Totally Reversible 1967 Suit Dress Set

How does one maximize a garment’s wearing options with style?  By not deciding!  Before you tell me I’m crazy, listen.  You see, when I was planning to sew a 1967 suit set, and I had set my heart on two fabrics for it, I thought why not just go all out and make it reversible?  I had equal amounts of a lovely lavender linen and a fleur-dis-lis printed cotton, both of which I saw as meant for one another.  I wasn’t willing to hide one or the other to use as a lining, and using them separately just wouldn’t have the same effect.  Making a reversible suit set sure solved the problem of which fabric to choose, and it also gave me a darn good challenge, to boot…especially since my pattern was lacking instructions!  I had to count on my sewing smarts to get me through!

Yes, I know how to make things hard for myself, but it gives me a goal to accomplish which can make me feel proud to complete successfully.  There are so many ways of wearing a reversible suit dress set, so each picture practically has a different combination and different details to show.  I love how this set ‘suits’ my body, yet I mostly enjoy the ability to pop into a bathroom and come out looking different as if I’ve changed what I’m wearing when I really haven’t!  He, he.  It’s never dull around me apparently 😉THE FACTS:

FABRIC:  The one fabric is 100% linen, in an open woven blend of the lavender, lilac, grey, and purple.  The other fabric is a 100% cotton in lavender, with a purple geometric Fleur-dis-lis print which has a slight metallic silver sheen printed over it.

PATTERN:  Simplicity #6957, year 1967 junior’s pattern

NOTIONS:  Believe it or not, everything I needed for this project was already on hand  – thread, interfacing, a zipper, as well a vintage buttons from the stash of hubby’s Grandmother

TIME TO COMPLETE:  The set was finished on May 24, 2015, after maybe 25 to 30 hours spent.

TOTAL COST:  Everything for making this project was stuff languishing in my different stashes for many, many years, so I’m counting this project as free!

I will admit that I had ‘support’ for my idea from a major fashion figurehead – Chanel – and an outfit of hers with a dramatic story behind it.  I’m talking about a suit set that she designed for her Patrimoine collection which was showcased in Marie Claire magazine No. 181 in September 1967.  It looks like a dress in a violet tweed with a reversible, or at least contrast lined, jacket and hiding helmet-style hat.  This Marie Claire magazine article was part of a daring and little known contest they hosted between Andre Courrèges and Chanel.  Thus, the violet tweed outfit that was my ‘splashboard’ was the best of what made Chanel, well…Chanel, still presenting appealing yet classic designs in the crazy decade of the 60’s and setting her apart from her modern peer Courrèges.  A woman’s suit, traditionally a man’s garment decades back when she was beginning her career, is Chanel’s specialty, along with that elegant “distinction” which her designs have.  The youthful, bright designs of Courrèges (such as the go-go boot or mini skirt), by the very way they fit, are cut, and worn, bring the body close to one’s sensibilities and contrast in bold terms with Chanel.  (More info can be found in the book “The Language of Fashion” by Roland Barthes, Chapter 11, pages 99 to 103, you can read some of it here.)  More or less, Simplicity was offering a very high class design here.For some reason, I feel that my reversible suit dress set from 1967 is an unorthodox mix of both Chanel’s dignified tweed design (with her soft feminine colors to boot) and the youthful, arm baring, modern aura of a Courrèges creation (my cotton print does have shiny silver, his preferred color besides white, and it is a junior’s pattern).  We were at a contemporary art museum for these pictures after all, yet many of my poses are dignified for even more contrast.  Hopefully, in my 1967 set, the contest between Chanel and Courrèges from years back is now a tie.

To the actual sewing, I more or less made the entire dress and jacket in double, with all edges inside itself.  There was so much turning of edges, pinning, top-stitching involved!  I eliminated all facings (of course) and instead ironed on interfacing inside where facings would have been.  Luckily this dress did not need any adjusting to fit me other than the changes I made to the pattern already at the cutting out stage!

