“Big Apple Plaid” 1924 Frock

New York might have seen this outfit as the smartest dressing in year 1924, but it sure wouldn’t fly on streets of today.  How things have changed almost 100 years later now!  Nevertheless, I’d like to be up-to-date for 1924 and flaunt about in a more historical style for a change of pace!

For most of the 1920s, the decade did not look like the stereotypical “flapper” that everyone reverts to.  Realistically, they were quite conservative in their long length and loose fit, and almost dowdy to our modern eyes.  To recreate them in a way that makes them appear better than a costume takes a bit of a different mindset (such as understanding the underwear which gave them their weird shape) and attention to the finishing details.  This project was more challenging in the way that I self-drafted all but the three main body panels – which were from a true 20’s design – so I could copy an image from a year 1924 “National Suit and Cloak Co.” catalog which had caught my creative eye.  Having the perfect fabric and trimming on hand certainly helped convince me to make something wearable of the idea.  

THE FACTS:

FABRIC:  100% cotton

PATTERN:  Butterick #1101, from October 1926 (I know the precise month/year only because of the comprehensive Butterick pattern dating charts provided here by “Witness2Fashion”. This pattern is from when Butterick started a new design style and numbering system so that is easy to track!)

NOTIONS:  Lots of thread, interfacing remnants, embroidery thread, and extra trimming (soutache and satin grosgrain ribbon) from my stash.  The creamy yellow ball buttons down the front are vintage from my grandmother’s stash of notions.

TIME TO COMPLETE:  This was finished on April 17, 2020 after about 10 hours put into the dress.

TOTAL COST:  This project is as good as free – the fabric had been in my stash for over a decade before becoming this dress, and the trims were something I got for a dollar each years back…who’s counting after all that time?!?

I will bet that the actual inspiration dress was made just a bit differently, but I did the best I could interpreting a small image into an actual garment using what knowledge I have of the era.  My dress is a comfy cotton which makes it a great dress for a low-budget historical dress, yet I have an inkling the original “fancy checked suiting” might have been a wool or slubbed rayon.  The trim I used is modern but exactly the same as something straight out of the 1920s – soutache and satin grosgrain.  The way I layered them together they create a low-key but very complex detail that garments of the era were so good at inventing.  It can be one thing to like a dress you see in a catalog, but then ending up liking it on yourself can be a whole different thing altogether.  Luckily, I think I personalized my interpretation of the chosen inspiration image just enough for me to enjoy wearing this, no matter how odd of a style this era’s true fashion can be!

The body of the dress fit right out of my vintage pattern.  Now granted when I say “fit”, I mean that in a 1920s way of being very loose, unfitted, and with straight lines.  Since I am an hourglass body type and my hips are ever so slightly my widest body feature, making a 1920’s fashion means I need the entire dress to be a tube which is as wide as my hips plus a generous wearing ease of about 4 or 5 inches.  Yeah, that sounds very unappealing, doesn’t it?!  This is why sizing charts on patterns of this era are not dependable (going by age?) and not easily understood.  Even though the bust was too big for me, I needed it for the hips because you don’t curve in the side seams to find a modern fit for true 1920s dress.  It’s not intuitive to make clothes fitting like this for someone living today.  The only thing I did change up was to cut out the sleeves on the bias grain to accommodate my larger upper arms needing more room for mobility.

I traced a paper copy of the pattern to work with even though the tissue was in fantastic shape and still pliable.  This true vintage pattern copy will be a great starting point for any other early or mid-1920s dresses I have a mind to make!  Ah, the version on the cover with the scalloped, two-tiered skirt portion is calling to me.  Only, I know I would definitely add beading and embroidery along the hems if I did sew up that cover dress…and there is enough going on in my life for quite a while now for me to add in something which would be so time consuming.

Making this little 1920s cotton dress was relatively quick and simple.  It was figuring out the details which took all the thought and bother!  As I have said for most of my historical projects (by which I mean 1920s and earlier), they look like nothing but awful, ugly failures up until adding one little detail which suddenly brings everything you’ve worked on together.  For my 1917 dress, it was adding both the lace on the front piece and rosette ribbon on the sheer hems which made it appear like an actual dress and not just a concoction of fabric.  For my 1912 walking suit, it was the hat that added that extra oomph I was lacking.

