Tribulations of the 400th

Sometimes the easy patterns really throw me for a loop and make a sewing project surprisingly, mystifyingly challenging.  It’s when I least expect it, of course, and it never makes sense why.  The added pressure of reaching a milestone number for such a project probably didn’t help, too.  This post’s vintage dress was unexpectedly a tough one to reach nicely wearable status as my 400th project since 2012.  I had our last vacation of the summer as my motive and encouragement to power through and finish it, at least.  I do love a new me-made item whenever we take a trip and this bold little tropical hottie is here to show off her grand day out for fun in the sun.

Back in the late summer of that year of 2012, I started sewing again in earnest after a few years’ break and started keeping a log of all the projects I was making both for myself and others.  Mind you this by no means counts the paid-for commissions that I do on the side (which you don’t see) and the countless projects I have been creating before 2012 since my first lessons at seven years of age.  Most of the logged projects do appear on my blog eventually.  Even still, 400 is the last big milestone before I hit the grand number of 500 in the future!  Meanwhile, I have a lovely success story to share here and some wearable proof to my dedication to sewing all these years.

THE FACTS:

FABRIC:  a Hawaiian printed rayon challis

PATTERN:  McCall #5918, year 1944

NOTIONS:  all I needed was thread, a zipper, and a set of shoulder pads

TIME TO COMPLETE:  It was finished on August 22, 2019 after about 30 plus hours of effort put into the dress.

THE INSIDES:  A mix of French and overlocked (serged) seam finishing

TOTAL COST:  This fabric has been in my stash for so long I’m counting it as free, but I know it came from what used to be Hancock Fabrics many years back.  I always got the best deals from them so it probably cost me less than $15 for sure.

The dress pattern has an interesting story to it which I’ll explain first.  Back when I posted about making my mid-1930s lingerie set (post here) I found a random sleeve piece from a completely unrelated pattern with a date about a decade later in the mid-40’s.  It is a very clever self-faced cap sleeve I imitated when refashioning my nightgown (see it here).  Finally sighting the counterpart cover image had me speechless at its amazing details.  I posted about that mystery homeless sleeve tissue piece (here) and the kind seamstress Eszter at “Em Originals” let me know she had an original of the pattern that matched it. We exchanged pattern copies as a trade and now I have the whole dress!  Oh, the wonders of the global reach that the internet makes possible…

It was tough to feel out what fabric to match with the pattern, though.  I wanted something that screams daring and exotic and warm temps.  However, I also realized the lack of complicated seams would be perfect for a bigger print.  Letting go of this hibiscus blue-toned Hawaiian inspired rayon from my long time stash was quite hard to do, however.  It is such a saturated coloring in a print you don’t find but in vintage fabric.  Yet, I felt it was a perfect pairing.  Yes, the rayon provides great draping for the bias grain action and the neither the dress nor the design overwhelm each other, just as I had hoped.  Great fabric is meant for more than just ogling and petting while stuffed in a stash.  I think it deserves to be made into something to enjoy being both worn and appreciated no matter the risk!

The center front bodice completely carries this whole dress with it.  It is such a smart feature because it is not just for aesthetics but actually a really smart way to shape the bodice without a single dart necessary.  It made for a very interesting pattern piece that was good for my technical brain to see and understand.  The bottom of the V neckline ends at a casing that opens up the middle of the bodice.  There are ties that run through the casing and, when tied together, forms a little open spot that is so racy for the 40’s but low-key enough I don’t feel exposed.  The bust gets shaped from the center out this way in the best way possible, especially since the center casing is cut across the bias grain.  At the pattern stage, the front has the casing veer off away from the bodice so it ends up on different grain than the main body.  A double-fold, self-facing to finish the edges is included, too.  This one little detail more than makes up for the simplicity of the rest of the dress and was not as hard to make as it might sound.  I have seen this same kind of detail used on sleeves before (see here) so now that I understand how it works you might just see me try this on other garments in the future!

I had to dramatically grade up to make the pattern wearable for me, adding just over four inches.  While I was at it, I slightly tweaked the pattern.  To avoid breaking up the print even further and simplify the design even more, I joined the bodice and the skirt sections for a waist free back half.  The front has a skirt with the center seam cut on the straight grain to save room on pattern layout.  The darts to the back half met at the waistline anyway so I just turned them into one-piece “cat-eye” (also called “fish-eye”) darts on either side of the long, vertical center seam.  Changing the grainline in the skirt pieces works in favor of the dress I believe because there is now a bias which wraps around my hips for a wonderful shape and subtle flare at the hem.  I lengthened the dress as well to a ‘not very proper for war-time’ longer midi length because I personally liked how it adds to the silhouette.  A mid-length dress is more versatile and makes the most of the slinky rayon!

