112 Gather and Tuck dress, line drawing

PATTERN:  Burda Style’s Gather and Tuck Dress, #112, from September 2013; no pattern for the purse, it was self-drafted

NOTIONS:  This dress and purse used up a lot of what was sitting around on hand – such as charms, buttons from my Grandma, elastic, interfacing, and thread.

TIME TO COMPLETE:  I have no idea how much time I spent to prep the tulip fabric, but the making of the dress took about 8 to 10 hours.  The purse was started and finished in 4 hours.  Both were done and ready to be worn on March 13, 2017.

TOTAL COST:  The vintage tulip knit was about $10, the modern interlock knit (in both black and white) for the bottom flounce and the lining were just under $20, and the cost for all the fabric pen packages was $15.  Everything for the purse was already on hand (bought years back) so I’m counting that and all the notions used from out of my stash as free.  I suppose this outfit is a total of $45.  This is more than I typically spend for many other outfits I like much better than this one, but I had a creative itch I needed to scratch!

As for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced off of the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t know.

DSC_0380a-comp,w

First off, I will say that my first impression of the dress at the pattern stage was one of strong dislike.  The comments on the bottom of the pattern’s page online express “terrible look” and “reminds me of Downton Abbey”, and yes, I agree. However, the line drawing is what kept pulling me in…the style lines are lovely and indeed vintage inspired.  This is why my dress is included in my ongoing “Retro Forward Burda Style” blog series.  As to the vintage inspiration, I listed most of it at the top of this post.  My favorite vintage pattern that I think looks quite similar is a Pictorial Review Pattern from the 1930’s, no 6459 (picture on Pinterest).  It is labelled as a “Duchess de Crussol (d’Uzes)” personal pattern design, and as that is one of the oldest premier dukedom in France, this design must have been a big and rare deal for Pictorial Review to offer.  After all, Dolce & Gabbana’s summary of their collection references “the ’30/’40s shoulder line of the Cinderella-referenced puffed sleeves.”  Modernly, though, I feel like the “Gather and Tuck” dress is a slightly poufier version of another one of their patterns – Burda #7127.  Perhaps I should have chosen this dress design instead…oh well, too late for this thinking.

I had the feeling the “Gather and Tuck” dress design needed something bold and not in the least cutesy or else I could not pull off wearing/liking it.  Enter one of my favorite fashion houses – Dolce & Gabbana to the rescue courtesy of their Fall 2016 ready-to-wear Dolce & Gabbana Fall 2016 Ready-to-Wear -comp,comborunway releases.  I love all the details of that whole entire line (especially this one), an occurrence unique to me, but the tulip dress especially struck me…it was just something I had to have for my own and it would be something unique for my wardrobe.  Luckily, it strongly reminded me of Burda’s “Gather and Tuck” dress.  Now I had a tip as to what fabric print might work for such a quaintly designed pattern!  Then came along Linda’s “Designing December” sewing challenge and I knew what I had to make for it.  Finally, because I love to go all out for an awesome outfit, I even imitated the purse.  The model’s handbag reminded me of a project I had been wanting to make for the last 3 years, with the hound’s-tooth fabric and everything I needed to make a purse luckily (and conveniently) waiting downstairs to be whipped together.  Granted I know my outfit is not an exact copy, but to make a carbon copy would have resulted in something I might not have liked as much as this version which still stays true to my own taste.  I do not know if I fully succeeded in achieving what I’d hoped and envisioned originally in my head for this outfit, but I feel like it’s a successful attempt.  If I can’t buy designer, I’ll have my own designed style!

What is the most special and time-consuming part to making this project is the fabric.  It is hand colored!  That’s right – why just leave the current coloring craze to be restricted to paper pages in books?! This was a complicated yet invested choice – a desire to have something incredibly personal, creative, and out-of-the-box, as well as out of necessity. I could not remotely find any tulip print I liked to also have a lovely drape except for a 2 DSC_0882a-comp,wyard remnant piece of old 1970’s era knit in a black and white tone.  So I used fabric pens to color in the yellow tulips and draw in two-tone green leaves to end up with the closest possible match to the original Dolce & Gabbana fabric.  I worked in spurts, setting aside about an hour or two at a time to fill in a portion of the fabric until it was done.  Yet, I didn’t just color – a tried to add texture when drawing the leaves and a hint of yellow to the flowers, not an overpowering brightness, with a random tough of black for the stamens.  Too bad the true-to-life colors do not translate well enough through the pictures as they are in real sight.

Using fabric pens was fun, but also sort of a nightmare.  I actually had to end up buying 5 packages (two different brands) just to finish.  The fabric pens were brush tipped and between the material soaking up the ink and also fuzzing up the tip of the pens, there was a disappointingly short life to them.  The tough part was the specific green colors I was using.  The dark forest green and the lime green were hard to find in the heat-set type of fabric pens I preferred to use.  I found some online but the seller on Ebay that I ordered from was dishonest and sent me something I did not order.  Desperate, I ended up finding what I needed to finish from Wal-Mart, which had these cheap $3 packs which worked well enough.  From this experience, I can say that three things – I think Crayola fabric pens are the best working brand of fabric pens, I definitely prefer heat-set fabric pens, and make sure to have several back-ups of your colors before doing a project.  This is advice from a lesson well learned.

