Summer Rose

As soft as a perfect blue sky, as delicate as a newly opened wild white rose in bloom standing strong during the summer heat, this year 1953 dress strikes me as taking these things into a tangible garment.

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I like the balance to this dress design.  I see it as an unabashedly feminine yet not overly sweet dress, sleevelessly ‘cool’ yet covered up with the capelet, and elegantly tailored yet completely comfy in my chosen Gertie brand cotton sateen.  As if I couldn’t ask for a better vintage 50’s summer dress, this was actually inspired by the villainess Whitney Frost from my favorite show, Marvel’s Agent Carter.

Butterick 6928, year 2000 reprint of a '53 patternTHE FACTS:

FABRIC:  a 100% cotton sateen, in a Gertie brand print, with a plain white cotton broadcloth to back the capelet and become the facings

PATTERN:  an out-of-print Butterick #6928, a year 2000 pattern from year 1953

NOTIONS:  Nothing but thread, a few hook-and-eyes, and few snaps from on hand were used

TIME TO COMPLETE:  This dress was finished on July 21, 2016 in about 5 hours.

THE INSIDES:  cleanly bias bound

TOTAL COST:  This was bought from JoAnn’s Fabric store (they sell most of Gertie’s prints), and you’d never guess, but this dress is sort of a fabric hog and I ended up having to buy over 3 yards so this cost about $25 (more or less, I don’t remember).

DSC_0042a-comp,wThe wide capelet overlay is balanced out by the slim lines throughout the rest of the design – so unusual, that I was unsure if it would work for my body type at first, but once on me…it’s a winner!  I really do get a ton of compliments on this dress so the design must be doing something right for me.  Just looking at the dress, a first glance cannot help you even realize how smartly designed it is when it comes to construction.  It’s a one piece wrap-on dress!

The asymmetric pleat in the skirt hides the closure, and I really like how it is a closed pleat, meaning there is no open slit, just a fold over of the skirt.  The front skirt is a good example of how this dress’ pattern pieces are really unexpectedly interesting.  It is cut really wide but then gets a deep knife pleat to end up as a skinny wiggle style with full freedom of movement.  The wrap style opening continues into the skirt from the waist with a bias-finished slit down the center of the inside of the knife pleat.  Dressing is as easy as…”step-in, hook closed, ready to go”!  Not too often are vintage dresses this easy to get into – the side zipper ones are the worst – so I am quite excited about this one, especially since it is much nicer than just a house dress (the one’s that mostly have such a simple dressing method).

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In essence this is really a full sleeveless dress covered up by the capelet which nicely finishes the neckline edge.  I like how the capelet keeps my shoulders from being sun burned.  Yet, even though it is double layered (it is fully faced), it is so wide and floaty it stands a bit off of my body so as to not cause the dress to feel oppressive.  I imagine one could even make this dress as a simple sleeveless bodice, and sew the capelet separately, for a garment with more than one option.  However, I think the capelet is almost necessary here – the 1950s designs had such elegant drama, and I think it is a good thing to bring back.  Everyone needs to experience a bit of the 50’s!

I know this is a rather odd length for the hem, but this is something that the early 1930s shares with the early 1950s.  It can be rather slimming with the right silhouette, as well as complimentary to the calves and ankles.  From what I’ve seen in modern fashion, this hem length is coming back.  What do they call it nowadays…midi length?!

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Compared to the frustrating troubles of unpredictable fit and sizing that I find with many “retro” patterns of the last 10 years, this one had spot on fit that did not need any alterations or customizing for me to wear.  I followed the chart on the envelope, and the size that it showed was indeed the size that fit.  Awesome!  The instructions were very good at clarifying any tricky parts, too.

DSC_0017a-comp,wThis pattern might be too obvious of a style for me to make again, but yet I am envisioning a sheer crepe version of this in an ankle evening length, something flowing, dressy, and utterly romantic.  Or I could even make a full skirted version with lace along the capelet for a dressing gown, like this vintage original.  If the right fabric and the perfect event to wear these dream versions of the capelet 50’s dress comes along, then will whip up another version in a heartbeat.

