Teens Era Transitional Suit Set

As of this past April, my country of America began commemorating a century since we entered into World War I, when we added our hearts, efforts, and supplies to the rest of the nations who had already been fighting.  As someone who sews and likes to dive right into history, I guess it’s no wonder I took to making my own outfit from the era as my effort at remembering history.  Besides being commemorative, our local art museum hosted an exhibit linked to the era of my outfit, “Degas, Impressionism, and the Paris Millinery Trade”, and it gave me an actual destination to wear my historical garb.  Their “photo opportunity wall” was the setting for many of our pictures.  You see how I blend right in at a 1912 Millinery Parlor shop?  Also, the newly released “Wonder Woman” movie, which has a WWI setting, was the final odd but added impetus behind making my suit set.  My reasons are varied, by deeply rooted in the history that I love.

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1912 to 1914 was a true transitional period of history and my outfit, as I planned it, intends to pay homage to this.  1912 is roughly the end of the Titanic era, in which fashion still gave a clear visual definition of who was in and who was out of money.  1914 marks the beginning of World War I and the founding steps towards democracy of fashion and greater freedom in many realms of life.  I realize I am riding a fine line between pre-WWI and post WWI with my outfit but it has been two years in coming, and I couldn’t be happier with my first foray into both sewing and wearing teens era fashion!  During those two years, my outfit has been well-researched, long thought out, and lovingly worked on for a while now.  Most all of my details are tied to a historical fact.  Now I feel as if I have a historical statement piece with a story to tell about the history Great War.

Of course the best way to place myself in the shoes of a woman from circa 1914 was to go all out and do my outfit authentically from the inside out.  Yes this means the underwear, the corset and the whole bit!  You can see my past post about the under layers here, although I have yet to post about the teens era slip I have since made to complete the underpinning ensemble.  Without the right underpinnings my set did not have the right silhouette, nor did I have the correct posture, ahem.  Wearing a long line corset does make me realize just what a no-slouching posture really is, and it makes me appreciate the comfort of actually sitting in a chair to relax, not just the dainty ‘perching’ that I do in my teens corset.  Plus, it smoothes out all the ‘bumps’ that were undesired for the times, something which modern underwear only ‘supports’, if you know what I mean!

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I believe this combo of blouse, jacket, and skirt (not forgetting the hat) is technically called a “walking suit” even though a slim hobble skirt is not the best for walking.  Yet, I did not find this fashion as confining as many humorous cartoons (such as those by the satirist Benjamin Rabier) and other images make them out to be.

Circa 1914, the hobble skirt was widely worn, yet was being frequently and publically made fun of.  Then there was Paul Poiret, who backtracked on what he claimed he created and introduced the freedom and progressiveness of harem pantsJeanne Paquin, the first major female courtier, is supposed to have created a version of the hobble skirt which included pleats for ease of movement for the new, more active woman.  My own skirt is a combo of Paquin and Poiret – it has a trio of asymmetric pleats that are stitched down halfway up to free up my knees.  The world itself was fighting for the death of the skinny hobble skirt.  Active women who become a part of the workings of society were sorely needed and anything whatever fashion stood in way of that was destined to depart.  A suit such as mine was meant for a time in history when a woman of society was merely meant to be a figurehead and present an ideal image of her status.  By 1914, such a suit set was in its last, glorious, waning sundown.  Wearing this outfit was nothing too terribly uncomfortable, but it was a bit confining in its own right, which did take some getting used to.  It helped me realize why the fashions of the 1920s came about.

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When the newly enlisted soldiers left on the boats to go off to the Great War, many ladies wore their best “going away” clothes.  Not only was it dressing up to see their men off, but it was also one last big splurge, or indulgence, before buckling down into rationing and a full-hearted war effort.  I think this set certainly falls into the “going away” category!  I had ideas for even more finery I could have added, like a pocket watch, extra pockets, and more buttons.  I might get to that yet, but for now what I have is something finished and totally wearable.

DSC_0151-comp,wThe Great War had far-reaching implications on the previously active global import/export marketplace, thus there was an absence of much that had to do with the clothing, fashion, and textile industry.  Imported dyes, which had been coming out of Germany, became rare thus leading to a more frequent wearing of black and neutrals.  This is besides the fact that many people (especially mothers, wives, and sweethearts) were in mourning, anyway.  My own outfit greatly reflects this historical point, by using primarily black and grey tones together with two neutral cream colors to calmly brighten things up.