The two biggest challenges to making this suit set reversible was the shoulder pleats to the dress and the button closing to the jacket.  The dress’ shoulder pleats are more akin to an overlapping fold, or technically a knife pleat, which runs right along the outer sleeve edge.  To make this work on a reversible dress, I did these folds last, and stitched them down individually.  There are four in total – one on each shoulder and one on each fabric side – and make things only slightly bulky (nothing a good ironing can’t fix), but at least the original design lines are kept intact.For the jacket buttoning, I went with a method which was popular in the 1930’s when delicate closures could be smashed through rough treatment from roller style wash machines – removable buttons!  Both sides of the jacket opening edge have button holes.  This way my buttons can be placed in the correct side, whichever that may be, for the right and the left change up when my jacket is reversed!  Vintage 1930’s buttons had a metal look which used a ring or a pin to keep them in place in the buttonhole openings (see pics of that in detail on the “Vintage Gal” blog), but I didn’t have that advantage here.

Again, my indecision saved the day for my outfit!  As I couldn’t choose between some large satin finish pale pink buttons or fancy deep purple shell ones, I used them both, connecting them underneath with a ribbon tie.  Making the buttons reversible actually worked out very well, because the second button behind whichever side I use acts like a backing to keep them in place in the button hole opening.  Next time you make something and want to use some precious or fragile buttons, or even if you want something reversible, remember to make both closing sides with button holes and make your buttons removable in one way or another!  A little ingenuity can go a long way to solving problems.

Even though my fabrics are not busy, I’m disappointed at how they hide the graceful style lines to this set.  You can’t really see, but the dress has these shaping side bust panels that arch down from the back neckline darts, swoop under the bust to head into and around the back just above the waistline.  So lovely!  This way there are no darts or other means of shaping besides a well-tailored panel which brings in a curve over the chest and high waist, unlike many other fashions for juniors from the same time (mostly non-body conscious A-line dresses and loose “baby doll” styles).  With such a shaped dress, a short and boxy jacket (which has French darts and an arched side seam hem) actually works much better than I’ve ever come across before.  I’ve always tended to dislike boxy jackets – I find them hard to pair with most of what I wear or have in closet, and never before found a way to like one so much on my body.  I love it when utilizing both my sewing and vintage styles opens up a way for me to like something on myself I’ve always avoided before.  It is hard for me not to like anything in any shade of purple, anyway!Oh yes, I can’t forget to talk about the back zipper!  I’ll confess I made things hard on myself here by using a “normal” modern zipper.  I know they make reversible zippers, but buying one 22 inch length would get pricey and finding one that match would be more challenging, so I merely used one that was on hand.  For the first time I switched to the lavender Fleur-dis-lis printed side out, it originally was quite tricky to zip closed the dress on myself grabbing the pull from the inside…a bit stressful, to tell the truth.  To make things easier, I later used my jewelry making skills to attach a double jump ring to the small zipper pull so I could add a decorative metal Fleur-dis-lis charm.  This charm makes the zipper pull easier to find and grab so I can close my dress no matter which side I wear without freaking out, stuck in a bathroom changing, with the back of my dress open (it has happened, can’t you tell).  Besides, the charm hanging at the back of my neck is quite, fun, and quirky.  Also, in my opinion, and there is no such a thing as Fleur-dis-lis overload.

There was a storm blowing in when we took these pictures, and as my hairstyle did not hold against the humidity, I resorted to using a vintage scarf which actually worked out quite well.  I think it conveys modernity, youth, and movement (Courrèges influence), as well as keeping my outfit from being too stiffly dressy, although I am wearing pearls…so very classic Chanel!  My shoes and gloves are vintage pieces, too.  The gloves have a scalloped edge, much like my suit jacket, and I think my shoes are very similar to the ones drawn on the middle model of my dress’ pattern cover!

I really enjoy reversible garments – I love how they offer optimal wearing options, and prompt me to nicely cover up all edges for a nice finish!  Not too often do I come across a garment with more than one wearing option – changing up one’s look with a single garment isn’t an option that I see in ready-to-wear, unless it’s travel-themed clothes.  I now have many pairing options for the effort of sewing one relatively simple suit set.  I feel like I’ve maximized some of my time and the space in my closet without compromising style.  Yet, reversible clothes doesn’t have to mean simple design…I’ve just proved that with my crazy sewing experiment.What do you think of reversible clothes?  Have you worn anything reversible, or made anything reversible?  Do you prefer the style of Chanel or of Courrèges for the 60’s?

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

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

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

THE FACTS:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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“Iris Garden” Burda Style Dress

Like a garden that emerges from its winter slumber to become a lovely surprise, this dress also took a different direction from what I originally planned but turned out nice in the end.  I feel like I’m wearing the season of spring with my dress…if that is remotely possible.

