“A Dream Is a Wish Your Heart Makes”

Something that is in high demand in the world today can be in high supply since it stems from an infinitely renewable source.  I am speaking of kindness – a gift that can be so hard to share but costs nothing to give.  It is a universal language of communal understanding.  A plentitude of kindness is sorely indispensable.  Even if I fail all too often, I do try my best to fill the need, even though the effort is often disheartening.  “Be the change you wish to see in the world” is a cliché phrase but kindness is infectious and the key to someone’s good day can really begin with just one person.  Being kind in heart is a very beautiful, strong, and attractive personal quality to find in people, too.  This is why I would like to pick up (a year later) where I left off posting my “Pandemic Princess” blog series by featuring the most famous fairytale princess – Cinderella.  

Cinderella is the fictional rags-to-riches princess who practices indiscriminate benevolence, patience, perseverance, and understanding.  Her story is ancient enough to span many centuries, ethnicities, and interpretations but in all of them her honest beauty, radiating from the heart within, saves the day so goodness can prevail.  I love with a passion the Disney interpretation of 1950 (the animated film) as well as the live action retelling from 2015.  However, I am a sucker for a creative spoof on the story – my especial favorites are Ella Enchanted from 2004 and Ever After from 1998.  The catchy songs and the strong sewing references to the original 1950 animated film have me hopelessly hooked, nevertheless, and the live action interpretation from 2015 is a glorious treat for me.  “Have courage and be kind. For where there is kindness there is goodness and where there is goodness there is magic.” These are the best words ever to summarize Cinderella’s story and can be found in the 2015 live action film. 

1950 cover for a child’s book

I never fully finished sharing all of my Princess inspired vintage creations after launching my “Pandemic Princess” blog series at the beginning of 2021.  I would like to revisit it to wrap up the last remaining themed projects within the next few months.  As I said in that post which launched the series, I mostly interpreted my Disney princess inspired sewing in relation to the year that their original animated movies were released, and my Cinderella dress follows suit as the early 1950s fashion works perfectly for a full, swishy skirted dress, headbanded updo for my hair, and a pretty pastel blue tone.  Yes, I was inspired by the fairy godmothers magic dress for Cinderella since my Snow White interpretation was a similar looking work dress. 

Promotional image of actress Lily James for the live action 2015 Cinderella

I wanted something wearable and not a costume though, so this merely carries the spirit of and references to the associated heroine. I did not make these princess dresses because I had someplace to wear them – each was truly a splurge project in the truest sense.  Disney bounding, as is the frequent term for an adult whose assembles an outfit loosely inspired by a fictional character, doesn’t have to revolve around whether or not one is capable of actually showing up at a theme park.  It relies on the ability to dream, have a bit of fun, and appreciate a bit of fantasy…all from right where you are.  Cinderella says that “A Dream Is a Wish Your Heart Makes” in her first song for the 1950 animated film.  This post’s sweet and calming floral blue dress reminds me that it is important to keep one’s dreams alive, hold onto hope, and stay kind like Cinderella.  Sewing helps me make some of my dreams a reality, and keeps me creative enough to continue making magic with fabric and thread.

THE FACTS:

FABRIC:  100% cotton for both the solid blue, the print, as well as the lining layer underneath

PATTERN:  McCall’s 8898, year 1952, original pattern from my personal stash

NOTIONS NEEDED:  This was a fussy project that needed lots of thread, one zipper, 10 covered button blank sets, yards of binding, and a good amount of interfacing.

TIME TO COMPLETE:  This dress took 15 to 20 hours to finish in July 2019

THE INSIDES:  cleanly bias bound

TOTAL COST:  The printed fabric was $12 for two yards ordered through “Simply Fabric” of Oakland, California on Etsy.  The solid blue cotton was from my local JoAnn Fabric shop, again two yards for about $12.  Then I had to buy a solid white cotton muslin for lining the whole dress – 6 yards for about $18.  All the notions added up, especially the buttons.  The total for this dress is about $50.

This was my first princess inspired dress even before I thought of making a slew of them and turning it into a theme.  Less than month later, I whipped up my 1992 Beauty and the Beast animated film inspired dress (posted here) as a treat to myself for my birthday.  It was then I realized I wanted to keep going with this good thing I had started.  The blue is for Cinderella’s ball dress, while the climbing floral print is for both her sweetness to nature and the garden plants that were magically turned into everything needed to take her to the ball.  My embroidered headband further calls to mind Cinderella’s ball outfit, but mine has sparkly crystals to add just a touch of finery.  A jeweled butterfly brooch from my Grandmother refers to all the butterflies which rested on Cinderella’s gown in the 2015 live action movie.