Whitney Frost’s inspiration dress from Agent Carter is a bit different than my own, but this time I put my own personality into my version.  She was always the fashion forward one in Season Two, dressing for the early 50’s already at the cusp of Dior’s emergence in Whitney comes for zero matter,cropthe year 1947, so my pattern is from 1953.  The scene in which this dress appears is when Whitney steps into the plot in an unexpected place, in a totally unexpected revelation of true character.  She is taking the first step out her subtle, innocent and happy façade to become the cunning, headstrong, and determined linchpin to many other’s fate and her choking pearls and strong dress style reflected that perfectly.  Her dress is a turquoise solid in a lovely satin, mine is a baby blue print in a utilitarian cotton sateen.  My version is lacking in some other similar details, and yet I feel I captured the overall similarity to make me happy.

Yet again, Whitney Frost’s character inspired me to try something new in my wardrobe, a style I would never have noticed or probably even tried to make and wear otherwise.  Not that you should ever stop letting your personality be reflected in what you wear, but it does help to find a style icon that works for oneself and use that to inspire what you can try successfully.  Before Agent Carter, I didn’t really have a 1950’s era fashion icon that I felt corresponded to my body type, and as you can tell (this is my 5th Whitney Frost outfit!) I’m loving it.  So – I’m sorry that I’m not sorry…I have more Whitney Frost outfits in queue!

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A Duo of Handsome Wing Collar Shirts

…for two handsome guys – my dad and my husband!  It does come in handy for me when their presents are garments that both men are almost exact in body type…and therefore size, too.  Thus when it came time to figure out gifts for them last year, I sewed up two shirts from the same vintage pattern, but choose two different fabrics and prints to accommodate for personal taste.  There isn’t anything like a custom, personalized gift to make someone’s day, and I love doing that for people as special as both my dad and my hubby.

What I used here was a ‘tried-and-true’ pattern that has previously helped me sew this unusual shirt for my hubby, a Butterick #7673 from 1956 (see facts below for a picture).  This time I used the second, completely different view which has something called a “wing collar”.  The collar is a wonderful kind of subtle different, yet I LOVE how its ‘wing’ name coincides all too well with the kind of shirt I made for my dad in particular…

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Out of the wide and varied store of awesome knowledge that my father has in his head, he is amazing when it comes to World War II airplane history.  He had previously raved to me about a co-worker of his that had such an impressive plane print shirt, so he himself gave me the idea.  I set about to comb the internet and after an exhaustive, long drawn out search, I found the one perfect print that screams “Him” to me, and boy – I found it!  His shirt is a cotton print which combines his expertise in camouflage prints with his knowledge of WWII planes.  The aerial view of the ground, in brown tones, looks like a camouflage when you focus on the planes, which are all-American, like us!  My dad (and I, too) love, love the mix of bomber and fighter planes so much so that we are frequently caught looking down at his shirt when he wears this!  Distracted much?  The basic, soft cotton of his shirt makes it very ‘everyday wearable’ for him, and the print can definitely a conversation piece for him – something he can all-around enjoy!

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I am completely tickled by the close matching down the front of the shirt where it buttons.  Whether you believe me or not, the matching was a lucky surprise.  You see, I figured I wouldn’t be able to pull a full match off without blowing my brains, so I didn’t try, but it still happened anyway!  I did meticulously match up the left chest pocket, so that it is nearly invisible.  Finally, I added a cloth “made with love” label inside for a true gift message, too!