Here with this project, it was at first the arrow points I embroidered at each end of the faux pockets at the hipline that made this idea work, but that wasn’t enough – then the collection of ten front placket buttons made the whole project come together.  Ah, the power of the ‘little things’ is never to be underestimated.

Figuring out what trims and notions to add was more difficult than drafting all the add-ons to that basic 20’s sack which was to be my dress.  At least with drafting patterns, it is all math and technical measurements!  Making up one’s mind about finishing details can be the hard – but fun, too!  Using the main body of the dress as my base line, and my little inspiration image for reference, I self-drafted the giant ‘pilgrim’ collar, the front placket pieces, and sleeve cuffs (which I didn’t end up using).  For the front bias flounce coming out of the placket, I used a Simplicity #Simplicity 4593, year 2005 skirt pattern for reference (such as figuring what grainline to choose) and then proceeded to draft my own according to the size I needed.

It was tricky to discern proportions.  On a 20’s dress that is over the body much like a sack, how do you properly visualize where the natural waistline and hips actually are?!  I had to make my front placket fall lower than the 1924 fashion image might show because it was hard to get the dress on otherwise (as my front placket was a workable closure, not just for show).  Once I figured that out, then I could measure the flounce piece to match, and estimate how to strategically make the most of my just under 3 yards of trim.  I ended up with only a few inches of soutache/ribbon leftover and nothing but small scraps left for the dress’ cotton, which is incredible after starting out with over 3 yards (45” width)!  Whew, I just made this idea work.

I kept the dress’ insides and construction simple – raw seam edges, bias tape in lieu of “proper” neckline facing, and all machine stitched seams.  Because the dress’ fabric was so see through, I skipped out on doing true welt pockets and did the easy ‘fake’ version.  The front placket has just five large hook-n-eyes (also true vintage) underneath because this dress hails from a time when it was still considered improper to have the means of closing one’s dress in plain sight.

You bet I’m wearing my 1920s combination underwear (posted here) underneath!  Believe me, modern underwear only brings attention to the fact that this style of dress is baggy and unfitted, besides the fact it doesn’t give the full historical effect.  Honestly, the early 20’s are super comfy to wear and not confining in the least, like a good nightgown.  If it wasn’t for all the other accessories, I would be ready for bedtime, ha!

I’ll admit, this project has been languishing as an unfinished project for two years before now.  The fact I am staying at home more is for some reason helping me have the fire to finish projects started, cut, and ready-to-sew.  It is so hard to have the gumption to sew something that will not see possible everyday wearing like much of my post-1930’s vintage garments.  Yet, my great impetus for finishing this project finally was recently happening to find the perfect hat to match.

All of my accessories here are vintage – and the hat is the cherry on the top!  It is a true-to-the-era original from around the same period as my dress.  It has a crown of silk velvet, with velvet ribbons around the brim, and was handmade by a talented home milliner by all that I can tell.  Sure there are a few chews to the velvet, but the wool base is untouched and the silk lining is not shattering.  To think this is in such good condition for being a century old blows my mind, and I am tickled to be wearing it with such a complementing outfit.

My shoes are true to the early 20’s with their pointed toe and French heel, yet they are of 1980s era.  The 80’s had a resurgence of many old styles, and besides 100 years ago, from my knowledge they are the only decade that came back with a strong, hourglass-style curving French heel (quite hard to come by otherwise).  Generally, 1980s shoes are unwanted today and can be found in plenty at my local thrift stores – happily they are also great for providing great 20’s style footwear that is in much better condition than their original counterparts.  Mine are a lovely suede leather and bring out the burgundy colors in my set!

Even the building backdrop to my pictures was built in 1924! How cool is that?

I do believe this to be a nice “street dress”, meaning something that would be worn out of the home to do things like shopping downtown or business-related duties.  It is too nice for a housedress, but the fact that my version is of cotton brings it down a level from, say, a ‘Sunday best’ kind of wear.  Sure, all those glitzy evening gowns or luxurious party dresses are so easy to gravitate to, but personally I appreciate the clothing that was more for everyday living.  It is more of a teaching opportunity/learning experience then.  I learn from the research and actual sewing which goes into my making such an outfit.  In exchange, I find that I can wear such an outfit to living history events or for historical presentations and my clothing only helps others both learn from me as well as feel welcome to ask questions.  It’s a win-win!