The main difficulty and frustrations with this dress primarily had to do with a new self-realization stemming from finding out that I had made a dress which was impossibly too small for me in certain areas…and I had absolutely no extra fabric to fill in for my oversight.  Cutting out this dress on just under two yards of fabric – even if it was 60” width – was extreme pattern Tetris.  A few inch wide scraps were all I had left.  I love being so efficient at using fabric but that means I have to be perfect with my cutting.

I do believe a third of my fitting problems with this dress might have been from tweaking the pattern the way I did.  The other third is probably from a dress designed with a very slim skirt – surmised afterwards both from the rather straight lines on the pattern and looking at the cover illustration (those two ladies have absolutely no hips whatsoever).  The last third of this dress’ issues originated from the frequent ill health I have been experiencing this year.  I only realized by making this 400th project that some of my body’s sizing has changed.  My proportions are slightly different now than what I have been for a good number of years.  My body had changed but the sizing I was drafting onto my patterns had not yet caught up because I didn’t know any better.  This kind of thing is never a pleasant pill to swallow and has been very demoralizing.  This 400th make was tough in more way than one.

Somewhere in the back of my consciousness, I had wondering why some of my garments had been fitting me differently just lately.  I’m sure it is the kind of thing only someone like me would ever notice, because I am merely talking about a few inches more in difference, particularly over my hips.  Even still, I hate having to spend my extra time tailoring my garments to accommodate illness aftereffects I don’t want but have no control over at the moment.  Yet, at the same time, I am extremely thankful that I can even do such a thing to ‘save’ my clothes in the first place.  Ready-made and store bought items with their overlocked insides do not provide the leeway for extra room that ¾” or 5/8” uncut seam allowances can give.  This is why I prefer time-honored finishing techniques over using a serger.  Taking out both side seams as well as the center back seam all the way out to ¼” from the waist line down gave me just what I needed for the perfect fit to happily have a wearable dress.

A large part of the success to sewing, I do believe, is all wrapped up in the tricky knowledge of how to fit and adapt clothing.  Granted, getting to that point of a perfect fit was literal hell for me – I hate unpicking, especially when I originally made lovely French finishing inside, like I did for this tropical dress.  This is why the bottom half of the seams to my dress are unfortunately overlocked along their edges…I know, I just preached against it, but I was tired, down in spirits, and desperate.  A French finish on tiny seams is not something I wanted to take time for on what was supposed to be an easy-to-make project.  I was running out of time to finish the dress before the trip, too.  Nevertheless, as disappointed as I am with how this dress came together and failing in my ‘normal’ standards of quality, this dress is a joy to wear.

The colors make me happy, and can pair with so many combinations.  I chose aqua and turquoise accessories for these pictures, but light blue items really soften the tone and navy blends in.  Black heels and a fancy necklace with simple earrings brings this dress up to evening wear standards.  Better yet, the comfort on this is first rate.  It feels like I never took off my nightgown.  I realize, now that I have been sick for an extended time, I find myself tending more towards easy-wear vintage pieces.  Sure, I still love my tailored pieces with cinched waists and perfect darts that require me to wear my old-style lingerie to keep a perfect form and stature.  Yet, something as ‘throw-on-and-go’ as this dress is priceless.  Great details are not neglected, though, thanks to the never failing wonder of fantastic vintage designs.  It’s no wonder I make my own clothes, because I have no idea where to find anything comparable in ready-to-wear, even if such a thing is out there.

Warning! Sharp Angles Ahead…

When I don me-made modern wear, I really prefer it to be every bit as interesting with the details and design as the vintage pieces I normally choose.  Even though my vintage outfits can be styled in a very appealingly modern way, I do find that my current designs do come in handy within professional spheres such as University conferences and research visits, for nights out with hubby at the ‘hip’ spots in town, or just to stay in touch with the sewing world of today.  This post is presenting what might be one of my favorite pieces of modern sewing – a Melissa Watson wrap-on dress tweaked with my own custom-drafted sleeves added, contrast hemline fronts, and a cool, contrast, full body lining.