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My thought process and motivation behind making hubby’s shirt was different than my dad’s, but similar in the whole “gift” idea.  You see, ever since my first few dresses inspired by the Marvel television series Agent Carter, he started bugging me with hints about something for him inspired by the same show.  He’d remind me that if I’m going to be Peggy Carter, there should be an Agent Sousa (her romantic interest), and who better for role that than him?!  Well, yes, (I’d roll my eyes and sigh), I suppose.  Being set in California post WWII, Agent Sousa often wore Hawaiian print casual shirts, and as that was something my hubby certainly did not possess, the ‘vacation-time to relax’ vibe of a tropical shirt is what I wanted to channel.  I wanted to not just give him a new shirt, in a new style and print, but also lend the shirt itself a relaxed ‘feel’.  I did all of that by choosing a new-to-him fabric to enjoy which would dress up his casual shirt – rayon challis, my own favorite!

Now, as this was to be his shirt, I let him be the one to pick out the print.  I found a bunch available online and both he and I were undecided about two, so we bought both!  He preferred a rich orange background tropical print rayon (bought from this shop), with Agent Sousa in tropical shirtHawaiian and bird of paradise flowers spread out in a large scale.  He also liked (but I preferred) a print closer to a shirt worn by Agent Sousa, one that seems more ‘California’ to me – the one you see in this post.  I love the rough, tree bark effect of the background and two colors of palm tree silhouettes.  He will still get the other Hawaiian print sewn into a shirt soon enough, but for now he is happy with the one that makes him more like Agent Sousa, and one that we both picked out!  Besides, there was enough leftover of this tree bark-palm tree print rayon to actually made myself a sort of matching, summer, 50’s blouse, too.  Granted we haven’t yet wore our tops in the same fabric at the same time…but it still is kind of cute to know I made a ‘his’ and a ‘hers’ version.DSC_0580a-comp,w

What I’d like to point out is that this men’s shirt design is also unusual in the way it has no shoulder placket.  The back is one full piece, with no darts, tucks, or pleats of any kind, and it extends all the way up to the center top shoulder seam.  How easy and simple can you get?  That’s what makes this design of shirt just perfect for novelty prints, in my opinion.  Not that style lines are bad, but in this case they do not get in the way of the fabric prints and make complex matching one of the last things to concern yourself about.  Between the back and the simple, faced, all-in-one “wing” collar, this is a very easy and quick pattern to sew.

DSC_0579a-comp,wBoth shirts were cut out the same, like an assembly line, except for two small tailoring points.  My dad has smaller shoulders and is shorter in height than my husband, so the length I added to hubby’s shirt was taken out as well as the extra 5/8 to extend the shoulder width.  Any other differences had to do with the material and how it needed to be treated.  My dad’s shirt, being cotton, got flat-felled seams and a bias bound, shirt-waist style hem.  Hubby’s shirt, being a slinky rayon, received French seams, and a tiny ¼ hem around the straight edge bottom.  My dad’s shirt buttons match the background of his cotton print – they are basic and two-toned brown.  My husband’s shirt buttons are rather nice, pearlescent basic shirt buttons for a slight, but not flashy, contrast.  As suits a vintage shirt, all the buttons are vintage, or at least retro, from the stash of hubby’s Grandmother.

I like how this post presents a good example of how the choice of fabric dramatically changes a design.  (McCall’s Corporation just presented and example of this on Instagram.)  It is the same for all patterns – the choice of texture, color, and ‘hand’ of a material all makes important variations.  Sometimes these variations can be a surprise or planned depending on whether or not you are working with a fabric that is new to you or one that is akin to a well-known friend.  Either way, sewing offers endless opportunities for creative fun and expression starting at the fabric level!

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Men, at least the one’s I know, are so hard to be models!  My husband is not comfortable being pointed at by a camera, but he did his best for me here for this post and accommodates his seamstress like a good man.  I didn’t even bother to ask my dad because I know him and didn’t even want to try and convince him, too.  Believe me, though – my dad’s shirt stands perky (keeps its own shape) and is awesome against his darker skin tone, suiting him well.  One model is enough, because anyway…these shirts look even better in person.