In the Spirit of the Rani

Even today, women of India grow up with the name of the Rani, a warrior for Independence and queen of Jhansi (circa mid-1800s), as a household celebrity and role model, so I have heard.  Now that her inspiration has transcended the continent of India, thanks to some authentic representation through Hollywood (the likes of which has not been seen before), women of American can now also love the exciting historical story of Laxmi Bai.  “The Warrior Queen of Jhansi” movie, released November of 2019, is purported to be the very first United States movie starring an Indian woman as the main character, besides being produced, written, and directed by the mother-daughter team Swati Bhise and Devika Bhise.

As the manifestation of finding a new personal hero, this vintage mid-60’s style dress is the visible result of me channeling my own inner “Spirit of the Rani” since I first found out about Queen Laxmi Bai a few months back.  This outfit mirrors both the traditional clothes of Maratha province of India, besides imitating the outfits worn by the leading lady in “The Warrior Queen of Jhansi” movie.  Now more than before, I am fully invested in continuing to add to my wardrobe of Indian inspired fashion (see my 1947 Independence Remembrance dress here and my 70’s inspired Sherwani jacket here).

I love the beautifully rich complexity that every Indian inspired outfit offers – a whole new aspect of their culture and history is opened up every time I dig deeper into the traditions of every different region.  I am in awe of the detailing and thought that goes into the practices and the fashions of India every time I sew something related to it.  This dress is not as culturally compelling as my last two Indian inspired garments and the ones I have plans for next, but the feelings behind it are just as strong as for the others…especially with the Rani as my muse!

THE FACTS:

FABRIC:  a 100% rich-toned cotton print with gold foil accents; the bodice is fully lined in an all-cotton broadcloth

PATTERN:  Simplicity #5702, year 1964 (Is it just me or does the middle woman in black remind you of Sophia Loren?)

NOTIONS:  All of what I needed was on hand already – zipper, thread, seam tape, bias tape – but the authentic Indian trim which is on my sleeves was ordered from “Fibers to Fabric” on Etsy.

TIME TO COMPLETE:  The dress was made in about13 hours and finished just in time – November 13, 2019 – for us to see the movie on its premiere weekend for United States showings.

THE INSIDES:  all either cleanly bias bound or covered by the bodice lining

TOTAL COST:  The foil-printed cotton fabric is something I have been holding onto since the late 90s or early 2000’s.  It came from the now defunct Hancock Fabrics.  I always received the best deals from Hancock but after about 20 years in my stash, this fabric is as good as free to me and more than deserves to be seen and worn – finally!  My only cost was the lining cotton and the trim…$15 or less altogether.

The actual design lines to this dress are deceptively simple.  It is basically a standard sheath dress with a few lovely tweaks for a very nice fit.  The neckline is a rounded boatneck, the skirt has a mock-wrap look with its deep-set asymmetric knife pleat, and the full back zipper makes this easy to get on.  It fit great right out of the envelope, after only slightly shortening the rather long bodice.  I left the length long for more elegant air.

I do believe it is the rich-looking, detailed print of the thick cotton I chose (look at all the colors in it!) as well as the proper ethnic accessories which add so much to my dress.  There is no sense making an Indian inspired dress without the proper attributes!  Except for my shoes, which are vintage-style Chelsea Crew brand, my vintage golden belt, and my hair comb, which I made myself, all else was bought from local stores who carry ethnic sourced items.  Although this is a modern merge of Indian traditions, I would be remiss to leave out a dupatta shawl.  This one is woven rayon from India.  My necklace is composed of beads made from recycled sari remnants and my earrings are blue agate beads – both handmade in India.  However, my prized and proper, true ethnic addition is the mirror-work trim sewn down to the sleeve hems of my dress.  This was ordered direct from India out of a shop that specializes in supplying traditional buttons, trims, as well as woven and natural dyed fabrics (Fibers to Fabric on Etsy).