This dress is for the outgoing personality in me, the side that is not at all afraid to stand out.  It is bright enough to stop traffic and classy yet smoldering all in one awesome, easy-on dress.  I do not really mind the bit of leg flash this dress displays, even though it was unexpected coming into the pattern!  Now, I know wrap dresses are generally asymmetric by nature – and I do positively love asymmetric styles – but this is even more so due to the one curved and one angled front arching hemline.  Combining those gradients with the geometric print and the 90-degree points on my sleeves and I am in a seamstresses’ mathematical, creative heaven!  I hope that by pairing it with some black boots and a cardigan, I can enjoy this dress for more than one season.

THE FACTS:

FABRIC:  a polyester peach-skin print lined in a poly-cotton broadcloth

PATTERN:  McCall’s #7246, a Melissa Watson design from 2015

NOTIONS:  just some thread and a little interfacing

TIME TO COMPLETE:  The dress was made in about 10 hours and was finished on May 2, 2019

THE INSIDES:  What inside raw edges?  They are completely covered by the lining.

TOTAL COST:  The geometric poly has been in my stash for about 7 years now. It was bought from Fashion Fabrics Club along with a bunch of other fabrics when I started to get back into sewing after my son was born in 2012.  I had 3 yards of this, bought for about $7 a yard, I believe.  The broadcloth was a few dollars cheaper a yard, so my total cost was about $35, spread out over many years!

For being a general quick-sew and de-stashing project, this turned out fantastic.  I kind of suddenly jumped into this project idea at the last minute before a Kentucky Derby Day watch party and wasn’t sure what to expect of the finished look.  That day, I received so many compliments and curious questions as to where I got my dress.  Sadly, too many ladies only bemoaned the fact they don’t sew or – for the funnier reaction – they were surprised my dress wasn’t actually a vintage design!  Using this Melissa Watson pattern has been on my “must-sew” projects backburner since it came out, and I am so glad the perfect fabric combo for it finally struck me.

Melissa Watson is the daughter of the renowned fit expert Pati Palmer, so of course there are very thorough and exhaustive fitting guides in with the instructions to the pattern.  This is all well and good, and a nice change versus the normal McCall’s issues.  However, all clumped together on one or two sheets and printed busily over every pattern piece seemed just overwhelming and confusing for me (and not to brag, but I feel like I know more about fitting adjustments than any average home sewer).  I think all the info just made it hard to figure out what actually needed to be done for a good fitting finished dress, and just made the ‘work’ of it seem harder than it really is to do.  How does a beginner really know exactly which fitting tweak to enact with all the info laid out on how to do them?  ‘Reading’ the signs of a bad fit is a difficult and not instantly acquired talent that no ‘quick cheat sheet’ can teach.  As the dress turned out for me, I wish it had slightly better reach room in the back and lower half of the armscye (sleeve).  I was literally too exhausted by the complications added to the generally simple design to remember to check that spot before cutting.  So – the bad drawback from a great pattern is actually too much good information.  Trying too hard does not necessarily make anything better.

That off my chest, I liked (and kept) the slight blousiness of the tucked darts to the waist of the bodice, but I couldn’t just make your normal, classic plain-Jane sleeves here.  There were too many angles going on and not enough playing with them!  Specialty sleeves are so unrated.  With all the over-information on fitting in the pattern itself, I would like to say that sleeves – in my opinion – are an excellent place to start with tweaking, experimenting, and understanding patterns.  They elevate a garment to the next level when they are outside the norm, and drafting unusual sleeves is such a relatively simple, low-risk, and easy-to-understand tweak.

I merely started by finding an inspiration picture on Instagram together with a simple deconstruction layout.  I thought backwards from there to fill in the blanks of how to do that myself.  You have to think in 3D, and reverse engineer that into a flat lay or simply start from the basic paper pattern and slash and spread where you will be adding new folds and fabric depth.  I’m equating my new drafts to being a version of an upside-down, folded petal-style sleeves.  They call them “envelope sleeves”.  I personally love the 90 degree angles it creates and the lovely sleeve cap it forms.  It made for a very thick hem that needed lots of clipping and hand stitching to look nice and turn out smoothly.

Talk about having things turn out smoothly, I just freaking love full body lining, especially when the inside is made visible by the design!  The pattern does not call for lining, but mullet or hi-low hems (like on this past make of mine) make the underside of the fabric particularly visible, even more so when it is a wrap dress like the one here.  Why not go for the fully fashionable play with the opportunity?!  Not only does lining the underside in a contrast look so pretty and make the garment pop, but the added wrap dress factor is just screaming for the opportunity to make the entire insides so very nice.  No way was I going to make a tiny hem all the continuous way around the wrap’s edges, anyway…enclosing it and all the raw seams inside the lining puts my mind at ease knowing I can beautifully cover-up any messiness.