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I originally hoped to make a new Burda pattern into an art dress, one that would remind someone of a stained glass window.  However, to make the garment aesthetically uniform and complementary for my taste I had to combine two patterns to give the dress a new bodice and finish it as you see it. I am still a bit disappointed to not be able to make an idea that I had in my mind, but I’ll still try to scratch that itch.

As for this dress…well, all’s well that ends well, I suppose.  My hubby calls the dress ‘cute’ or ‘sweet’, and it is so comfy with my favorite colors I will admit.  Also, iris flowers are in my “favorites” list of botanicals since they are akin to the fleur-did-lis and King St. Louis IX, patron of our town.  I personally find it just mediocre and rather un-exciting as compared to other projects, nor does it come at all close to the avant-garde design I had planned.  However, I do love a dress that appears quite nice but actually feels on myself like a lazy day Saturday garment…this is that kind of dress.  Can’t beat that!

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I do have a really interesting bodice left over to work with and I could use your help and input as to what to do with it (you’ll see it further down and I’ll still give it a full review).  Please let me know what you think!

THE FACTS:

FABRIC:  The trio of solid colors in the original but unused bodice are all cotton sateen.  The bottom skirt half is a quilter’s cotton, “Deco Delight” “Iris garden” designed by “Fabric Freedom” in London, England.  The current dress bodice is a cotton knit with a slight pebbled silver sheen printed on the good side (leftover from my camouflage knit dress).  The facing for the neckline of the current bodice is from a scrap piece of polyester crepe back satin in light pink, also.

A-Line Cocktail Dress 03-2016 #122NOTIONS:  I had the seam tape, piping, lining, a 9 inch zipper, and thread needed on hand already.  I just had to go out to buy an extra pack of piping.

PATTERNS:  Burda Style’s ‘A-Line Cocktail Dress’ #122, from 03/2016, found online or in the monthly magazine, and Burda Style #7301, a paper tactile pattern (not online)Burda Style 7301, vintage style dress with arched neckline

TIME TO COMPLETE:  The original piped bodice took me about 5 hours, while the skirt took maybe 2 hours, and the new knit bodice took me about an hour and a half.

THE INSIDES:  I kept things simple for the inside and its finishing.  Everything is double stitched but left with raw edges.

TOTAL COST:  The “Deco Delight” fabric was a special order off of the internet and 2 ½ yards cost me about $30 (yikes!).  As my chosen Tiffany print fabric is from England, I had a hard time finding an American seller…this is reason for the higher price.  The pink knit was from my scrap bin, and the sateen fabrics were all on hand already, bought to be made into other projects, so I just cut small bits from those bolts for my Tiffany Art dress.  Thus they cost pittance in the scheme of things.  So I guess my dress cost me about $35.00.

As for any Burda Style pattern from online or out of a magazine, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My “Cocktail Dress” #122 pattern was traced out from the insert sheet of the magazine issue using a roll of medical paper but you can also buy it, download it, and print it out from Burda Style’s online store.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t know.  Now, none of this is needed with a paper tactile pattern (which is sold through Simplicity, I believe) – all seam allowances are included and it’s a regular conventional pattern (to me in America) except for the European sizing.

This dress’ original pattern has good points to its style but the fitting definitely has fair share of problems, too.  Firstly, I found the bodice design just lovely but so sadly lacking in the proper curving in the right places.  The outward curve isn’t nearly properly generous DSC_0337a-compenough for the bust, while (without adjustments) there is an awkward pucker on the upper chest.  It’s like the bust went into the wrong place – even I know it’s not parallel with the chest just below the collarbone.  As you can see in my picture, starting at 4 ½ inches down, I had to unpick to straighten out the curve ¼ inch in to eliminate the pucker.  Also, I had to add in darts to the top back bodice (close to the neck) and the side bust (by the front underarm).  The back neck darts are about ½ inch by 4 inches long while the bust darts are about 5/8 inch by 3 inches in.  These darts do make it a bit more of a snug fit, and it’s already a tad snug for I think the bodice runs small, but a least it’s a tailored fit now.  For the good points, the skirt is quick and straightforward.  Although the bodice isn’t hard to sew besides the bothersome fitting, the skirt portion is easy and fits well with the sizing DSC_0433-compright on.  I made the skirts’ front box pleat fold a bit crisper by finishing off the bottom hem before adding in the insert, and hemming the pleat insert separately before sewing it into the rest of the skirt.  There’s no continuous horizontal seam to interfere with the vertical seams of the box pleat the way I did it, but it doesn’t have to be done this way.