Looking back, Indian inspired fashions had seemed to explode in the global fashion scene in the 1950 era, especially so in the 1960s.  Sewing patterns (particularly ones idealized for border prints) which call for saris as suggested material and saris made into fashions according the mode of the day can be easily found popping up in vintage selling spheres today.  Sadly many such designs lack any sort of traditional approbation.  (See this Pinterest board of mine for some visual examples.)  These are great examples of the many ethnic influences which were prevailing in the Mid-Century Modern times.  I am wondering if the Indian influence of these decades past is due to something else besides a general outward-focused interest or desire for foreign inspiration, perhaps.  Maybe there was a steady influx of immigrants from India sharing their culture in America and elsewhere?  If so, was this maybe because of good visas abroad or because of some homeland political upheavals popping up in the decades following the 1947 Independence?  I have so many unanswered questions.

Either way, my dress follows the norm of such loosely influenced Mid-Century designs, with greater attribution coming from my accessories and idealism of the Rani.  Even the foiled cotton print is something which would have been very popular for the times as well, with fabric pioneers such as Alfred Shaheen bringing such a basic material up to a whole new level of classy with metallic accents and rich, vibrant colors and patterns.  Not everybody knows that old cotton prints in their pristine gloriousness can put contemporary versions to shame.  A cotton dress was by no means plain in the Mid-Century – I mean look at this vibrant Valentine’s Day dress I made of true vintage 50’s cotton!  This dress is only made of a newer version of an old style.  Yet, as I stated above in “The Facts”, the cotton I used for this Indian dress was edging dangerously close to becoming modern vintage in its own right, though – it has been in my stash for the last 20 years!  All the more reason I am so happy with my new dress!

For someone trying to make something from practically most of the last century, finding a pattern that appeals to me from the year 1965 is still a will-o-wisp I cannot capture.  Nevertheless, this year 1964 project is a satisfying close-call.  After all, 1965 designs seem to be either quite plain or a mere repeat of the same styles I see in the years both before and after, such as this Pierre Cardin design, Vogue Paris Original no.1443 from 1965 (also with a pleated, mock-wrap style skirt to the dress).  I’m hoping the right year 1965 pattern will eventually fall into my lap, but in the meantime I’ll secretly be counting this dress as close enough to the middle of the 60’s.  There are other projects with a louder siren call to listen to!

I really did not see or plan for this project in my sewing plans queue, but was an easy make, an opportunity to learn more about my favorite foreign culture, a very good use of some lovely materials (if I do say so myself), and fulfilled my personal ‘need’ to honor the Rani at our viewing of such a wonderful film.  Many critical reviews are scathingly hard on it, but ignore them…the movie was beautiful. I cannot stress how important such historical and ethnic representation like this is to have today.  Besides the inclusiveness this film affords, the historical fact that the Rani – a woman – was the first popular freedom fighter and one of the top icons for Indian nationalists is not something only one country should acclaim. She believed women were just as powerful, smart, and worthwhile as men in a time (1850s) and place when she was fighting every side of societal and cultural norms for those ideals, not to mention standing up for her homeland first in diplomatic relations then in valiant battles to free it from the grip of the East India Company. Please make an effort to see this film for yourself or at least learn about the wonderful life of Rani of Jhansi.

Happily, my Rani inspired dress has prompted some discussions and sharing of my limited knowledge about her to those who happened to compliment me on my outfit the night I wore it out.  Any woman with an independent mind, courageous will, compassionate heart, loving temper, and patriotic fire inside manifested outwardly is the “Spirit of the Rani” today.  Not to be reckoned with lightly, such a woman is a powerful force in the world of today.  When women believe in their worth and capabilities they can do whatever it takes to fulfill their destinies and bring any dream to life. The Rani became more than a heroine, she became an idea.  When someone acts on an idea, anything can happen.  When the men around the Rani did not believe they had a chance of successful rebellion, she set up a formidable women’s corps to fight…which idea was also repeated during WWII with the ‘Rani of Jhansi regiment’ under Lakshmi Sahgal.  Let’s follow the Rani and act on those inspired ideas for the good of ourselves and others!  I started with only a dress, in this case

Peplum on the Backside

I love it when modern patterns imitate vintage styles.  It’s always so interesting and offers the best of both worlds.  I have a handful of favorite designers from today, but precious few actually come out with patterns of their lovely ideas.  Luckily, the wonderful Rachel Comey offers her designs through Vogue, and I adore her slightly vintage style aesthetic.