Sure, it was like making two dresses, after all.  Yet, there is nothing equal to a personal happiness that comes from lovely insides meant for only you to see as you get dressed in your handmade clothes.  I, however, did have further ulterior motives for the full body lining.  I hate the feeling of polyester on my skin and the pretty print was far too lightweight and unsubstantial on its own to be a dress.  So – all these many reasons, it absolutely needed lining here.  I chose a solid cool mint green/aqua underneath to tame down the bright colors on the dress’ outside.

Beside the new sleeves and the added lining, the front hem is something subtle I changed, too, as mentioned at the posts beginning.  The right side has the angled hem while the left slides under along the 115 degree point with its curved hem.  It is subtle, which I wanted, but it adds to the whole play on the geometrics here and makes this so much more of an individual creation for me.  I sort of feel a silly guilt when I go line-for-line or fabric-imitation copy of a pattern with no personal changes.  Look – I even tie the ties around my waist like a belt to end in a cute little bow in front rather than a traditional wrap dress back knot or bow with streamers.  Oh my goodness, do I dare tell you I used my fabric pens to color in the top stitching along the edges so it blended in with print and becomes invisible?!  Yes, I do love to spare no detail to satisfy the perfectionist in me sometimes.

A big reason for my sewing is of course the creative outlet of it but also the opportunity to personalize my wardrobe and do that in better quality than can be found in most RTW.  Making sure to think about what is really coming from my creativity versus just going with what I see isn’t always easy but makes me own what I sew and feel more like me in the handmade wardrobe I wear.  That is the key to home sewing patterns and patterns available for the public to buy – they are tools that can be built upon to make your wildest clothing dreams come true.  This dress pattern might not have been the best tool – it was rather confusing in an unexpected way – but it helped me make a modern dress that even my vintage inspired heart loves!

Having a Monochromatic Summer

My go-to sundress of 2019 actually is a carryover of a favorite make from the end of last year’s summer. I had been putting my idea off for a few years because I was not sure it would work. It is so different from the rest of my summer wardrobe! It is not bright and bold, flowery or frilly, like most of my other sundresses but the color scheme and the effortless wearing ease of the style and its material cools me down in thought and body. I’m having a monochromatic summer moment in my favorite vintage 1940s style!

This is such a sneaky vintage dress – it certainly doesn’t strike me as coming from 1949! Although dating from the fabulous post-WWII era, the pattern is one of the more popular modern Vintage Vogue line of reprints. It has such simple lines, and such a body complimentary design that this is a great example of the classic timelessness for which I love to make and wear vintage fashion. Whatever the era the dress shows, it proves I am still not over my recent fascination with the late 40’s, apparently!

THE FACTS:

FABRIC: a cotton denim with a touch of spandex, lined in an interlock knit

PATTERN: Vintage Vogue #8974, year 1949

NOTIONS: I only needed basic, simple stuff – some interfacing, lots of thread, and a zipper. After it was finished, I also used an old bra…but more on that later!

TIME TO COMPLETE: This was finished on September 21, 2018, and took me about 10 hours to make.

THE INSIDES: All cleanly bias bound while the bodice is fully lined.

TOTAL COST: I vaguely remember picking this fabric out at the now defunct Hancock Fabrics years and years back. So, as it has been in my stash this long and well deserved to ‘break free’ of the fabric stash, I’m counting it as free!

It’s funny how things come full circle. It’s always so poignant when you realize that after the fact! You see, a year 1949 dress was actually the very first piece of vintage reproduction me-made (see it here from an old 2012 post). It was also in brown! Apparently, my go-to color is a pretty variation of dirt. The classic “little black dress” doesn’t get as far as a brown one. I personally love how brown tones work for so many seasons and are a good base for brighter colors and pastels without being as heavy as a navy or black, for example. To me, a good brown color is cool tone, very calming. Monochrome palettes (referring to a color scheme comprised of variations of one color) are themselves supposed to be soothing and create a good mood. Maybe the khaki, dark brown, rust, cream, and ivory tones in the subtle striping to my dress’ fabric was an instinctual choice for me to choose for yet another project on the verge of the 1950s.