The war effort also caused heavy rationing/unavailability of leather, wool, and cotton (which, among other materials, were going towards supplies such as uniforms and tents).  Ladies had to wear more silks, with the occasional rayon blend (invented in 1910). Heavy rationing applied throughout many countries and America wasn’t excluded, but it did have situations a bit easier comparatively.  Straw, with some linen, were also somewhat rationed, so substitutes from paper were invented in counties like Russia and Germany, and “Jean cloth” (yes, denim) was resorted to as a leisure cloth.  At the beginning of the war, however, most walking suits still tended to be in “practical” and breathable pure linen.  As I am in the USA, I felt it would be fitting for me (if I was living back then) to have such a set as mine in linen, lined in a very basic cotton.  Non-war effort cottons like gingham and batiste were nonetheless used and still popular for housedresses, anyways.  Many women who weren’t involved in manual, farm, or food related work were enlisted into the textile industries or assigned to convalescence and hospital needs sewing, so I imagine access to rationed fabric was not entirely off-limits for all women.  Thus, my outfit is a mix of some fabrics and materials which would have been a luxury and some which would have been used for an authentic early war-time suit.  Restrained opulence was common with early and mid WWI clothes (see this for one example) since – after all – old habits die hard.  The Titanic era didn’t go down overnight like the famous ship did…

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Asymmetric designs were incredibly popular at this point in fashion, being used on blouses, skirts, suits, and dresses for both day and evening – no doubt from the Art Nouveau influence.  The asymmetric trend probably had to do with the ‘new’ draping of fabric on the body (Grecian idealism) for evening and tea gowns as well as an elegant and avant-garde desire to break away from the sweetness of the Edwardian period before.  I wanted my suit set to have some asymmetric loveliness…I do love how the trend continued into the 1920s, 30’s, 40’s, and 50’s so strongly.

Even during WWI, common luxuries could frequently be taken with neck line collars, since they needed such a small amount of material.  This is why my single asymmetric collar with matching sleeve cuffs are from an expensive, all-cotton, burnout velvet tapestry.  My top collar is from the same fabric as my skirt to add continuity to the outfit, plus I see it as a practical, “making-do” touch to use up every last scrap!

IMAG0287a-comp,w“Making-do” was greatly encouraged in many aspects of life, more so when it came to fashion, especially when it came to hats.  Headwear was a necessity that a lady would not do without and publications of the times stepped up to the need to show how homemade hats could be done easily, inexpensively, yet with a no less fashionable appearance.  My own hat started out as an inexpensive, basic floppy-brimmed hat blank bought from Wal-Mart…of all places.  (Pardon the pins in the picture at left – it was here a work-in-progress.)  It is made of a thick 100% wool felt so it is an accurate and proper hat making material, just something that might have been an expensive luxury for 1914 – all the more reason a woman of those times would have re-fashioned it herself!

Feeling united with the war effort extended into the modes of fashion with many hats and clothing mid or late in WWI possessing details which had a very obvious, albeit past, military influence.  Napoleonic Era hats were frequent, and I channeled the old-time tricorne hats with my own re-fashion (although I know it’s probably more 1917-ish to do this).  My favorite part is how my hat looks so different from every angle it’s seen.DSC_0172-crop-comp,w

The top heavy, floral, opulent picture hats of the early teens were shrinking in size by the time the decade was nearing it midpoint.  World War I nudged hats to become more compact, with many non-flower related decoration and interesting features to the brims.  They were often trying to create more of a straight-line silhouette to the rest of an outfit…pretty much like my own hat does (especially thanks to the feathers)!

The overly frequent and outlandish use of birds on millinery in the decades leading up to WWI led to many protective steps to ensure the survival of many kinds of flying creatures, the most well-known being the founding of the Audubon society.  At the turn of the century, the Audubon Society offered 5 public lectures on such topics as “Woman as a bird enemy”. In 1910, the Audubon Plumage Law reigned in extravagant millinery practices harmful to wildlife, which is why I’m using humane but no less elaborate pheasant feathers.

There are a few modern re-makes that I snuck in to help complete the overall outfit.  Firstly, what you see under my suit jacket is more like the sensible and fully wearable option to the little neck dickies in the Butterick pattern.  I am wearing a full blouse, something that is a modern re-make my mom bought for me maybe a decade ago.  I am sure as fashionable as a woman of circa 1914 might have been, no doubt she would have appreciated the practical option of taking off her jacket, versus the façade of the neck-only dickies.  My blouse has a hidden button placket up the front, which would have been in the back for a true-vintage piece, but this is undetectable enough to not detract from my overall authenticity.  At my neck, I am wearing a “Downton Abbey” brand brooch I had bought from a Department store years back.  I think it is the perfect touch!  My glass bead earrings are from my Grandmother’s jewelry collection.

DSC_0199a-comp,w,cropFinally, my boots are something that I found at Wal-mart (of all places) about 17 years back.  They are only vinyl, yet they do have working grommet and hook closures plus a semi-French heel, so close enough is again wonderful.  Not that I wouldn’t be willing to spend a bit of money to have my ideally perfect outfit…but when I have items ‘close enough’ on hand already, that’s even better because what I’ve been holding on to for years can get its long-awaited opportunity to be useful and shine.