This men’s vintage pattern NEEDS to be reprinted (hint, hint McCall corporation).  If I knew how to make this happen, I would.  Out of all the patterns I’ve come across, I am never more serious than about this one.  For those who sew, these shirts are fun to make because they are creative, incredibly easy, and a nice change from the traditional collars and plackets.  For the guys who would only be on the receiving end, this is the kind of shirt where you will feel special in it, and if you hang around one person for about 5 to 10 minutes length of time, you will get a curious, interested question about your collar.  Then comes the time to do the seamstress a favor in return as part of your answer!  It’s a win-win all around.100_6215a-comp,w

THE FACTS:

FABRIC:  Plane shirt – a quilting 100% cotton; Hawaiian shirt – a 100% rayon challis

PATTERN:  Butterick #7673, year 1956

NOTIONS:  Nothing but thread, bias tape, interfacing, and buttons were needed, and I always have this stuff on hand!

TIME TO COMPLETE:  Each shirt took me only 4 hours to whip up, and both were finished up about August 23, 2016.

DSC_0340-comp,wTHE INSIDES:  French seams for the inside of the rayon shirt and a combo of flat felled and bias bound seams are inside the cotton one.

TOTAL COST:  The plane print cotton was bought off of Ebay and more than what I normally spend or even would like, but as it was for a present I felt it was worth it to get something so appropriate for someone.  The two yards of rayon for the Hawaiian shirt came from “Simply Fabric of Oakland” (see it here, if you want to buy some, too) and is lovelier than the normal Jo Ann’s store rayon – very silky with a slight sheen.  So pleased with my present purchases, I’m not really counting!  

“Wallis” Chic

I always suspect that a good amount of the appeal of the 1930’s fashion is the flaunting of elegance with chic, completely accessorized outfits.  I can’t think of a better face for this in the late 1930’s than the famous Wallis Simpson.  As she was already gracing every news headline in 1937 for her marriage to England’s former King Edward VIII, she became the woman that the most talented designers of the times jumped at to clothe…and boy did she ever wear the fashions!  She is quoted as saying, “My husband gave up everything for me. I’m not a beautiful woman. I’m nothing to look at, so the only thing I can do is dress better than anyone else.”  Whatever her reasons, she inspired my latest 1930’s outfit.  So many details of my outfit make this a very specific 1938 garment, with a heavy nod to ‘Wallis’ in my accessories. I’m not out to overdress, just dress “to the nines” in killer Tyrolean era, late 30’s style!

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Not only did I make the dress of this outfit, but I made the hat as well, and even broke out my prized 30’s gloves and vintage shoes to boot.  This is the kind of outfit I hate to take off!

Simplicity 1736, year 2012 hatsTHE FACTS:Hollywood 1647, year 1948, front cover-comp,w

FABRIC:  The dress – a 100% cotton print, with a selvedge marking of ‘“Nana’s Quilt” by Joan Pace Baker, Designs by Logantex’; the hat – a lofty and thick polyester felting

PATTERN:  Hollywood #1647, a Maureen O’Sullivan pattern from year 1938, for the dress and Simplicity #1736, year 2012 pattern, for my vintage-style hat

NOTIONS:  I had everything I needed on hand – buttons, ribbon, thread, and bias tape.  The buttons are authentic vintage from the stash of my Grandmother’s.DSC_0559a-comp,w

TIME TO COMPLETE:  My dress was made in about 10 hours and finished on May 14, 2017.  My hat was finished on May 19, 2017, in only 2 or 3 hours…easy-peasy!

THE INSIDES:  Half French seams and half bias bound (in red, too, for fun) on the dress while the hat is raw edged inside – it’s felt, after all.

TOTAL COST:  I’m counting this as free as the supplies were on hand and the fabric has been in my stash for so many years!

In the year 1937, Simpson made more than headlines, though.  She made fashion history Wallis' gown designed by Mainbocherin two dramatic ways – she wore the then shocking but now famous Schiaparelli-Dali “Lobster Dress” as well as sporting the “Wallis Blue” wedding gown designed by the Chicago-born designer Mainboucher.  Hollywood brand patterns were well known for imitating the rich and famous, bringing their styles to share with the masses, and there is a trickle-down effect which puts the newest fashion in the hands of those masses at a delayed time.  Thus, it makes sense for me to see details of Wallis Simpson’s influence in the Hollywood dress pattern I used to make my dress from the year afterwards – 1938.