Beyond any princess reference to my outfit, I had been aching to try out a dress that contrasts its print with large panels of matching solid color, anyways.  It is almost like color-blocking, but with half of the contrast being a complimentary toned fabric print.  Add in the fact that the front closure is asymmetric, which I am a complete sucker for, and this dress becomes the best way for me to dive into this style.  For a few years beforehand, I had kept a whole folder of similar 1950s dresses to encourage what I felt may have been a crazy idea.  It is interesting how mixing up prints with solids in paneled dresses has become a popular trend in both the sewing realm and also the sphere of true vintage sellers since last year.  I was ahead of things in 2019, apparently! 

Besides the interesting way I took advantage of the paneling in the dress, there is another neat detail that was added to this pattern.  There are V-notches cut into the sides of the neckline, the hem to both sleeves, and the center back neck.  These spots were tricky but fun to sew and require nothing more than firm interfacing, precise stitching, and the clipping of the seam allowances.  This small V notching along hem edges of a bodice is a feature I love to see because it is unmistakably tied to early 1950s designs.  See Butterick 5739 from 1951, Butterick 6091 from ‘52, Butterick 6960 from ‘54, and McCall’s 3235 from 1955 for some examples from sewing patterns.  Now you can understand why I attributed this vintage Martha Manning suit in my wardrobe, with its notched neckline, (see it here on my Instagram) to be from the exact same time frame, as well.  Asymmetry was likewise a popular element on dresses and bodices of the early 1950s, as well, so this dress pattern combines both into one fantastic design, similar to what both Vintage Vogue 1043 from 1953 (see my version here) as well as Vogue 9105 from 1954 have going for them.  This post’s dress pattern is from 1952, and has more little V notches along the edges than any pattern I have seen elsewhere…I love it!

Was this ever a complex project and a fabric hog, though!  The asymmetry meant I needed to pay attention to the right side of the front pattern pieces and cut them single layer.  The cottons – both printed and solid – being slightly sheer meant I needed to cut every pattern piece twice to interline individually.  There is 10 yards in total fabric here!  So much fabric means it is a heavy dress for summer, even though that is the season it is for being in a bright white print.  Making 10 fabric covered buttons became overwhelming pretty quickly, too. 

The fit was really funky making it as-is and turned out to be an ill-fitting dress that needed all sorts of adjustments.  Even the length before hemming was down to the ankles on me!  To counter all this bother, I cheated with the asymmetric front and installed a side seam zipper.  The entire button front is for looks only at this point and not a working closure.  After everything the dress put me through to reach a point where it was wearable, there was no way I had enough energy to sew in and cut open 10 buttonholes.  Even with sewing down the asymmetric front, the neckline is rather fussy to keep closed.  I am so glad I opted for ‘cheating’ on the front closing.  Even still, I had to add some tiny hook and eyes to keep the perfect V of the neckline over my chest. 

I am not as naturally gifted as Cinderella, and so the birds you see in some of my pictures are actually vintage plastic bird models that I and my dad built when I was kid.  Search up Bachmann’s “Birds of the World” and you’ll see what they are.  The scarlet tanager was a model my dad did as a kid himself (in the early 1960s) but the barn swallow in my hands for the first picture was one I made as a teen.  The birds were packaged in pieces like a plane or a car model and needed to be painted and glued together.  When they were finished, the scale was the same as the real life birds they were portraying.  I came face to face with a hummingbird once when she thought I was a flower, and I did some bird banding with the local Conservation Department as a teen, but otherwise these models are as close as I will get to my favorite songbirds.  I just had to include the models in my pictures because Disney-bounding Cinderella is about having a sense of fantasy…so why not pretend I do have feathered friend?!  After all, “be kind to every kind, not just mankind” as the phrase goes.

The print struck me as perfect for channeling her in a Disney-bounding dress for a very good reason.  It was similar to a cotton floral I picked out as a young teen to make myself a wearable Cinderella skirt for my birthday.  Looking back, I am proud at how I made exactly what I had hoped for but repulsed by the fact I actually wore that.  It was a long full skirt in a sheer floral cotton, lined in blue for a soft tint, and draped with swagged bows just like Cinderella’s first ball dress (the one the sewing mice made and her stepsisters destroyed).  A two yard cut on its own is not enough for a full skirted 1950s dress but I really had to make this fabric work for my idea.  Besides, I felt that the floral was too quaint and overall busy looking on its own without a solid tone to calm it down.  Cinderella only wore solid colors, so incorporating a large swath of blue to the print was merely properly following the call of crazy creativity.   I have properly reinvented something I wanted to do as a teen, and done it in a much better manner. 