THE FACTS:Butterick 6108

FABRIC:  Suit Jacket – 100% linen exterior and a cotton lining with a combo of cotton brocade and linen for the collars; Hobble Skirt – 100% linen; Hat – Wool felt hat blank

Past Patterns hobble skirt pattern-compPATTERNS:  Suit Jacket came from Butterick #6108, a 1912 pattern; the hobble skirt was made using a Past Pattern, a copy of a Pictorial Review #5462, circa 1911 to 1913; the hat was self-drafted from looking at era authentic fashion plates and photos

NOTIONS:  Surprisingly, much of what I needed came from on hand, as it needed not all that odd of supplies.  I went through lots and lots of thread (of course), and I covered most all the inner seams of the jacket in bias tape.  The skirt’s inner waistband has a ribbon from my stash, and hook-and-eye tape (which I always try to keep on hand) goes in the side closure.  Vintage fancy buttons for the skirt pleats look as if they could be authentic jet, but they’re only deceptive plastic.  They came from the stash of my dear departed Grandmother.  Cotton interfacing (another vintage notion I always try to keep on hand) went into the collars and sleeve cuffs.  The only notions I had to buy was the frog closures for the jacket, the pheasant feathers (from Hobby Lobby), and the hemp ribbon (found at the Dollar Store).

TIME TO COMPLETE:  The skirt was made first, and was finished on March 28, 2017, after only 8 hours.  The jacket was done on April 20, 2017, after only 20 hours.  The hat was made on April 21, after only an hour or two.

DSC_0184,a,p-comp,wTHE INSIDES:  I finished everything so nicely in bias tape.

TOTAL COST:  The linen for the jacket exterior was made from a combo of one vintage tablecloth (found at rummage sale for $1) and a one yard cut of linen bought at Wal-Mart about 17 years back (old enough to be counted as free).  The cotton jacket lining was on sale at Jo Ann’s Fabrics for $2 a yard at 4 ½ yards (about $9).  The damask collar was $10 for half of a yard (coming from the expensive home furnishings section) and the grey toned linen for the skirt and single jacket collar was also only $2 a yard, bought when Hancock Fabrics was closing its business ($4 for only 2 yards).  The frog closures actually came from the button section, and so were a bit more expensive.  The supplies for the hats cost me a total of only $20.  So…added up, this outfit is a total of about $50.  Not a bad price for not cutting any corners with what I wanted!

DSC_0187-comp,wAs to the actual sewing, each piece really easily came together.  Making each was no harder than regular sewing and, when I think about it, actually more fun and informative!  The biggest challenge to making this set was the fact that I had to put on all the appropriate matching under layers (meaning the underwear combo, corset, slip, and blouse) each time I wanted to try on my suit jacket and skirt, see if they fit, and tailor them appropriately.  If I was going to do what a woman of those time would have done, fitting the suit to any other shape would have been pointless – a modern shape has too many buldges.  This caveat was not all that bad as it sounds.  Sure it was a bit of a bother, I was dedicated.  You know, the best part is it got me used to dressing into and wearing the Titanic era garments, so much so that it was not all that odd when I actually got around to wearing the full outfit out and about in public.

DSC_0193a-comp,wI found the fit of both patterns to be at generous.  The skirt pattern ran a few inches big and I had to make a giant pleat/tuck kind of adaptation down the center back as a fix, while the jacket was just a tad generous so I went down in size to find my perfect fit.  Other than this tip, my two garments needed no other change and were made as-is.  The skirt needed a giant 8 inch hem, but the wide hem helped properly which down and round out the bottom like interfacing.  Keep in mind that the teens era skirts have longer backs than fronts as the corsets were designed to smooth out the bum and back curve so they naturally sat higher from behind.  As I am quite skinny in my corset, I had to even out the hem, anyway.  The jacket sleeves were slightly brought closer into the armpit for more reach room – and yes, I do have full and comfortable movement!  I suppose I could have shortened the sleeves for my lightly petite frame, but they’re ok.  I did add a ribbon closure inside the jacket to help keep the wide open neckline closed better, with a small hidden hook-and-eye at the point where the asymmetric collar ends.

My biggest shortcut to sewing the jacket was to line each ivory linen jacket piece with the black lining.  I didn’t want any seam allowances showing through the light colored linen. Backing the pieces in the back knocked out ‘two birds with one stone’ by providing opacity and lining.  I just then finished off the seam edges with bias tape and top-stitched them down in their proper directions.  Not the best way, I know, but it gets the job done almost just as nicely yet quicker.  I do not like to take more time than is reasonable on an outfit that will not see all that much wearing.

(I’d like to title this next picture, “Hello ladies, may we chat?”)

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I originally planned on a fully hand-made, from scratch millinery creation for the hat to match my outfit, but I was running short on time before the event I was to attend.  This is why I re-fashioned a hat.  The wonderful Tanith Rowan (blog here) was of assistance to be at this step, and even provided a few helpful links to free newspaper archives for some awesome yet relatively easy patterns from 1912 and 1913.  I have plans for those hats yet on another future teens era project, but for now I think this hat is just what my outfit needed.  No kidding – my set was “meh” or even “good” but still missing something until I put the hat on and it turned into amazing!  The power of hats is truly underrated.  They add so much to an outfit and a person…and with a hat like this, it can even add height when you have dramatic feathers!