Of course, the pattern showcases stripes to show off the grain line ingenuity and I followed along happily. I’m just trailing on the heels of my last striped sundress by posting this, anyway. My fabric’s striping is so small I did a general matching effort – nothing too meticulous because I was really pushing the limit anyway to make this work out of only 2 yards of material – and it turned out great. After all, this was a simple project to sew and I wanted it to stay as effortless to make as it is to wear. I think the mitered stripes do a lot for the slimming and trim appearance of this but it is so cute and attractive in any print, from what I’ve seen of all the awesome versions other seamstresses have made. It’s weird but this dress reminds me very much of my plaid 1940 sundress (posted a while back here) even though I know it is different and the styles are 9 years apart.

I have learned from years of summer sundress sewing that wearing them is so much more fun and easy if the lingerie situation doesn’t call for any extra thought. Thus I am a big fan of adding decent lining or even lingerie directly into the sundress to make it an-all-in-one garment that supports my “girls” in one easy step as I dress. I used a no-longer-worn bra from on hand – there are some whose clasps and straps bother me so I only keep them because the cups are still in good condition and fit. This was sewn directly into the dress at the proper place making this so comfy to wear, with all the good shaping I want yet not compromising on the breezy skin-baring qualities of my favorite sundresses.

I know the support should have been sewn in between the lining and the dress fabric to be ‘properly’ done, but I like the easy access of it if I ever want to adjust or change. Besides, my favorite part of having the bra visible to the interior of the dress is the linear symmetry it adds when it is laid out. Anyone who has followed me for a length of time should realize I am big into the mathematical perfection of sewing, and love to visibly play upon that with what I make. Besides, creative design lines, stripes (and plaids) offer great opportunities for such calculating. This dress gave me another taste that!

The sizing was pretty much spot on for this pattern, maybe even a tad on the roomy side along the top bodice edge, but I don’t mind. The dress also ran really long, and would have been to my ankles if I had cut according to the pattern. I left it a mid-calf (midi) length because I think it makes the dress look more elegant as well as hang well. A longer length is very circa 1949-ish, anyway! Finally, I raised the dip of the front neckline V so it wouldn’t be so revealing but that is the last of the tweaks I made. This was a pretty quick and satisfying make! I do want to come back to this pattern and make the killer cute cropped swing jacket that comes with the dress. It will definitely have to be a different fabric, though, as I have nothing but a few measly scraps leftover. So many projects on my mind and so many sewing decisions to make!

The earth monotones matched perfectly with my favorite comfort sandals from Hotter brand shoes as well as my “Cinnamon Spice” brownish undertone lipstick from the brand “Wet n’ Wild”. Too bad I don’t have more of a bronze glow on my skin to match, as well. A simple walk through our neighborhood was the casual backdrop to our pictures.

This is my 1940s installment in my “Indian Summer of the Sundress” post series which began with the making of this sundress when we had an extended time of unusual warmth. This just about wraps it up, unless I happen to crank out a 1970s sundress! I had to basically end it with my first sundress, the one that started it all anyway! Kind of like that other 1949 brown dress that started all my vintage sewing…

Painted Bunting

Ah, it’s finally spring in the northern hemisphere, at least officially that is.  It’s the time for one of my favorite parts to spring besides the newly awakened flowers – the bird activity!  The snow birds are leaving town and both our ‘normal’ varieties of avian creatures as well as unusual visitors will be showing up through this next month.  Then the sweet but noisy baby birds will be coming!  I am one who admittedly has a “life list” of species I’ve spotted, and although birding is no longer as serious of a deal that it was when I was a teen, I now have a dress for that.

Novelty prints are not really my “thing” but this bird one is winning me over.  It is such a bright and cheerful print of what is probably fantasy songbirds, but they remind me of all my vivid-colored, real-life  favorites – the kestrel, the redstart, orioles, warblers, or my ‘yet-to-be-seen spotter’s life goal’ the painted bunting.  However, this post’s title is appropriate in more than one sense!  With its swishy, full, mullet hemline and peek-a-boo flashes of skin, my dress is fully lined in a hot pink cotton for both unexpected fun in my fashion and to have a non-poly comfort against my skin.  I’m carrying a celebration of cheerfulness with me when I wear this dress!

The fact that this dress has received top rating from my 6 year old is proof of the happiness this dress exudes.  He always laughs, smiles, and is like glue to me just to study the print – if I ever want to make his (and my) day better, I wear this.  Want proof?  My son made me a necklace that matches.  It was totally a surprise project of his.  Someone brought a beading kit to keep the kids busy after church one Sunday and he was busy making something for me in all the colors, but extra beads in especially the ones I love – turquoise, purple, and pink!  Together with earrings from my Grandma which remind me of baby robin eggs, this is a combo that is spring and summer embodied for me.