I suppose I need to learn how to practice kindness towards myself, particularly when looking back on some dubious fashion choices of my past!  Being easy on yourself is especially hard to do, from a maker’s standpoint, and takes real effort and courage.  “I could have done this better” or “this is far from flawless” is frequent to think or say for sewists.  I know my perfectionism is too strong more often than not.  While it is admirable to set such high standards, such an attitude merely ends up with you being harsh on yourself and often setting unrealistic goals.  Cinderella’s kindness is often misunderstood as a doormat for others but if you look closer – as this article does – you can see how she was so busy being kind towards others she ‘forgets’ to be kind to herself.  Try to take one special step today to be understanding and gentle on yourself in the spirit of Cinderella, but especially in regards to whatever aspirations or dreams you cherish!

Sunshine Linen and Silken Flowers

Excuse the lack of new posts recently but an extended weekend trip to Chicago has eaten away at my free time for blogging.  However, you know what a trip away for home means for me?  New outfits were sewn!  This equates to fresh new material to share on my blog for you to enjoy!  Here is the most recent outfit project hot off my sewing machine – a summer silk hooded blouse from the 1990s and a linen early 1940s Clotilde brand jumper dress.  I couldn’t have wanted a better set to wear for enjoying my day in cheery, luxurious comfort and style.

I have learned from many visits to Chicago’s surrounding Lake Michigan beaches that not all beaches are equally temperate.  I find Chicago’s beaches to be pleasant and enjoyable to be sure, but quite windy with a cool breeze and not as warm as a Florida beach.  Lake Michigan has water that can feel like it’s refrigerated, even in the summer!  From previous visits to Chicago, I knew what to expect and mentally pictured exactly what was needed out of my outfit for our day at the beach.  I’m happy to report, my set was every bit as wonderful as I had anticipated! 

When 1940s meets the 1990s things are bound to get interesting!  All my garments are in lightweight, soft and breathable fabrics which kept the wind and the sun from turning me into a crisp.  The color scheme is richly saturated and elegantly cheerful.  The fiber content is natural and sustainable in linen blended with rayon, and silk with coconut buttons, all finished using vintage notions.  The styling is versatile and unexpected, which I love, with a fluid vintage vibe which is also timeless.  Having a hood handy kept my hair tamed for beach time or when we drove our convertible car through downtown Chicago with the top down.  I love an outfit that has some good eye-catching features with lovely tactile qualities.

I paired my me-made items with a 20-something old RTW cotton stretch tee as my base layer under the jumper dress this time.  However, the billowy blouse included in with my jumper dress’ Clotilde pattern strongly reminds me of the 40’s chiffon blouse I made to wear with these 1991 NY NY “The Collection” McCall’s trousers.  If you visit that post, you’ll see that this is not the first time I’ve combined the WWII era with the age of the Internet. 

THE FACTS:

FABRIC:  a linen and rayon blend for the jumper dress and an all silk satin for the blouse

PATTERNS:  Clotilde sewing pattern #3559, estimated to be from the spring season of 1942, and McCall’s NYNY “The Collection” #5640 from January 1991

NOTIONS NEEDED:  thread and a bit of interfacing (I used the cotton iron-on), bias tape as well as one vintage 1950s era metal zipper for the jumper dress, some vintage rayon hem tape for the blouse, and finally a pack of coconut buttons from my local JoAnn fabric store

TIME TO COMPLETE:  The blouse and the jumper together were a combined time of 16 hours and were finished at the end of this month of May (just before our trip) 2022

THE INSIDES:  All French seams for the hooded blouse and bias bound edges in the jumper

TOTAL COST:  Both fabrics are from my local JoAnn Fabric store, but only the linen blend is still currently in stock.  The silk was something I found many years back now when they sold limited amount of fine fabrics in the physical stores and not just online.  It was on deep discount being as it was a one yard remnant of something the store no longer wanted to carry.  My entire outfit all together cost me under $40.