If you’ve made it this far reading, thank you for joining me on my tirade about my efforts to make the perfect World War I commemorative outfit.  I have a special Pinterest board dedicated to my inspiration for this project – please visit it here.

So much of what has happened in the past is linked to why things are how they are in the present and clothing can be used as a tool to help tell such a story.  I like to share how my sewing skills help me accomplish that.  Look for more (and perhaps less involved) WWI era and older historical clothes to come here on my blog!

Summer Gingham and Straw

My first sewing for this year’s summer season is effortlessly simple.  It’s also basically everything associated with an old-time American summer picnic – gingham cotton, basket-like straw, bright red cherries, easy and comfortable dressing (no less cute, though), and good times in the backyard.

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I had to bring my pet dachshund into the picture for good measure!  He’s a loving little shadow to me, though he is camera shy.

Butterick 7161, yr. 1954THE FACTS:

FABRIC:  a 30 by 45 inch cut of an all-cotton, loosely-woven ‘homespun’

PATTERN:  Butterick 7161, year 1954 – it was a free gift from a kind Etsy seller.

NOTIONS:  I only needed thread, a bit of interfacing, some bias tape scraps, and 3 buttons – all of which I had on hand

TIME TO COMPLETE:  My blouse was whipped up in 2 hours one afternoon at the end of April 2017.

DSC_0417a-comp,wTHE INSIDES:  cleanly bias bound edges

TOTAL COST:  The fabric, my only expense, was bought at Wal-mart’s remnant area in their fabric department for only $2.23!

This blouse just makes me happy.  I love the styling – just enough ‘vintage’ touch to be neat and unique, yet still classic.  The colors are muted and cool, and pair well with so many different bottoms (skirts, pants, and shorts) in all colors (mostly khaki, denim, and black, but even red will do).  From a practical point of view, this was so cheap!  Yet, for how well it fits on me and nicely finished I made it, this is such a deal.  No wonder I buy fabric and sew for myself versus picking up ready-to-wear!DSC_0282a-comp,w

Making this top sleeveless was not precisely by choice, but I like it.  I was lucky enough to make a blouse from this as it was!  My blouse does look really good with sweaters, luckily, for when I’m stuck inside freezing air-conditioning or out in a chilly night.  I find it interesting how generous and comfortable the armscye is on a 1950s era sleeveless blouse.  The armholes from the next decade of the 60’s are so much tighter, and I’m always paring them down but it’s never good enough.  Maybe I’ll need to try sleeveless 50’s fashions more often.

The only major special detail to this blouse is the gathers which come from under the collar.  They are an ingenious way to both add an interesting design element and provide bust shaping.  I thought about pleating the excess fabric rather than gathering it (as I did), but I plan to use this pattern again and I can try that out then.

DSC_0283-comp,wHalfway through sewing this blouse, I had a scare.  I realized this ‘homespun’ cotton was quite fragile when I was stretching the blouse back neckline into the collar piece.  It tore way too easily into the seam allowance.  Thank goodness it didn’t tear any further into the blouse or I would have been devastated because this blouse is my new go-to, throw-it-on frequent favorite.  Once that rip happened, I was glad I had cut the as-is size of the pattern, which was technically too big for me.  I ended up leaving the blouse its generous size because I didn’t want another tear happening in the body of the fabric, which I could totally see happening just from being worn if it fit tighter.  The cotton is so soft, it kind of ‘droops’ down anyway and you can’t tell how generous it is on me.  Between the comfy fit and the loose homespun, it does make for an “I-don’t-feel-it-on” weightless summer blouse.DSC_0285-comp,w

A view of the back is rather basic but my vintage 50’s hat makes it amazing, if you ask me.  Look at that stunning weave of the two different kinds of straw!  The perfect condition and the steal of a price that I paid, makes this one of my prized vintage hats.  To complete the accessorizing details, my fun cherry fruit earrings are vintage from my dear Grandmother.

Blouses, especially 50’s era blouses are my newest ‘thing’ currently.  I’ve been whipping out several already with a few more in my projects queue to sew yet.  Thus, look for more separates to come here on the blog in next few months!

Going Rockabilly in a Pair of Simple Denim Cut-Offs

After last week’s first episode of the television series “Sun Records”, I’m totally in the mood for the 50’s, especially the rockabilly style (what I see as combination of both early rock and roll crowd and the spirit of a rebellious but fun loving teenager).  Enjoy this while it’s here because you won’t see much rockabilly here on my blog.  Thus, here’s a quick post on some easy denim pants sewed using a popular Butterick ‘Gertie’ pattern.  This post of these jeans is my monthly submission to the March 2017 “Wardrobe Builder Project” at “Petite Passions”.