This dress is one straight out of the 1940s!  It totally feeds my obsession with peplums, my late summer penchant for the color blue, and my love of fine details.  It is such a cottony soft, pastel treat on the senses combined with a swirl-worthy dress which is so comfy I really don’t sense that I am as dressed up as I appear.   What a win-win…vintage made modern – all the ease of casual attire paired with the appearance of being classy.  This is me-made clothing at its best!

THE FACTS:

FABRIC:  a printed, sheer, batiste all-cotton lined in a combo of cotton blend broadcloth for the main body and a poly remnant for the peplum

PATTERN:  Vogue #1209, a Rachel Comey pattern from 2010

NOTIONS:  All I needed was lots of thread, and a zipper with a bit of interfacing.  There was nothing but the basics needed for this beauty!

TIME TO COMPLETE:  Sewing this dress actually only took me about 6 hours to sew after spending several hours to adjust the pattern before cutting it out.  It was finished on July 25, 2018.

THE INSIDES:  All raw edges are covered up by the full lining

TOTAL COST:  This dress cost me less than $10

Making this dress had been something I wanted to do ever since the pattern first came out.  Yes, sometimes my favorite projects in my sewing queue keep being pushed back again and again sadly, but that just makes them such a relief and enjoyment to wear when they are finally finished!

I had to do a bunch of extra figuring to do any adjustments on this complex design.  I changed up the bottom half of the dress the most drastically.  Firstly, I wanted the dress knee length, but that included re-configuring the peplum to match.  Yet, I also wanted the back peplum to be more 1940s waterfall style (similar to this vintage original featured in Threads magazine) and trickle down to meet the side seam at a much lower point.  I eliminated the center seam to the peplum, as well, for a better drape on the bias.  All of this wasn’t too tricky but it did take a clear head, much forethought, and make for a much bigger pattern piece which required a lot more fabric than the back numbers called for.  Luckily, I had about 5 or 6 yards of my chosen fabric (only because it was on deep clearance…so cheap yet super soft I couldn’t leave any behind) so I felt comfortable doing any alterations.  This doesn’t always happen so well.  Usually I have pre-bought a very specific amount and expect to layout the pattern pieces economically so there is not always room for such license with a design.  This was a fun change!

Going further with the top half of the dress, I also slightly raised the back dip of the V neckline, which meant tweaking the gathers and extending the tab that covers them.  Also, because my body size had changed since I bought the pattern (2010 was before I gave birth to our son), I had a size that was too small and I had to grade up a bit.  Oh, not to forget, everything I changed to the fit and the styling of the skirt and peplum had to be likewise translated over to the full body lining as well.  Ugh.  With all these adjustments, though, I really don’t think the dress looks obviously that much different that the cover original and that is just what I wanted.  I was aiming for a slightly more vintage tweak, yet still adhering to Rachel Comey’s design that attracted me to the pattern in the first place.  As I said, above, it’s the best of both worlds, and all in a soft cotton.  Who knew cotton could be so elegant and fluttery?  I didn’t.  This dress is a winner.

Part of what helps my version of this dress work, I believe, is an interesting situation I concocted with the lining.  Cotton on cotton tends to be ‘sticky’ as I call it, clinging together like Velcro because of the soft, brushed touch to it.  So, I chose the full body lining to be in a half cotton-half polyester blend broadcloth.  The little bit of man-made in the broadcloth really keeps the two layers apart quite nicely.  The nude, skin-toned tan color of the lining keeps the outer printed fashion fabric from both obviously appearing lined as well as being as sheer as a tissue, which it was on its own.  The full body lining really gives the dress its shape because it is a very basic design that counters the gathers and details going on with the outside, good side of the garment (besides nicely covering up all the inner seams).  Both layers to my dress being cotton makes for a breathable dress even though it is not the lightest weight.  What I discovered is that the lining is the first to absorb my sweat on a hot day and generally keeps the outer fashion fabric to the dress appearing so cool and pristine in any heat.  What a sneaky little way to pull off being chic in any weather!  Ladies just ‘glisten’ and not sweat anyway, right?!