DSC_0388a-comp,w

Now, to get to some info on the actual sewing of the dress!  I found the sleeves to be rather skinny, the top half of the skirt to run small, and the rest of the dress a tad on the generous side.  It sewed up pretty well, but some of the directions were just plain bad and ended up a little silly and bulky.  The “slash-and-gather” darts at the waist and the mid-shoulder line are by far my favorite feature but kind of turned out a little weird looking where they end to meld into the dress.  Two of my 1940’s projects (see here and here) have very similar “slash-and-gather” dart details at the shoulder line, although this Burda pattern has them on the back as well…very nice!  The pattern originally called for only one button at the top of the closure, but I felt the pull from the gathers made me feel that the neckline needed another.  The bottom third button is decoration only.  I did leave out the wrist button closing on the sleeves, as my fabric is a stretchable knit.  Other than the button closures, I made no real changes to the design.  When you see the V-neckline in some of my pictures that is not a permanent thing.  See – it’s merely me folding half of the high neckline inside for an easy and quick change to the look of the dress.

Perhaps you didn’t notice, but there are no closures needed to be dressed in this frock.  The waistband gathers are mostly from an elastic casing made out of the waist seam allowance, and besides the neckline buttons, that is everything it takes to put this dress on.  I’m so used to zippers in a dress that it kind of felt as if I was forgetting something.  This one feature offering both easy dressing and lack of zipper setting was a nice change for me to come across.

DSC_0395a-comp,w

So…after everything I’ve said, I am not all that crazy about my dress.  Pooh pooh!  It is comfy, easy to move in, feminine, and flowing.  Wearing a sweater with it makes the dress better in my opinion, but then you can’t see all the details…meh.  I just am not 100% decided that I love it or even look good in it.  “Is it only weird or obviously dated?” I wonder.  That lack of full confidence is what’s holding me back, but the amount of time and work invested in this project makes me think, “I’d better darn well wear this and be proud of what I made…”  I have to throw some of my indecision to the wind (literally as it was breezy the day of these pictures) and just be content.

DSC_0391a-comp,w,combo

To be definite about one thing, I am absolutely tickled about the purse.  I really could not be happier with it and it should see much use being so roomy, practical, and stylish all at the same time.  I am resigned to not having an awesome buckle (like the original Dolce & Gabbana one) because my purse has a perfectly matched novelty hound’s-tooth printed zipper instead!  This was combined with the opportunity to use some snazzy “Hilary Duff” brand charms from out of my jewelry stash to ‘bling’ up the closing flap.  I do love Fleur-dis-lis anything!

DSC_0302a-comp,wThat hound’s-tooth print of the purse is felt, but is was first strengthened with iron on interfacing then re-enforced, as was the rest of the purse, with stiff sewing interfacing.  This way it keeps its shape well.  The edges were covered and stitched with self-fabric binding but every other seam is self-enclosed by the combo of lining/flap facing.  There are buckles coming out of the side panel pleats, so I can totally change out purse straps into something else if I so please.  The zipper was hand-sewn in last, not to necessarily make things hard for myself, but because there was no seam to connect to on one side and I wanted invisible stitching.  All in all, my one regret is that I did not make a pattern out of what I was doing so I can re-create it or even share it, too.  I just wanted to enjoy making it and get it done so I could use it!  What a one track mind I have at times…

Simplicity 1727, year 2012For the record, I did go the extra mile to make a removable collar out of the black imitation snakeskin that went on my purse.  The original Dolce & Gabbana dress has a black swede collar on it and I intended to imitate that but hated it on me on the dress.  I’m so glad I didn’t sew the collar into the dress!  I used a Simplicity #1727, a pattern of nothing but various removable collars.  My make from it turned out great and I will show it to you, just not with this post.  I seriously don’t know how the model pulls off the whole outfit so well with the collar, though!  I will try to match my collar with something yet and show you then.

Investing so much effort in this outfit might not have given me the best results, but I learned from it, did new things, and followed an idea.  Taking the safe and sure route for a sewing project doesn’t always do all of those things, right?!  It’s all part of what sewing and creating is about, anyways.  “Fashion makes people dream—this is the service fashion gives,” Stefano Gabbana has said.  I agree.

Save

“Bright Confetti” Burda’s 1960 Suit Dress

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

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

DSC_0097a-comp,w

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

THE FACTS:Vintage Bouclé Dress 12-2012 #141

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

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

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

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

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

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

DSC_0099a-comp,w

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

DSC_0100aa-comp,w

Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced off of the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t know.

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

DSC_0105-comp,w,combo

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

DSC_0101a-comp,w

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

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

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

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