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Kind of like flappers and fringe of the 20’s, I personally don’t regard the Rockabilly branch of the 50’s as a mainstream part of the decade’s fashion although it has taken over much of modern “vintage” culture.  From what I have read, the rebels, pin-ups and the tough crew have had far more attention due to Hollywood, the ‘shocking’ factor of what they were showing off, and modern perceptions than the position they really held in everyday dressing of the 1950s.  However, it is an important, if small, niche in fashion that boldly shows how culture, music, and clothing styles go hand in hand throughout history.  To read more, visit this page at The Vintage Fashion Guild.

My pants are worn with a store bought tank and a thrift store belt and shoes.  A lovely ruffled authentic vintage 50’s blouse (given to me from a friend) completes my rockabilly look with its red plaid.  The flat heeled shoes mellow the outfit a bit, hopefully, but I did like sporting a bold pompadour roll with a ponytail!

THE FACTS:butterick-5895-cover

FABRIC:  100% cotton lightweight chambray denim

PATTERN:  Butterick #5895, a ‘Gertie” pattern from 2013

NOTIONS:  I bought the bias tape as I generally do not sew with red and therefore do not have much in my stash except for a few vintage packs.  The zipper, interfacing, and thread needed were on hand already.  

TIME TO COMPLETE:  If I hadn’t needed to do unpicking these jeans would have practically made themselves up!  These were made in about 5 hours on May 13, 2016.

dsc_0132a-compwTHE INSIDES:  So fun!!!  Every raw edge is individually bound in skinny bright red bias tape. 

TOTAL COST:  Under $10

These denims are simple because they are like a bare bones version of real jeans – closer to plain pants really.  No bootie cheek pockets, rivets, and contrast stitching here, my dear readers…and I like mine this way.  This makes them ultra-versatile enough to work with anything under the sun from modern to vintage of many eras (speaking of which I did wear them a layer under my 70’s shirt dress).  In the summer these are my favorite bottoms to my 50’s bra top.  Of course, this pattern is wide open ready for personalization, such as adding on one’s own pockets and details or even sewing this in a stretch rather than a woven!  I love the possibilities of this pattern and will definitely be using again…maybe with a fun colored denim next time for a really modern look!

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As basic as they are in style, they were just as quick to sew.  However, the real shocker to this pattern was the excellent fit.  This Gertie pattern is the first modern pattern for pants/trousers that I have found to have a truly vintage type of fit.  I didn’t do one single fit adjustment (besides my normal grading up for the hips) and they’re like they were made for me.  I found true-to-life bootie room, and a comfortable inseam, as well a good room for my power thighs.  This doesn’t hide the body, but fits the body in true rockabilly spirit where the women showed off their shape through a skimming fit (think of wiggle dresses) and peek-a-boo features of their clothes (like the tie off crop top included in the Gertie pants pattern).  I think Gertie’s pattern has the perfect balance of close fit combined with enough ease to be comfortable.

The high waist is much appreciated here but for some reason my waistband has the aggravating tendency to roll and wrinkle.  I used a stiffer interfacing but the waistband continually needs straightening out unless I’m wearing a belt.  And yet, a belt doesn’t work too well on its own because I don’t have carrier straps to keep it in place…at least not yet.

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As much as I love the pockets I do find a weird pull at the side seam corners of them.  The pants have such a snug fit I can’t really put anything bulky inside the pockets either, but there is enough room for a to-do list or a handkerchief.  Some of the weird pulling could be because of the zipper in the side seam.

The pattern originally called for (of all things) a zipper down the center back bootie seam.  I have seen this in a few vintage pants patterns, and I did put it in that way at first but found it just too weird, odd, and embarrassing.  This is why I buckled down to unpick (something I hate doing) so I could sew the zipper in the left side instead, like conventional pants.

dsc_0050a-compwWithout being rolled up higher, the original length of the pants’ hem is ankle skimming on me.  I like the cuffs better mostly because it shows off my fun bias binding and is more rockabilly, anyway.

Now, where’s my opportunity for a motorcycle ride?!  Can I ride with a young Elvis please?  Maybe, I’ll just have to settle with some good listening of some 50’s Memphis blues music or old time Patsy Kline country classics – always great, anytime.

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The Outfit of a Christmas Past

Some of my pre-blogging outfits are like ghosts peeking out to appall my current taste in clothes when they are seen from a less frequently visited garment rack or out of a storage bin.  Others, in good number, are still worn by me and occasionally trickle visually onto my blog.  These ones are the ultimate tried and true standbys in my closet, and although I have some reservations about them deserving to be on my blog, this site does feature things I made and if these garments have lasted me this long…hey I’ll give them their moment in the spotlight!

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Here’s a Christmas outfit I made for myself back in 2006.  I must say this is one I am still quite proud of – besides, it has good memories attached.  My aunt’s house was being featured in a Christmas neighborhood tour, and I was delighted when she chose me to be the guard/helper for the occasion.  Being one who sews, of course I used this event as the perfect reason to whip up a new outfit (the one in this post).  How could you get any fancier than two lovely tones of velvet?!  Also, too, I figured correctly that the velvet would keep me warm the week after for the midnight church service my parents and I attended that year.  Even with my coat on, you can still see the prettiest feature of my skirt sticking out from underneath since it’s so long.  Oh yes, I was doing some calculating with this outfit, and it might be a bit dated, but it’s still a winter winner!