THE FACTS:

FABRIC:  The bird print is a buff finish polyester satin while the solid bright pink lining is a poly and cotton blend broadcloth

PATTERN:  Burda Style “Cut Out Dress” pattern #116B from August 2014

NOTIONS:  All I needed was thread!

TIME TO COMPLETE:  This was a quickie compared to how it looks a bit complex – 6 to 7 hours and finished on April 19, 2017

TOTAL COST:  I didn’t really wait for a sale to buy this – it was too cute to wait and see if there was going to be any left!  However, I did buy it years back at the (now defunct) Hancock Fabrics so sorry if you want some, too!  It was about $7 for each of the 3 yards…and the broadcloth was a few dollars a yard too.  Thus – my total is about $20.

Everything matched up well for this pattern and the instructions were decent (not as great as sometimes).  However I did go up in size and I’m glad I did.  The bust and shoulders seem to run small in my opinion, but then again I did not want a tight fit for a breezy balmy weather dress made out of a non-stretch woven material.  I also brought the shape of the neckline in just a tad – straightening out the dip of the scoop in front and bringing in the sides so as to cover my brassiere straps better.  The neckline now appears to be more of a wide boatneck, but it is still easy to slip over the head as well as complimentary open around the neck, just now compatible with normal lingerie.  Finally, I slightly lengthened the front half of the hem line to the skirt.  All these changes I am so glad I had done at the cutting stage.  I do not think I would like my dress as much as I do if I hadn’t have done such adjustments.

I do love how this dress is a balance of simple and complex depending on how you look at it.  The pattern pieces were rather interesting, too.  From the front it has clean lines – straight, shorter skirt and a basic bodice with cut-on kimono cap sleeves and only a flashing hint of the ‘party in the back’.  From the back, the skirt has a full sweep – like a lovely cape – in midi length and the bodice is separated from the waistline for some skin baring in an uncommon spot.

The cut out ‘window’ at the back waistline more than just a feature, though – is adjustable with a drawstring going through the casing made around the oval opening so you can customize your coverage to your liking.  I love when personal preference is considered in fashion!  This design also makes this dress a pull-on which needs no zipper!  You loosen up the gathers to pop it on, then pull the drawcord ends (one long 1/4 strip made of the dress’ fabric) to close the back as you prefer.  The back opening as you see it on me is almost as small as it will go, so if you like this design, too, keep that in mind.   The half waistband that is in the front of the dress merely basic and comfy elastic kept in a casing made of the seam allowance.

Such a design detail of an open back above the waistline can be seen on the sporty dresses and versatile playsuits of the vintage world of fashion.  I notice similar styling from the 1940s to the 1970s.  In the case of this Burda dress, the back opening sort of makes it look like the bodice is only connected at the front and side waistline.

In the cases of vintage styles which are similar the bodice and bottoms can be actually disconnected for completely versatile set!  There is a modern (readily available) New Look sewing pattern which offers the same cute and ingenious styling as the 40’s and 50’s counterparts I showed as just a few examples.  However, none of them include a high-low hemline, as well.

If you’ve been following my site for awhile you may have noticed I do enjoy a high-low hem.  This style of skirt does show up here and there in my projects because I like it only in small doses.  This particular variety of a mullet hem is my favorite yet.  It has a fantastic sweep due to the back opening gathers – just the back half of the skirt was such a large pattern piece it practically was one yard in itself.  The lining underside the skirt really makes the most out of the hem shape because if you’re gonna see the ‘wrong side’ make it worth noticing.

Full body lining is the absolute best thing for this dress, I do believe.  The pattern needs to be amended from henceforth to include this step.  I don’t know about you, but I hate the feeling of a polyester fabric on my skin…man-made fibers aggravate both my body and my mental state in more ways than one.  So – to keep both my sanity and comfort whenever I do succumb to the cuteness of a polyester fabric, I line such garments in good old cotton broadcloth.

No, really, though – full body lining also makes the edge finishing so much cleaner and fuss-free.  No tiny hemming to do, and no raw fraying edges to deal with either.  I love a clean inside as much as I love how nice my garments look on the outside when on myself.  You can see the clean, no-seam hot pink lining side through the open armholes, too, and do so enjoy a garment that has its innards visible when they are done as nicely as this!  It’s not that much extra work – sure it takes twice as much fabric – but it is worth it in the end product.  For me, I guess sewing is not just materializing an idea or feeling, neither is it just crafting something I need or want.  I suppose my habit of finely finished insides say that what I love about sewing is the beauty and the art of it.