Clotilde patterns, such as this one, were often for what was considered the average woman (not talking about body size average) or for the on-the-go teenage girl.  I have noticed that Clotilde patterns through the 30’s and 40’s were often knock-offs of small designers or downgraded versions of Paris fashions for the woman who wanted a practical taste of the current styles.  They were pitched in ad write-ups as easy-to-make (especially when they offered a line of notions and haberdashery to match) with design details to make them appealing enough to have an edge on the market.  The company began offering patterns circa 1925, continuing to do so through the 1960s, and expanded to become a giant in the sewing catalog industry for many years.  Ms. Clotilde passed away in November of 2011 and the Company was sold to become “Annie’s Quilt and Sew Catalog”. 

Seeing as my Clotilde pattern was ordered through The Chicago Tribune newspaper, I researched through an archival site for that publication and was able to pin this design down to somewhere between the fall of 1941 and the spring season of 1942.  As this pattern’s blouse is so similar to the sheer bishop sleeved one I already made (posted here, also intended to be paired under a jumper dress), I am leaning towards thinking both share a date of early 1942.  Jumper dresses – intended to be worn over a blouse or top of some sort – were incredibly popular offerings through the mail order sewing pattern companies of 1941 to 1942, mostly tailoring their appeal for teenagers but also for young adult women.  Jumpers are so good for beach time because it is easy to hide some shorts underneath, he he.  This jumper has a very pre-WWII influence with the full skirt with a longer mid-calf length.  Even still, it required just over a full two yards of material.

This jumper was simple and quick to make – except for the double sets of ties I had to make (I hate sewing them).  Yet, as is the normal “quirk” I find for vintage unprinted mail order patterns, I had just a bit of trouble getting this finished.  I correctly predicted it ran a tad roomy, as many old unprinted mail order patterns do.  This sizing generally worked in my favor because I took advantage of it to do a modern 5/8” seam allowance.  Even still, some of the quality to the pattern drafting was lacking, as is another normal “quirk” for many old mail order patterns.  I had to taper in the side seams smaller up to almost 2 inches on each side, only from the top edge down to the hips.  Luckily, I had greatly simplified the design so that the fitting efforts I had to do didn’t really set me back.  The biggest change to the original design was that I eliminated the back button placket closure and opted to lay that pattern piece out on the fold for a smooth, seamless look.  A vintage metal zipper was installed in the left side seam instead. 

The pattern gave little to no direction as to where to place and button the shoulder straps.  Mysteriously missing markings are another frequent occurrence to old unprinted mail order patterns.  I guess it is obvious from looking at the original design that I simplified the shoulder straps by leaving out the ruffles to them.  I pared things down to the basics even more by merely stitching the straps down to the jumper dress edge.  Why bother to make them adjustable when the pattern didn’t help me out and I’d have to figure all the buttonhole settings out myself?  The waist ties already add a level of fussiness to the style so stitching down the straps helped keep my travel wardrobe simple.  However, the pattern did call for ridiculously simple bias strip edge finishing.  I knew this design needed something more stable along the top edge, so I drafted together my own interfaced facing for the bodice.  It was two steps forward and one back during the construction process, but this was not intended to be a perfectly fitted garment…so all is well that ended well! 

The loose fit is sort of a design element based on the fact that there are waist ties to pull in the fit on this jumper dress.  I love how they are like little pointed arrows that sit at the waistline where they are top stitched down.  They help to visually slim the silhouette.  To gather in and control some of the center back waistline fullness, I stitched in a strip of ¼ inch wide elastic to the inside.  I picked a 3 inch horizontal segment at the waistline and sewed it into a 1 inch length of elastic, shirring the difference into gathers.  This was not part of the pattern but my own addition.  I also finished off the tie edges with a hand sewn buttonhole stitch for a little bit of a fine touch. 

My hooded summer blouse pattern is by far the standout piece to this outfit.  It is from my favorite NY NY “The Collection” line of McCall’s designer patterns which stretched between the late 1980s and the early 2000’s.  This will have been the seventh NY NY “The Collection” McCall’s item I have sewn.  There is a lot going for #5640 with lots of options to each and every item it offers so that an entire wardrobe of separates could be sewn of this one pattern.  The hooded blouse has the option of instead being sewn up as a wing collar and was originally supposed to be long sleeved.  How could I pass up something as uniquely amazing as a hood blouse, though!?  My amazing silk satin was just begging to me to be used to full dramatic effect and this design hit my creative happy place. 

Such items as hooded dresses or blouses were popular in the 1930s and 40’s for evening wear or resort occasions and now are rarities that sell for big money in the current vintage market.  Fashion designer houses of Valentino, Givenchy, Max & Moi, as well as Aurora De Matteis all offer their own silk satin hooded blouses today.   If I ever start my own business of offering couture finish custom-made ready-to-wear (not promising it will ever happen, though), a summer hooded silk blouse like the one in this post would be included in my collection.  It is amazing to wear and truly a useful statement piece.