I am tickled by the way the skirt holds a surprise in its design with the center front box pleat.  When I’m just standing you’d never guess the box pleat would be there, the skirt appears to be knife pleated with a bell-flared silhouette.  Then, all of a sudden if I move or kick up high – surprise, there’s more fabric to come out of it’s hiding like the magic skirt that never stops expanding.

One Burda pattern went towards fixing another Burda pattern!  The “Cocktail Dress” is an odd mix, I should have seen this misfit coming but the lovely solid color of the model dress deceived me.  The bodice is overly modern and dramatic (especially the way I made it) and the skirt is more classic with enough going on too, but in a separate more feminine theme especially with my floral printed cotton. The replacement bodice from the Burda paper pattern was so super easy with sizing right on and lovely details.

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I personally think this bodice is the correct pairing for the skirt and does wonders to the silhouette.  I went back to what I know about creating a visual deception of wide shoulders of the 1940’s and 1950’s to balance out a pleated or full skirt.  Thus I knew I needed a pattern with a wide neck, preferably simple, to complement the skirt and slim the waist…thus I went for a kimono sleeve bodice with a sweet neckline arch that reminds me of the femininity of the overall dress.  The only adaptation I did to accommodating adding this bodice to my existing skirt was to extend the bottom by and inch so the dress’ horizontal center would fall at a high waist rather than an empire height.  Now, I have a dress which visually takes off pounds from my figure – yay!DSC_0455-comp

Besides switching bodices, the zipper closure was moved to the side underarm, rather than having it down the center back.  This side zipper placement didn’t mar my plan of adding in piping to the bodice seams, but as that bodice wasn’t used it made for a nice clean garment design keeping the zipper on the side.  I also didn’t line the bodice – either of them.  I did not want to restrict what stretch I had in the sateen of the piped bodice – and besides, I do not know exactly what to do with it yet anyway.  The pink knit bodice needed to be lightweight and thin so as to give let the bottom skirt half give it the right pull from below to hang right and stay in place on my shoulders.

Now what do I do with the piped tri-colored bodice?  As you see it, the edges are currently unfinished and there is no proper closure.  I really do like it, I spent enough time to make it and finally got it to fit me just right I want to do something interesting with it.  The bodice almost reminds me of a swim top or cropped sports tank the way it is like a second skin and has the streamlined contouring design.

Coctail dress bodice combo pic-comp

Do I just keep it has a separate crop top to pair with whatever for the bottoms?  Should I add in a short separating side zip or just have hook and eyes?  What bottoms will go with this – a high-waisted skinny pencil skirt (like Butterick 6326) or shorts or what else?  Do I turn the top into the bodice for a dress (and what kind of dress) or maybe a jumpsuit?  I know I’ll figure these queries out but I can’t put a finger on the right idea yet, so I’d be grateful if you can help me by sharing your ideas and thoughts.

What’s Red and Black and Ruffled All Over?

Why my new “Parisian Dachshund” apron, of course! I’ll bet you would have never guessed that one coming, he he 😉

100_4760a-compNo really, with all its miss-matching of cultures and objects, this apron has a rocking vintage flair, fun prints, and feminine attitude. I can never get enough of aprons, but this newest one tempts me the most to wear it out for more than just cooking or entertaining. Should I wear this one as a fashion statement, what do you think? I personally think the apron looks best going overboard in matching and accessorizing in the spirit of fun, like I did in my photos…flowers, feathers, large bright earrings, tight black knit-wear underneath, deep red heels, and a big hairstyle! This wild combination shows the outgoing fearless side of me.

Just like for my “Tea for Two” aprons, my “Parisian Dachshund” apron was made into a carbon copy duo: one for me and one for a gift for a family member. I had small doses of both my fabrics and used my high efficiency cutting practices to make two of these highly dramatic frilly versions of a kitchen clothing cover.