Cedar Waxwings I spotted in my parents’ backyard!

The ultimate magnificence is in nature, however, and birds are the cheerful feathered announcers that living is to be celebrated.  I am lucky to have had up-close and personal time with birds – especially the time I took a class on bird banding as a teen and actually held my favorite local feeder visitors.  Then, there is the time I was by a creek painting some flowers and a hummingbird buzzed me, coming up to within inches of me, seemingly thinking I was something which needed checking out.  Yes, the thing I love about birds is the best way to enjoy them – stop the busyness of life, listen with your heart, and soak in the cathartic benefits of realizing their simple but indispensable existence.  Something as insignificant as this post’s home-made piece of clothing, no matter how fabulous, reminds me of the greater beauty of life around me.

Mardi Gras Tricolor

The festivities of revelry are never as outgoing and widespread quite like what happens throughout the world before the Lenten season, whether or not one chooses to participate.  Trying to say goodbye to excess and habits by indulging in them seems rather odd to me, but nevertheless I like an opportunity to wear some great colors.  The trademark tones for the popular American “Carne Vale” are as bold in their pairing as the party antics which are carried on.  They are as rich in history as they are saturated in hue.  Yellow gold, dark yet bright purple, and a cheery grass green are quintessentially, visually recognizable of a New Orleans inspired pre-Lent celebration.

Not that this post’s outfit was originally intended to call to mind Mardi Gras…it was just an Art Deco fabric on hand and the inspiration of the 1930s penchant for bold color pairings which led me to make the dress you see.  This had been one of my early 1930s projects I had intended to make back when I started blogging, but I realized both that I was not ready for the challenge and I was perpetually undecided on a fabric choice.  Finally, everything came together and I am so happy with the results!  The geometric print is perfect for a dress from the very early 30’s, the fabric appears much nicer in quality than a modern poly, and the design has such great features I think it is so appealing even for today.

To keep with both the Mardi Gras theme and the 30’s inspiration, I am wearing a modern wool beret.  Mardi Gras is a French word after all, and New Orleans has a rich French heritage, so my beret fits right in!  Do you notice the fancy stylized French Fleur-de-lis on the wall behind me, as well?

Also, look for my special accessories, too.  The necklace is a true vintage gem – a 1920’s glass bead piece that needed my help by doing a restringing and adding a clasp for a whole new life.  My earrings are me-made to match (as best I could) using clip-on blanks.  My gloves are true vintage from the 30’s.  I even broke out my old timey Cuban-heeled stockings!

THE FACTS:

FABRIC:  The main body of the dress is a polyester satin with a sheen on the printed side and a buff finish on the other.  The neckline contrast, sleeve bands, and belt are a burgundy-tinted, rich purple buff polyester satin remnant.  The dress is fully lined in poly scraps…mostly a pebbled satin purple supplemented with a black non-cling variety

PATTERN:  McCall #6957, year 1932 – I used the reprint from Past Patterns which you can buy here

NOTIONS:  The belt buckle is a prized Bakelite vintage item I’ve been holding onto for the perfect project like this!  (Subsequently, the buckle has sadly broken…and is tentatively glued back together for now.) All else that I needed was lots of thread and some scraps of interfacing for the sleeve bands and belt.  It’s a simple needs Depression-era garment!

TIME TO COMPLETE:  This was made in about 20 hours and was finished on April 18, 2018

THE INSIDES:  Left raw…but you can’t really tell because the dress is fully lined

TOTAL COST:  The fabrics for this dress are more of my precious hoard of clearance deals which I bought when Hancock Fabrics was going out of business.  I don’t remember exactly but this dress can’t have cost me more than $15.

Now, I recognize that the Eva Dress Reproduction Pattern Company also sells copies of this McCall pattern, but I have always preferred Past Patterns.  Besides – their sizing is closer to mine which means less dramatic grading for me.  However, if you need a bigger size than Past Patterns’ 36” bust, Eva Dress’ repro is a 38” bust.  Even still, I often find 1930’s patterns from 1936 and before seem to run small and this one was no exception.  You want a slightly baggy fit with this dress because it is a slip-on with no side zipper called for.  Also this design was coming from a time that was still easing away from the 1920s, which is very obvious when I take off my belt!  I graded this pattern down to what was still technically a roomy size for me (with extra for a modern 5/8 inch seam allowance) and I feel it fits perfectly enough to both be comfy and land at the right points on my body.