My hat was bought to match my outfit, a Christmas gift that same year (2006) from my thoughtful dad.  It has a velvet ribbon around the base of the crown to continue the theme of my outfit.  My matching boots leather suede “Hotter” brand, a gift to myself a few Christmases back.

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THE FACTS:

FABRIC:  The skirt is a 100% cotton velveteen, lined in cling-free polyester;  The top is a polyester stretch crushed panne velourB4230-knit bell sleeve-shawl collar-topbutterick-3654-year-2002-bias-flounce-hem-skirts

PATTERNS:  The skirt used Butterick #3654, view C, year 2002, while the top is from Butterick #4230, view B, year 2004 (whose bell sleeves went onto this 20’s tunic and this 1970 dress).

NOTIONS:  Just basic stuff from on hand was needed here – thread, elastic, bias tapes, and some spare ribbon.

TIME TO COMPLETE:  Neither of these took very long to make, but I do not remember exactly anymore – I’m guessing about 5 or 6 hours for the outfit.

100_7051a-compTHE INSIDES:  Both top and skirt were made at my parents’ house so I took advantage of her serger (over lock machine) for all around cleanly finished edges.

The patterns for the top and skirt are great – easy, quick, fit right on, and turning out exactly as pictured.  There is a refreshing lack of both facings and closure notions.

My top was made without any changes or adjustments but now I wish I had lengthened the bottom hem a bit.  The bertha-style collar has the tendency to curl, but I believe that is 100_6986-compdue to the panne velour…it just loves to curl like holiday ribbon run over the edge of a scissor.  Bell bottom style sleeves prevent this top from being worn under a sweater, kind of a bummer because the poly panne is a lot thinner than the skirt and not as warm.  Besides, the panne has a nap that seems to go in every which way at once so it sticks like Velcro to whatever clothing is over it.  This is the only down side to this top, really.  Otherwise, I do love how this is a dressy top without being stiff or stuffy.  Mostly, I believe I choose this ivory panne because I love how the look of it reminds of the beauty of a cold frost spreading, crusting and settling over a window on a cold winter’s day – part of the reason we took our pictures in a snow shower!

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My velveteen skirt had several issues along the way to as you see it now.  When I was first making the skirt, I had miss-read the proportions and lengthened the skirt.  However, it didn’t need it so I ended up taking out the added inches by making a folded over band above the bottom bias flounce.  I think the skirt looks all the better with that band above the flounce.  A few years later, I finally got around to refashioning the waistband so it wasn’t an all-around elastic band-type.  There are two off-center darts down from the front of the waistband so the belly will be smooth, with the elastic going around the back and sides from front dart to front dart. Last year, I realized one of the front darts were crooked and longer than the other, so I adapted that.  The lining inside is free hanging attached at the waist of the skirt.  Its hem ends at just above the bottom flounce of the velvet skirt because when I walk the ruffle above my feet flips up in a rather curious but pretty way.  If the lining was lower than the flounce it would show when I walk.  This might appear a simple skirt, but it has seen its share of tweaking through the years I’ve worn it.

100_7000a-compThis outfit brings to my mind a topic I’ve wanted to bring up on my blog.  You see, when a garment is made by me, I make sure I both like it enough and that it fits me well enough that it gets worn for as long as it will last.   This includes any mending, repairs, fitting adjustments, and even includes the possibility of re-fashioning.  I crafted it for myself and spent the time and money on it, thus I feel no one else but me is better qualified or has more vested involvement to make sure a handmade garment gets loved and appreciated.  Granted some of my past makes are eye-sores to me now, way beyond any ideas of re-fashioning at the moment, and make me shake my head at what I was thinking.  At the same time, I will admit I do like keeping these currently unworn eye-sore garments because it helps me see how creative and individual I’ve been with my fashion all these years and (most especially) see how far I’ve come with my skills.

100_6984a-compAm I just a lone wolf doing this long-term interest in one’s own wardrobe?  This idealism is mostly associated with the war-time rationing efforts of the decade of the 1940s, but I do not see why it should be so ‘cubby-holed’.  Modern “fast-fashion” has no staying power – it comes and goes out of fad every few months, it is commonly made with extremely low quality, and is not made to your fit and taste like a sewn garment can be.  No wonder charity shops are overflowing with unwanted ‘stuff’.  Handmade garments have more lasting qualities, so why give up on them and get rid of them like any old “ready-to-wear”?  Even if you do have store bought garments, or even vintage pieces, you can still take care of them to keep them in fine order rather than letting a fallen hem or frozen zipper be forgotten by being donated away.  In my early 20s, experimenting with store bought clothes which did not fit me well was how I taught myself the ins-and-outs of tailoring.  Sure, clothes might be a cheap commodity nowadays, but it wasn’t always so.  If you have them, use those awesome sewing skills of yours to do more, given the time and gumption of course.  If you don’t sew, it never hurts to learn how to create with scissors, thread, paper and fabric.