As is normal for me, my best aprons are created when I don’t use a pattern. The starting ‘blank’ for this “Parisian Dachshund” apron was to outline an existing rectangular “cobbler’s” style apron which I own already. Then my supplemental fabric, the one with the layers of Fleur-de-lis, roses, dachshund silhouettes, and scroll work, was cut into long wide strips, to be ruffled. All four of the edges were finished on the strips before I ran two rows of loose straight stitches to gather the top about ¼ inch away from the edge.

100_4768a-compI’ve always wanted a supper frilly, ruffle apron in forever. I was totally tempted to add two layers of ruffles to my “Parisian Dachshund” aprons, and I cut out two rectangles for a gathered duo, whether I used them or not. After sewing on one layer to the apron ‘blank’ bottom half, two ruffled layers seemed to make it way over the top. Thus, for each apron, I ended up with an extra not-yet-gathered rectangle, and it went towards making the back ties. I made sure to be precise and center two layers of print for the width of each tie. See how nicely the layers of dachshunds, Fleur-de-lis, and roses can be seen so much better on the ties than on the ruffle? By the way, I hate doing ties…but somehow or another I always seem to suck up my disgust and make them well 🙂

Cutting out the two apron ‘blanks’ out of only one yard left me with nothing more than a small triangle of scrap fabric left. This small triangle was slightly adapted and cut into more of a crescent shape and made into a neck band for my version of the apron set. I really enjoy the way that this crescent shape fits nicely around my neck. The two skinny ends come to join into the apron top corners, while the flared middle lays over the back of my neck like a collar. For the gift apron, I used two leftover ties of the ruffle fabric to make ties for neckline to make it easier to get around and over the head and face of the recipient.

100_4773a-compPockets are a must in my book for an apron! I took a liking to a decent sized scrap of black denim, and used it to make pockets for the aprons. Inspired by the interestingly placed decorative, but useful, pockets on many vintage patterns and garment originals, I added a “mother and daughter” type of pocket style to the “Parisian Dachshund” aprons. There is a normal hand sized pocket, monogrammed for a special touch with the wearer’s initial (a “K” for me, and a “B” for the gift apron) in bright red thread. There is a mini, but still useable (for change maybe), pocket hanging over the edge of the bigger one and slightly a step off and above. Both pockets are top stitched down in two rows of the same bright red contrast thread. I love to add little details and fine work to my projects!

100_4764-compThis apron is perfectly blended with everything that I love and enjoy: dachshunds, anything French themed, Fleur-de-lis, and aprons. My mom’s side of the family has always had a 100_4774a-compdachshund in the household – my Grandparents had several, as well as my dad and mom, her sisters (my Aunts), and myself and my family currently own one. These long and short dogs are sweetest companions I know. Our own dachsie is good to everyone, but he is especially close to me, his dog-mommy. Anything French is hard to resist for me, after the wonderful time I had in that country years ago. I can never get enough Fleur-de-lis stuff because it is very symbolic to me in many ways, but especially since it is the symbol of our town’s patron, King Saint Louis IX.

Aprons are very meaningful and special to me, as well as easy but an incredible amount of enjoyment to create. I try to make each apron different and uniquely individual, especially when it comes to giving them as presents, which is my favorite thing to do with aprons! My aprons are not at all something to ‘save’ in fear of ruining them – they get displayed by being worn on a daily basis and getting loved by enjoying using them. The neatest old vintage aprons are always the ones that are stained and torn or threadbare because I can’t help but think of the times they saw and the work they helped out with – in other words an apron can be a tangible memory! Besides, I seem to think of aprons as the best friend of someone who sews or works with fabric – an aprons protects garments while decorating your style for the day, all the while expressing your personality. What an odd but special combination!

100_4763THE FACTS:

FABRIC:  Both fabrics are 100% cotton “M’Liss” brand prints, from the “In Paris” line of designs sold at Hancock Fabrics. I only had 1 yard of the red and black scroll fabric used to make the basic apron ‘blank’. The “layered with lines of designs” fabric was used for the ruffles and ties – and I only had ½ yard of it! Scraps from on hand went towards the apron pockets.

NOTIONS:  Thread was the only notion needed and that was on hand in plenty.

PATTERN:  None – I just winged it!

TIME TO COMPLETE:  Quick and wonderful – each apron took about 2 1/2 hours each, and both were done on December 10, 2014.

TOTAL COST:  Should I really address price when it comes to a gift? Anyway, with such a small amount of fabric used to make the two aprons and scraps for the pockets, the price was a very reasonable total.