Part two of the lining trickery has to do with the back peplum.  I sensed that a tiny hem along the bottom edge of the peplum just wasn’t going to work.  Besides, as I mentioned in the paragraph above, the paisley fabric was sheer and being a lightweight cotton would not drape properly on its own.  It needed to be fully lined.  More of the cotton-poly broadcloth I used to line the body would weigh the peplum down and make the dress too heavy.  So I reached for a scrap I had on hand of a nude-tan color, all-poly, cling-free lining which was luckily in the exact same nude tan color as my broadcloth.  Hooray for saving remnants and knowing what you have (thanks to organizational drawers)!  This lightweight and silky poly was the perfect solution for a soft peplum that hangs softly, becomes a weightless addition to its dress, and has a pretty – yet not flashy and distracting – underside.  I kind of did feel badly (silly, really, I know) for adding a bit of man-made to this lovely cotton frock, but I figure that’s the beauty and attraction striving towards the will-o’-the-wisp ‘perfect’ garment.  One piece of clothing that is engineered to be well thought out, like a finely crafted machine, yet soft enough to recognize and reflect the lovely human being inside of it is worth pounds of store offered, low quality, fast fashion.

The finishing touches I added included little ribbon lingerie straps on the inside of the shoulders.  With such a wide neckline, the snap-closing straps connect the shoulders of the dress to my bra straps for a dress that stays put on my body.  Of course, with the center front and center back having practically the most detailing on the dress, that meant there is a side seam zipper, very much like the traditional 1940s garment.  It is only slightly awkward because of all the material to the skirt, but with the wide neckline this dress is still easier to put on than those WWII ones.

So, I’ll ask for you…am I done with peplums yet? Not at all.  (See my other peplum projects here – a long post WWII one, a shorter 40’s blouse version, a front peplum dress, a pleated hip peplum 50’s style dress, and one on a modern asymmetric top)  Ever since there was one amazing vintage peplum dress that got away from me, this ‘bug’ in my system will take a while to work its way out.  Am I done with blue tones this year’s late summer sewing?  Nope.  Sorry, I’m not sorry.  Maybe it’s the way blue is cool to my eyes and mind, or perhaps it’s the way I feel blue is a versatile transitional color, matching with tan, grey, and other fall tones.  Either way, I now finally have yet a long awaited project to enjoy wearing for years to come, and yet another interpretation of how blue is one of my ways to get ready – mentally and tactility – for cooler weather.  Of course, my opposite hemisphere is looking forward to warmer weather, at this point, so hopefully my wistfulness at our fading season is your inspiration!

My First Colette to Celebrate the Fourth!

Colette patterns seem to be the biggest deal in the indie pattern world, and so I feel a bit out of touch to admit this is my first – and very happily successful – foray into a new branch of the sewing community.  Courtesy of a Seamwork magazine subscription which I won from the “Sewing the Scene” Challenge last year, I have had the availability to now try out independent pattern companies and see what they are all about.  This year’s Independence Day celebrating gave me the reason to whip up a dress from a Colette pattern and finally dive right in!

THE FACTS:

FABRIC:  a soft 100% cotton twill in blue and white stripes, remotely similar to ticking, with a chain stitched red border design along one selvedge.  This fabric was a JoAnn exclusive release.

PATTERN:  Colette “Hazel” sundress, no. 1021

NOTIONS:  One zipper, lots of thread, and a little interfacing

TIME TO COMPLETE:  This dress was made in about 8 to 10 hours and finished on July 4, 2019.

THE INSIDES:  No seams save the center back skirt seam are showing and its raw edge is bias bound.  All other seams are covered by the full bodice lining.

TOTAL COST:  The fabric was rather pricey, even with a discount – which I why I made things work on only two yards.  The dress cost me just under $30.

Sarai Mitnick, the founder and Creative Director of Colette Media, started Colette Patterns in 2009 because she liked vintage patterns but found them difficult for beginners to work with.  This particular pattern has a lovely modern hint of mid-century vintage, which I played up through the fabric I used.  I was inspired by the occasional extant piece of 1950s clothing which has Scandinavian-style folk embroidery.  Also known as Swedish weaving or “Huck”, the distinctive red and blue heavy embroidery – in patterns of the well-known eight pointed star or the more floral motifs of the more Germanic people – was extremely popular in the 30’s, tapering off through the 40’s.  Due to the thickness of the huck material, this embroidery style was primarily done on kitchen towels and linens, but it is a weaving style in which the thread never appears on the back, making it perfect for garments too, once decorative dish cloths began to be replaced by the mechanical dishwasher.