Hollywood patterns that I see almost always stick with sweet princess styling, which can Hollywood 1647, year 1948, back cover-comp,crop,wbe complimentary in the way of thinning the body lines, yet overly youthful and conservative with Peter Pan collars and high necks.  Not for me – not with this dress!  Sure, there’s princess seaming to the front, but I changed up the neckline of the original pattern for an open, adult style, while the dress back (as designed) does have a very 40’s appearance (different from the front) with its darts and defined waist seam.  This is a dress which breaks both consistencies of the conventional Hollywood pattern!

I’m tickled at how I found a way to complement the original styling and make my dress more ‘grown-up’ and sophisticated by a mere change to the neckline.  A good friend of mine helped me realize one of the neckline shapes that are very specific to 1938 – an upturned curve to be the third ‘leg’ of a square neckline.  The late 1930’s frequently borrowed from historical garments for new features, particularly those that were severe or heavily restricting, and this type of curving squared neckline, which was popular in the mid to late 1500s 1, had a widespread use on women’s dresses of 1938.  See this Butterick Spring 1938 news flyer for a small example of this.  Period revivalism combined with modern touches was especially popular with one of Wallis Simpson’s designers, Elsa Schiaparelli – see her designs from winter 1937 to 1938 2 and many are strongly influenced by historic clothing from around the world.  If you read up on history, all that is old become new again at some point, it seems!

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Anyway, this 1938 neckline adaption coordinates perfectly with the likewise arching bust detail.  Wallis’ wedding dress had the exact same upward curving side panel bust gathers!  It is such a lovely, subtle, and slightly-tricky-to-sew touch that I don’t really see that much (whether on an extant garment or pattern).  If you would want to snag your own true copy of Wallis Simpson’s wedding dress, good news if you can sew! There is a reprinted pattern of it as Superior #114 (year 1939) up for purchase here at the Etsy shop “tvpstore”.  Go and drool over it at least, like I did!

Besides the redrawing the neckline change and making the bust gathers, the rest of theDSC_0520a-comp,w dress was a cinch to sew together.  The lines are really simple for the rest of the frock.  I did have to grade up to over the amount I really should have needed, and it’s a good thing I did!  Most 1930’s era patterns I come across run small, besides the fact that a full button front dress cannot be snug, and so I made sure to have extra room rather than too little. I ended up being able to have 5/8 inch seam allowances, rather than the original pattern allowance of 3/8…too little!  The modern sized seams allowed me ‘wiggle’ room to make clean finishing French seams and give myself space (if needed) to take it out if I need to in the future.  I want this baby of a dress to last me a good long while ‘cause I love it!

The cotton print is a rocking awesome re-print of an original 30’s print.  Sadly I do not remember where it was bought.  I do have proof of historic authenticity for it, though – see this original dress, sold over at Dorthea’s Closet Vintage.  Seeing that original dress ‘sold’ me on the idea of actually using this prized fabric which I had been hoarding…I mean saving for the perfect pattern.

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For as cute as the print is with its cheery daises and red contrast, my cotton is not the softest…it is actually quite stiff.  For once, a stiff cotton actually comes in handy!  The stiffness lends itself wonderfully to the puff sleeves and the button front as well as keeping the long princess seams smooth and non-wrinkly.  Anything softer and I would have had to use some powerful interfacing, with would be too noticeable to look great, I would think.  As it was, I used only a small strip of lightweight cotton interfacing down the front buttoning self-plackets and zero supports for the sleeve caps to do their glorious late 30’s obnoxiousness.  I had just enough material, too – 3 ½ yards of fabric to work with, which seems like a lot to me, and I just barely fit all the pattern pieces in on it.  Whew! Talk about making the most of what you have!  This was obviously a serendipitous match of pattern and fabric.