I am quite impressed with this pattern.  Everything matched together well and it turned out just as the cover drawing portrays.  It was relatively easy to figure out how to sew together despite the fact that there are several tricky spots to take time on.  Many of my other 30s patterns made to date needed tweaking to the fit, or some of the panels were a bit off, or some of the instructions lacking…but not with Past Patterns.  The designs they choose to reprint have so far always turned out happily successful for me so far.

Making the many exact points and precise corners to this dress was quite time consuming and honestly a bit stressful along the way.  My fabric was a very slippery and always shifting material.  It was hard to be precise and avoid any bubbling out at the points, especially since (for the skirt insets) I was trying to connect two opposing grain lines together.  The insets were stitched together like a regular seam, making it harder, but the neckline contrast was invisibly top-stitched on to be exact and clean because it is more easily seen.

All of the pattern pieces were rather odd and almost unrecognizable on paper, but looking at the cover they all made sense.  It’s amazing how sewing works, isn’t it?!  The front is all one enormously long piece (as there is no waist seam) which appears like a giant capitol H, because of the insert panels at the neck and skirt center.  The back is mostly like a squared-off basic bodice, except with two ‘tails’ attached for either side of the middle panel.  The seemingly rectangular middle panels swerve out on the sides like the curve of half of the letter U to provide soft fullness to the skirt below knee.  The sleeves, dramatically opened up because of the numerous pleats, are almost 30” wide.  It’s no wonder that this dress needed a very anti-Depression era fabric amount of 3 ½ yards…and I was using 60” width material!

I have never done tucks quite like what was called for on these fun, poufy sleeves, and it was sure an experience.  You have to make them in a certain direction because they are layered on top of one another.  I have seen this type of mock-pleating on the skirt waist some couture garments (such as Dior).

You start from the side and pleat towards the center then move to do the same for the other side.  Both top and bottom have to be done separately because the center has to be left free.  All the pleats are folded into the skinny cuff band and attached to the dress…suddenly the sleeve looks amazing!  I had planned on an organza ‘filler’ to go inside the sleeve thinking it would need help poufing out, but no it doesn’t, even though my fabric is silky soft.  My printed fabric and the discrepancy of photography does not do these sleeves due justice for their awesome detail.

The neckline was definitely the most ingenious and usual piece of all, and I absolutely love the look of it in the contrast solid!  It reminds of an adapted jabot, but it is merely called “a vestee” according to the pattern.  A project I’ve already made from the next year in history, my 1933 McCall’s reprint set, also has a wrapped front drape at the neckline – a more dramatic and simplistic version of what is on this ’32 dress.  Neckline interest was very popular in the early to mid-30’s and I like all the interesting variety of it, especially neck drapes and ties.

I changed up the instructed making of the “vestee” for what I think is a cleaner and more straightforward construction.  It called for a single layer of fabric drape which connects to another single layer half piece which doesn’t have a drape.  This would have showed the underside of the fabric, been awkward to sew together at the center, besides showing the hemmed edge.  I made two, draped, full “vestee” style neck insets so that they could be sewn together like a facing for a clean edge along the center drape that doesn’t show the other color of the other side to the fabric.  I had to add the trio of pleats to each of the two pieces before sewing them together and on the vest.  Then I hand tacked the pleats together down the center.

The same beautiful, rich purple solid satin as what was used for my 1951 slip dress and the details to my 1955 Redingote jacket went towards the contrast here to break up the busy print and made the most of my remnant stash.  Just you wait, though, I am not yet done using this purple satin…there is one more project I’ve squeezed out of it (to be posted soon)!  I used the darker satin side of the fabric on this dress.

Purple normally is the color for royalty, and many Mardi Gras celebrations to have a King (and Queen) that is crowned to preside, but the southern American symbolism for it during the pre-Lent partying is “Justice”.  The green represents “Faith”, gold represents “Power”.  It all relates to both heraldry symbolism as well as the fact both United States and French flags are tri-colored.  My green is the new spring grass, and the rest of the colors I’m wearing.  I don’t always wear the dress accessorized like this – tans, or ivory, or black tones mellow out the bright but rich colors.  Finding vintage accessories in my size, in decent condition, in a reasonable cost, in more unusual colors is a challenge otherwise I would also try out pale yellows, or light purple, and other colors with this dress!

My first sewing project from 1932 has been long in coming but I’m glad I can enjoy it now.  I have been straying at the very strong shouldered and cultural influenced styles of the late 30’s for quite a while recently and this is such a refresher!  This has me thinking about what will fill in my empty spot for the year 1930…hummm.  Look for that this summer!