I realized after my dress was done that in my efforts to make a patriotically red, white, and blue American dress, I channeled a vintage Scandinavian-inspired style.  But, hey – we are a country of immigrants, a nation merged by our diversity and desire for independence, so I don’t think the irony is out of place.  After all, I was appropriately sewing with an indie pattern for an Independence Day celebration, but I was wearing a vintage “West Germany” necklace and vintage-inspired flats from the Australian “Charlie Stone” shoes.  Freedom is universal.

I keep seeing the phrase “patterns that teach” associated with Colette patterns, and so I saw this as a nice base pattern – something to add to and customize to one’s own level of skill or preference.  Along that line, I tweaked the details slightly to add in a fully lined the bodice and also try out a new method of pleating.   Overall, though, I found the pattern to have great shaping and curving not seen in the “Big 4” patterns, clear directions, and sizing that runs on the small side.  It was just enough of a challenge yet not impossible to make for as amazing as it looks.  I think it was nicer than the “Big 4” patterns and yet not as good as Burda Style, in my opinion.  I’m glad I didn’t have to pay full price and yet I don’t think I would have felt that I overpaid if I had.  I’m not used to Colette patterns but I do like them enough to start picking out my next one!

The big things this pattern has going for it is the front bodice, the dramatic way it makes the most of a border print or a striped fabric (or both combined, in my case!), and the way I can still wear a normal bra under it.  So many sundresses need some special lingerie or something sewn in to support a woman’s assets, and this one is such an appreciated, effortless piece the way its wide straps and their placement worked out perfectly for me right where the pattern markings were.  When you can follow a sundress pattern’s strap markings to the letter and it works out well, I’m impressed.

I went up a size in this pattern (because it’s better to be safe than sorry) and tailored it in slightly for a perfect fit.  As I mentioned above, I also added a full bodice lining to keep the fabric from being see-through and cover up most all the seams.  The facing pieces for the neckline were cut instead as the interfacing ironed down to the inner edges.  About 5 inches were added to the original length of the pattern, and I also cut the skirt as one whole seamless piece, eliminating the side seams.  I know this left out the opportunity for side pockets (unless I do a welt or patch style) but that’s okay – I decided to make this the day before the 4th of July, so I just wanted simplicity.  I widened the straps by ¼ inch and used an exposed zipper rather than an invisible one as called for.  Finally, I made the whole dress come together using only 2 yards.  For my first time trying out a new pattern company, I sure wasn’t afraid to go rogue on many details!

My biggest source of pride in this dress is actually the waist pleats.  The pattern called for a simple overall gathered waist, but why go conventional when there are other more complex possibilities yet to be attempted?!  I kept the center front and center back of the skirt flat because I think that is nicer over the tummy and bootie, but the rest of the skirt was knife pleated at every large stripe.  Each large stripe was folded over about ¼ inch deep to meet the nearest small stripe.  This process took me just over an hour in itself, mostly because I did one side wrong at first, but the finished look makes every minute worth it.  It is detailing like this that makes me and others so love vintage styles besides keeping past fashion highly sought after enough to be going up in value.  If I can bring a taste of that into my own sewing than my time is well spent.

I have seen several examples in their mailer leaflets (at right is one) of how JoAnn Fabrics thought of using this fabric and they were throwing me off at first.  I didn’t like their examples enough to try but I also had the hardest time deciding on using this Colette pattern for it…and I’m so glad went for it!  This dress really made me feel comfy yet festive, bright without being flashy, and proud of the quick work I put into it.  I do have a good chunk of the dress’ fabric leftover and I’m debating now between a purse or a little bolero to make out of it.  Decisions are the most fun, inventive, yet stressful part of home sewing.  Whatever I make, it’ll probably be much like the dress, though, in the way it was a happy experiment and a sudden ‘go-for-it’ type of decision.  Here’s to fun in the sun and more creative sewing!