As I only had one yard of silk to work with for the hooded blouse, I overhauled the design to accommodate both my shortage of material and desire to personalize this amazing design for myself.  The oversized print needed minimal seams so as to not disturb it.  This was perfect for that because there are no darts or tucks, and the entire shirt is made of only three pattern pieces.  Yes, you read that correctly.  The hood was configured to be cut on with the blouse fronts – a one piece design!  So cool, right?

The original pattern called for the front center but, as you can see, I altered this idea.  It was intended to be a pullover top with a generous box pleat giving room across the one-piece front between the buttons and buttonholes which were to be worked onto the folded edges.  I was not doing this plan with my reiteration, which has an open front like any other blouse.  It is more versatile to me this way.  I can tie the waistline together to cinch the boxy, oversized silhouette in and keep it from flying around in the breeze like a flag.  I can still let my outfit underneath be visible, too, if I keep the blouse unbuttoned.  I don’t have to risk messing up my hair or smudging the blouse with makeup by having it be a pullover.  A hoodie is one piece, and that to me becomes more like a jacket.  I wanted a hooded blouse and adapted the pattern to be such.  However, it is loose fitting and rather makes a better overblouse anyways than being worn on its own.

My silk satin was so luxurious like insubstantial butter and a cooling delight to touch…I wish you could reach through the screen and feel it with me.  Such amazing fabric deserved my bringing out the high-end finishes along with such a good design.  There are solely French seams inside, which sort of makes it hard for me to tell the right side from the wrong side out for this blouse! 

Then, I used special rayon binding to hem the bottom edge for a clean yet decorative inside.  Such a notion is not manufactured anymore (to my knowledge) and it is a joy to use.  It is like a piece of tangible happiness to see when getting dressed so I see it as worth it to use rather than hoard.  I luckily have a few whole rolls of such notions so this was not the last to be had in my stash.  Even still, you can tell which projects are more prized by me when there is rayon tape as part of the inside detailing.  I hand stitched down the front and hood cut-on self-facings as well as the hem because I couldn’t stand to see obvious thread lines anywhere else but along the shoulder line.

Why highlight the shoulder line?  I absolutely love the way the hood is one piece with the bodice front.  I am proud of how well I achieved a perfect corner down and around where the hood angles into the back bodice.  This way the dropped shoulder line can be noticeable, too.  Might as well bring attention to how creative is the one major design line to the blouse!  I chose to use an all-cotton thread to compliment the silk material, but it is a fluffier, chunkier, duller thread when compared to the satin finish.  As I said at the beginning of this post, I was going for sustainable and natural fibers here. 

Trips away from home especially give challenging incentives to my sewing plans.  Now that we have traveled again after a long span of staying at home, I am remembering anew how trips inspire me to treat myself to exceptional hand sewn pieces (those over and above my everyday wardrobe) so I can rock my self-expression while creating wonderful vacation memories.  Do you bring your own handmade wardrobe on trips with you?  Please let me know I am not alone in this.  My most comfortable, favorite pieces are necessarily also the ones I have made for myself so there is one basic reason to bring me-made items on a trip away.  Seriously, though – can’t you tell by my glow that the beach is a special place for me?  Just think of what an amazing new outfit added to that!!  There will soon be more to come of our Chicago trip – hang on to this thread.

So – next time I have a break in my regular postings, just know that it means I am either taking personal time for recharging myself or at least working on some great new content.  I truly have the best readers and you all are the best audience!  For your information, if you only knew the amazing projects already sewn that are in my backlog of things yet to share, you’d flip.  This post’s particular outfit had a special day out so recently, I had to share it right away.  It was just too good, and I hope you are glad I didn’t let this outfit wait in queue to be posted later than sooner!

A Smock-Frock from 1938

Today, a smock is understood as a variant of an apron – it is a loose over-garment worn to protect one’s clothing.  A frock is a now outdated term for a dress of any length or style.  Both terms may sound like something quite frumpy to wear.  Yet, I have the contrary to show as proof that a smock-frock can be fashionable.  Our modern understanding of many items we take for granted in common living are often sorely lacking in a realization of full historical context.  “Dig a little deeper” is my intuitive response after being an academic researcher for many years! 