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What do you think about that two-at-a-time button placement?  Now that I see it done, it was worth all the bother, time, and trouble…and boy, was it ever!  It took me 3 hours just to make the buttonholes, cut them open, match them to the other side, and sew the buttons on… all 13 of them.  But like I said, so worth it, so unique!  The buttons themselves are vintage of a mystery era, but amazing nonetheless with their deep-set wells for the stitching spots and the faceted shiny outer edges.  They had been a set that I have been itching to use from the first I set eyes on them from in my Grandmother’s stash.  They make the bits of rich red in the fabric pop a little better.

I know what also adds to the red contrast – my lobster pin!  Again, I’m not sure what vintage era this is from, but the back pin mechanism is so rudely simple, I’m assuming it’s 50’s or older.  I’ve had this as long as I can remember so I don’t know where it came from or who gave it to me.  I’ve always seen it in my jewelry box ever since I first had such a thing.  Finally after all these years of keeping the lobster brooch and having mixed feelings about the combo of weirdness, ugliness, and cute quirkiness of it, I like that I have now found a way to enjoy and wear a time honored piece from my jewelry collection.  I feel it properly ties together the colors, the historical significance dating my outfit, and the ties to famous personas of the past.

1938 Dobbs womens hat trends make headlines & German 1938 vintage millinery adSpeaking of famous persons, too many past Hollywood starlets and fashion designs have included a killer fedora to their ensemble like this one!  And this was so easy to make, and it turned out so well, it is ridiculous.  This pattern is like a hidden gem, because everyone seems to make the View E 1920s style cloche hat (they are all awesome) but I only found one other version of the fedora style on the internet.  It is the perfect style for anything late 1930’s into the early to mid-40’s, and really should be labelled as retro or at least vintage.  Just look at how it matches up to these images from 1938!  Find this pattern for yourself, and please do sew this hat!

The design of the hat is like a hidden surprise.  It wasn’t until I began to make the fedora that I realized its lovely tailoring, something that isn’t even apparent from the line drawing even.  Every panel to the crown is its own specialized piece, cut once, and once sewn together, all of them have an elegant effect of motion by the way the seams are on the diagonal around the brim.  Even the top of the crown adds to the wonderful shaping by being a unique, long, oblong oval.  The brim accommodates to the overall drama by being shortest in the back, short on the one side, and longest in the front – again, very specialized shaping for a lovely final, finished hat.  I did make the front of the brim ½ longer just to make sure to give my face full sun protection.  The pattern doesn’t specify lining the hat, and I didn’t since I wanted my hat to be for the summer.  It didn’t even say to sew an inner sweat band or ribbon or anything to the inside of the crown/brim seam…rather odd.  I merely sewed a wide, cotton, bias band to the crown/brim seam inside for comfort against my head and a clean finish.  I played around with the ribbon placement for quite a long time, and had some bold, different experimental ideas (as many hats of those times had fun, unexpected decoration), but ended up going with a rather basic hat band treatment.

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Part of my success with this hat, I suspect, is the great quality felt I used.  I’m not meaning to brag – I don’t even remember where it came from, it has just been in my stash since I’ve been in this house.  I know it is polyester, at least 1/8 inch thick, but from the look and the feel of it, and the way it holds its shape so well, it acts like a nice wool felt.  Awesome!  This gives me the best of both worlds – and my hat is even crushable and washable yet still holds its shape…believe me, I tested this!  But really, for best results, find a material that has body for this hat, something easy to work with, washable, and that doesn’t need lining to make it oh-so-practical yet stylish at the same time – like mine.  You won’t find that combo with a true vintage hat, and even if you did, you wouldn’t want to treat it like that, so come on, sew up your own fedora!  I love this hat.

There is a tinge of nautical (ahem, cue the lobster, especially) and summer luxury-themed undercurrents to my outfit and our amazing background building for our photos is the icing on the cake!  Listed on the National Register of Historic Places, is was designed by a local architect, Eduoard Mutrux (an apprentice to Frank Lloyd Wright) in 1936 or 1938.  It is a very strong, very odd but wonderful combination of Streamline Moderne and International Style.  This masonry building has all the best of the avant-garde forward thinking that the 1930s did best.  However, this building sneakily looks like a lovely white cruise ship when you go and look at other views, as if it had just moored on the parking lot and been swallowed up by asphalt and ground, with its sweeping front facing the busy street below.