What do you think?  Would you rather start anew with a project?  Working on something existing can drag one down.  Does the thought of fiddly repairing send chills down your spine?  Do you (like me) rather enjoy the satisfaction of knowing you invested in your wardrobe after a garment repair has been made?

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Star Wars, Pinball, and Year 1974 Cozy Layers

The title might seem like an odd combo, but bear with me here…it is all connected, at least to me with this newest outfit.  In this post, I’ll proudly reveal myself to be a big fan for the decade of the 70s and its amusements – something that many vintage bloggers as well as those who lived in that decade seem to generally not share in common with me.  As one who is at the age to have totally missed that era, I can feel a connection to the decade of disco music, pinball machines, bell-bottom pants with platform shoes, and Star Wars because all these things played a big part in my parents’ lives.  What they were “in to”, I saw in old pictures, records in the basement, and clothes or memorabilia in a forgotten closet – and all that was cool and interesting to me.  Parents are interesting anyway, right?  Reasons given, I’ll move onto what I actually made.

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Inspired as I was to make things for Allie J’s “Cozy Layers” Social Sew #8, I might have went a bit over the top here.  Anyways, let me present my 1974 waterproof jacket, easy 1974 knit flared jeans, and a draped sweater vest.  Whoever says winter dressing is no fun hasn’t worn these kind of garments!  These pieces are so fun and warm…and handmade;)

THE FACTS:butterick-3914-late-1973-or-early-1974

FABRIC:  Pants – a cotton polyester blend brushed double knit in what looks like a denim finish; Jacket – a olive green snakeskin print vinyl with a knit backing, a poly micro suede and a basic polyester for the lining, and a fleece sandwiched in between; Vest – a poly cotton blend sweater knit for the draped front and the leftover poly micro suede for the back

mccalls-4052-yr-1974-cover-compwPATTERNS:  Pants – McCall’s #4052, year 1974 (love the whole play suit separates – lots of options here); Jacket – Butterick #3914, late 1973 to simplicity-1588-view-aearly 1974; Vest – Simplicity #1588, view A, year 2013

NOTIONS:  I only used what thread, interfacing, and other notions from on hand.  The pants button came from the stash of Hubby’s Grandmother so it might be vintage.  I only bought a metal jeans zipper for the pants.

THE INSIDES:  Most seams are bias bound on the vest, the pants edges are left raw, and the jacket seams are covered by the lining.dsc_0777-compw

TIME TO COMPLETE:  The vest was finished first on November 21 after only 3 or 4 hours, the knit jeans came second being finished on November 22 after 3 or 4 hours, and finally the jacket was done on November 28, 2016, after about 15 hours.

TOTAL COST:  The denim knit was something I bought about 5 years back so I don’t remember where it came from or how much I spent for it.  All of the rest of the material for this outfit was bought about 2 years back when there was a Hancock Fabrics store closing, so it was incredibly dirt cheap.  In all, not much fabric was used here – 2 yards of each fabric, except for ½ yard of the vest sweater knit, and voila!  Look what I came up with!

I won’t bore you too much detail in this post about sewing and construction details because not only are there three me-made garments here, but also one of them was tricky and complicated (the jacket) while the other two (vest and pants) were super easy.  I must say I am very pleased with all the patterns, especially the vest and pants.  The jacket is great, too, don’t get me wrong, and surprisingly warm for being a not-too-heavy of a weight.  My only reserve is that I am doubtful whether or not I paired the right fabric (the vinyl) and pattern together.  My hubby makes me feel better by saying that the material would have been hard to work with (and it was) no matter what pattern I’d have chosen, but this style is uniquely neat especially with the raglan sleeves.  The vest is more of a novelty item, but I am realizing it will go with more than what I first thought, mostly because I like it so much!  However, one can never beat an easy creation that looks so good and fits so great, so the jeans are the ultimate winner, especially for being so basic and versatile.

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dsc_0796a-compwI will go over each item briefly to comment of the fit and anything I changed.  First comes the vest.  I made a straight size small and found that I should have graded a size up for the hips the same way as I do for regular garments such as blouses and dresses.  The neckline of the draping were taken in by an extra inch to make for less of a droopy wrap, purely personal taste.  A facing of the micro suede used for the back was drafted from the pattern for the neckline edge.  I found the back of the vest to be quite long, ending at the bottom of my behind…not flattering.  So, to vent my frustration waiting for our Thanksgiving guests to arrive, I unpicked the bottom hem and re-sewed it 2 inches shorter in the back of the vest.