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The Streamline Moderne architectural style is after all about movement merging with stationary objects.  Originally intended to cut down on drag for cars, ships, planes and trains, Streamline Moderne designers and architects wanted a classicism to their buildings so they would last and span the test of time.  This is the kind of buildings you see in all those vintage travel advertisements of the 30’s that are so enchanting and appealing.  Streamline Modern buildings are also almost strictly inspired by movement (visit this Flickr group to see what I mean).  The International style is a friend of stark simplicity – form has to follow function and ornament for its own sake is an outrage…to the point of harsh sterility. Cubical balance and proportion was key, along with white being an important color.  This style of building was rare in Missouri before WWII. International is a major style that re-blossomed in the 1960s as Mid-Century Modern, and it was also the founding idealism for our modern business spaces made of metal and glass!

My sewn outfit is the best of combo of architecture and fashion I could ask for – ornament with a purpose and message, streamline shaping, comfortable practicality, and chic styling which looks good no matter what era it technically originated from.  The light and fun bright colors are perfect for reflecting my current summer mood.  Hello fun!  I have the perfect outfit for you…

Footnote links :  #1.) Detail from Mary Magdalene, 1519.Oostsanen Van (1475-1533); Portrait of a Lady as the Magdalen (Flemish, 16th century); Queen Catherine Parr reproduction gown; and info on sporting carcanet necklaces

#2.) Woman’s Evening Jacket, Designed by Elsa Schiaparelli, Winter 1937-1938; Silk Cape, Designed Elsa Schiaparelli, Winter 1937; An Elsa Schiaparelli couture black velvet ‘highwayman’ coat, circa 1935

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!

Escape and Evasion: a Post-WWII Map Blouse

A map can help you find your way, it can provide a safety net, be a memento, create a fashion statement, or even be the product of someone’s profession (cartography).  Believe me, a map is much more than markings and directions on material.  Are you ready for a trip?  Let’s have a go with a vintage blouse that incorporates all of those things I first listed, constituting the most out what truly is a map.

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The world is always changing, so a map necessarily documents a moment and place in time.  My blouse, although made in our modern times, pays tribute to 1946, and its post-World War II times and practices.

THE FACTS:

FABRIC:   100% cotton is the content for both the map fabric and the inner lining fabric.  The map fabric is a ‘Tim Holtz’ brand print, from his “Eclectic Elements Expedition” line, and it is very silky soft.  The lining is a beige tan batiste, tissue thin but also super soft.1692-Simplicity

NOTIONS:  I bought the buttons to specifically match with the top (I’ll explain my reasoning further down), and other than that I really needed only thread, which was already on hand

PATTERN:  Simplicity #1692, a 1944 pattern re-printed in 2013

TIME TO COMPLETE:  My blouse was completed in maybe 8 hours, and finished on September 8, 2014.

100_3760a-comp,wTHE INSIDES:  Nice and clean – the side seams are flat felled, the bottom hem is bias covered, and the shoulder seams are covered by the lining.

TOTAL COST:  The fabric was ordered from an online store and the “La Petite” buttons came from (now defunct) Hancock Fabrics for a total of about $25.

Now, I know history buffs out there like me will see my “Facts” and notice and say, “Hey, she’s making a Post-WWII 1946 blouse out of a war-time 1944 pattern!”  Well, yes, I know.  Many styles in fashion then did not have any radical changes during and right after the war, due to many factors.  It wasn’t until 1946 that rationing and “making-do” just began co-existing with a postwar boom all things – more patterns, new fashions, buying of material goods, and even a plethora of babies 😉  Besides, I adapted the pattern design to be more appropriately a 1946 style with its kimono-style cap sleeves and button back.  My adaptations to the pattern were based off of this old original 1946 silk chart blouse as seen in Jonathan Walford’s “Forties Fashion” book (below), as well as this vintage Globe novelty print 40s blouse seen here on Etsy.

Map blouse from 'Forties Fashion'

I luckily made all sorts of annotations to the pattern after my first and second versions and knew what to do to make my third time around the best success yet.  My notes of how to fit the pattern to myself helped me concentrate on changing the design and lengthening the set in sleeves to become another mid-1940’s classic style.  Rather than cutting the back bodice on the fold, I cut mine with a seam and extra seam allowance.  A long underlap was drafted, as was the skinny bias tubing, so I could have the back be button closed.  Sure it is somewhat of a contortion trick to close it on myself, but it is also very 40’s (and looks awesome).  Hubby always shakes his head at the things we women go through to make and wear these vintage fashions.

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The print is some sort of conglomeration of fragmented antiquated maps with wind info and some random highlighting of towns.  It has a nice earthy yet pastel-like background composed of the basic colors in traditional camouflage.  I would have preferred more of a topographical chart or a real 1940s WWII chart, but this is not the last time I intend to sew with maps, so perhaps next time I’ll get exactly what I would like.  On my blouse, the continent of North America with the USA is right over the heart on the left of my chest – at least this is just how I’d like it!

100_3762-comp,wAlthough my blouse is made from cotton fabric (albeit quite nice cotton), it is intended to imitate extant original Post-War clothing which had been made from no longer used/needed Escape and Evasion Charts.  The use of more aerial fighting, bombing, and reconnaissance necessitated maps to be the newest ‘not-to-be-without’ equipment for WWII.  These charts, nicknamed EVC’s, are not bombing aids yet they are also more than just maps.  By being printed with specialized information onto fabric they instantly become an all-in-one survival tool to help someone such as a downed pilot, a lost ground troop, or a POW evade danger and survive both the surroundings and possibly unfriendly people.  Navigation aids, terrain info, edible animals and plants, and crude personal care are listed.

Now, just to be clear, I am talking about the true EVC’s made by government cartographers, not the one’s made out of alternative materials by and for POWs attempting to escape incarceration and also not the maps for remaining alive in aquatic regions, although all of these do fall under the “SERE (Survival, Evasion, Resistance, and Escape)” training military personnel receive.  That out of the way – originally, WWII EVC’s were small and either handed out or sewn as the lining to airmen’s jackets.  The Map pouchAmerican Charts were normally oiled rayon, while the charts issued elsewhere (mainly Britain and Australia) were pectin-coated silk.  The coating strengthened the material, kept the ink from running, and provided airmen with something rather flexible and non-crinkly (silent to use) yet waterproof so their chart could catch water and keep something dry.  The modern EVC’s are not only more detailed, but also made out of spun olefin, branded as Tyveck (house wrap), and have evolved into something as large as a blanket so they can also be used as a hammock, shelter, and bandage, to list a few out of many uses.

After the war, these charts because the source for much re-purposing, and during the war a hubby or sweetheart that no longer needed his chart could provide the rationed woman some precious extra material.  (See here what an old WWII charts looks like before being made into garment.)  Surplus and de-classified Evasion Charts were often a memorial of what a hubby and/or sweetheart endured, as well as silk or rayon that wasn’t going to be wasted.  Thus, so many of these special charts became clothing for a good number of women in the years following WWII.  I find it funny how most of the charts became underwear and lingerie – rather cheeky!  Visit my Pinterest board for EVC re-use to see more inspiration and info.

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Of all the re-using and re-fashioning that went on during WWII, Escape and Evasion charts are by far the most enthralling, most intriguing part, in my opinion.  What is so neat is that they are still useful today, being used after over 70 years!  It just goes to show the depth of history involved in things we take for granted in our everyday lives – maps, clothing, and just pure surviving.  Of all the novelty blouses that I could make, this one has the most passion behind it.  I hope this post made you think, and let me share with you about one of my favorite subjects!