I love the texture and interest of this vest, besides the fact it is a wonderful weight to wear.  It keeps a chill out of my middle but yet the lack of sleeves keeps me from rey-in-the-force-awakenscropover-heating inside stores and homes.  I’ve always associated vests with the outdated 80’s things (like boxy front-halves of a weskit) that I wouldn’t be caught dead in, but now that I have a fashionable vest, I may have to re-think the value of this kind of garment for winter layering.  The funny thing is, this vest made in this desert sand khaki color, with its rough texture, and criss-cross design totally reminds me of the outfit for the lead character “Rey” in the 2015 Star Wars movie, “The Force Awakens”.  I know it’s not exactly the same thing but I believe you can definitely tell where I see similarities.  This vest, though modern, also reminds of the creative and interesting, bold but relaxed style that see in 1970’s dressing.

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My idea to whip up the pants was spawned of all my ideas from and of the vest.  All of my previous pants have all been made of woven fabrics so I went for a thick denim knit sitting all lonely and forgotten in my stash for the last 5 years.  Now I’m glad I never sewed it up into a dress like I had originally planned because these 70’s pants are way hotter…oh, and comfy.  Everything I love about vintage 1940’s trousers is combined with my love for the 70’s here – full and wide legs, true waist, chic styling, and perfect fit.  Add on a body skimming booty and less excess fabric around the thighs and welcome to the disco era.  My favorite part is the lack of both the conventional waistband and the front placket here, replaced with a simple loop and button above the zipper.  It makes for a very clean look that’s so easy.  The instructions showed to sew in a ribbon waist, but I used some wide non-roll navy elastic instead and I think this turns out much better and is a better (and more forgiving) fit.  The best part?  These pants are a perfect fit for me without a hair’s breadth of change…go vintage patterns!

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These pants make me feel very tall, skinny, and all legs.  This was the 70s ideal body type anyway, and I like the feeling because in reality I normally think of myself as short, not skinny enough, and definitely not very leggy.  I kept a very long hem on my pants so as to wear my new 4 inch platform strappy heels.

After making year 1974 pants, I remembered a project waiting in the wings downstairs for the last several years.  This, together with the thought of another cozy layer to add to the 70s gloriousness, and I reached for the jacket project.  This was rather an exhausting project that I don’t know I was ready for, but it should see much use in the next few months, starting immediately.  There are some things I wish I could have made to work out better, but I am just proud at my first official coat and my first sewing with this kind of vinyl.  I do love the slightly golden sheen to the snakeskin print and the waterproof protection without looking (and sounding) like a plastic raincoat.

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The most stressful part of sewing this coat was the thought that I only had one shot to get things right…unpicking and re-stitching wasn’t really possible here because once a hole is made, it’s permanently going to be there.  Also, the vinyl was sticking to all the metal parts of my machine so I had to sandwich a layer of wax paper around the coat’s seams at almost every stitch so it would glide under the presser foot.  This wax paper method worked like a charm, and was easy to take off, it just was something else to add to the difficulty level.  So, in total not only did my stitching have to be accurate, and I was limited to my use of pins for seams (reverting to clothes pins), but I had to sew between wax paper.  This coat must have given me at least one grey hair.  My only change was that in lieu of gathers under both the front and the back yokes, I made my own pleats – two ½ inch ones on each front and one giant box pleat down the center back.dsc_0776a-compw

My two giant pockets are lined in a remnant of a 1970’s curtain which I had on hand from a buying someone’s small fabric stash at re-sale store.  It was so bold and fun, I also added bright green bias tape to finish in inner edge.  No one will ever really know it’s there, but I like how the print makes me smile whenever I see the funky brightness inside my pockets.

I still don’t know how to close the coat – any suggestions?  I don’t like it belted and it is warm enough that a little air actually feels good.  I’m beginning to think I should just leave it open and casual.

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1974 is an interesting year for me to channel.  My dad graduated that year from high school and (among other things that happened) he became a lover of the pinball machine.  Every chance we could as I was growing up, my dad and I would hover over and eye up every pinball machine, with the occasional dropping of a quarter to do a real play.  I always saw my dad as a champ at the game and he still enjoys playing when he can.  Luckily there are some game lounges around in our town nowadays that are much more respectable than those of the pinball culture 40 years back.  1974 was also the year the California Supreme Court ruled that pinball was more a game of skill than one of chance and overturned its long prohibition, opening the way for general acceptance of this form of amusement nationwide (info from here).

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So much of this outfit is due to the influence of my dad.  He still has some of his 70’s bell bottoms, though he got rid of his platform shoes, trench jacket, and elephant pants years back.  Now his daughter has her own version of what he used to wear, sorry dad!  He loved Star Wars and bought me many of the toys and even watched the movies from the roof of their house on the drive-in screen which had been up the street.  The apple doesn’t fall far from the tree I guess.  Star Wars is still around on screen, and the 70’s style is coming back today, and retro amusements are just as fun, so it’s hard to resist re-visiting my dad’s past with my own handmade twist.  This one’s for you, dad, hope you don’t shake your head at this…just smile.

And now for some Star Wars light saber fun with my own son before bed time…

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