In sewing, using vintage patterns is a good practice for opening one’s eyes to facets of fashion history previously either unknown or forgotten, as they leave enticing trails of interest in bygone definitions.  Recently, an old original 1938 Marian Martin pattern design I acquired and used for my early spring sewing has made me realize a new term – the smock-frock.  For as simple and unassuming as this newest dress project is (daily wear vintage clothes in comfy cotton are so handy to have in my wardrobe), it has certainly led me to discover yet another aspect from the annals of fashion.  Nevertheless, whether or not this dress taught me something along the way to completion, any dress that ends up being as easy to wear as a nightgown yet looks street worthy chic – with pockets as big as a small purse – is a winner in my estimation!

THE FACTS:

FABRIC:  a printed cotton

PATTERN:  Marian Martin #9602, year 1938

NOTIONS NEEDED:  all I needed was thread and some bias tape for some simple neckline finishing

TIME TO COMPLETE:  This was a quick project, made in about 7 hours and finished in February 2022

THE INSIDES:  I merely stitched over the edges a few times to prevent any fraying, and trimmed any fly-away threads from the fabric for clean but semi-raw edges

TOTAL COST:  On sale at my local JoAnn Fabrics store, buying 3 yards of this fabric cost me about $27

Happily, the seller that I purchased from studied up for the listing and included information from an old newspaper ad which was selling my same pattern.  Thus, that person’s amazing preliminary research is the only reason I know why Marian Martin no.9602 is called “a smock-frock” design to begin with.  Now, to appropriately continue my terminology tirade from above, a smock-frock is basically a centuries old garment primarily worn by British laborers and working class people.  Only in the last 150 years did it turn into a comparatively decorative garment to wear on its own for children’s play and ladies’ housework.  Smock-frock garments often had extensive embroiderd hand stitched work (for an alliteration of the word) to control the overall generous fit in precise places  on the garment.  This type of embellishment became highly decorative between the Victorian times and the 1930s, being more ornamental than a pure design element, and its popularity muddied the understanding of the term smock-frock.  

To make things more confusing, in the history of the clerical world, a frock is an outer garment…but so is an apron.  The Wikipedia page says, “It is uncertain whether smock-frocks are ‘frocks made like smocks or ‘smocks made like frocks’ – that is, whether the garment evolved from the smock, the shirt (or underdress) of the medieval period, or from the frock, an over garment of equally ancient origin.”  All this boils down to the fact that this late 1930s smock frock was a meld of the words, besides being a relatively modern take on two very ancient type of garments.  I am surprised this garment-related form of the term was even still in use enough for 1938 to add it onto the pattern description.  It is so close to what I would term a plain housedress, or even a hostess dress (which I explain in this post here) if sewn up of a decently nice material.  Smocking – as a style of stitch – has continued to be popular beyond the 1930s primarily on cultural inspired clothing or novelty designs as well as children’s clothes.

I am wondering if the use of this term here is because Marian Martin designs were something catered to smaller, rural town residents even though the parent company to the pattern line was based in New York City.  Living away from a big town can be someplace where old terms are still commonplace, so a smock-frock would have been well known amongst agricultural worker’s families of the 1930s. I do take note that the cover illustration portrays a young woman modeling.  I wonder if the design of this pattern would have been something that the older generations would have gravitated to before the youth of 1938 would have.  You can clearly see the Depression Era thrifty sensibilities in the fact that this pattern could be used to make several different designs – dresses with two differing necklines and closures, or an apron.  There are many possibilities here!  Marian Martin is a distant cousin to the lines of Anne Adams, Alice Brooks, American Weekly, and Laura Wheeler (needlework) – all patterns were owned by the same parent company at one point or another (see more info on that here). 

Having sewn a handful of patterns from this group of mail order patterns (my previous Marian Martin posted here, an American Weekly dress posted here, and an Anne Adams pinafore posted here), I have found them to generally run on the larger fitting size.  This one did not disappoint.  It was marked as a bust 32”, hips 35” and so I graded in 4 inches to bring it up to my size according to the instruction’s chart.  As it turned out, I had to pinch out a total of 4 inches overall as I was fitting this dress to myself during construction.  The realization of that blows my mind at just how large this pattern’s size was…lucky thing I was able to save this project from drowning me in fabric!  The hemline even came down to the ground on me according to the “dress length” as given by the pattern.  Refitting all the princess and side seams, as well as re-cutting the neckline and armscye made this easy-to-make design a bit more time-consuming.  It was still pretty simple to sew these adjustments because there was no pattern matching to worry about and I was fitting it along the way to completion. 

I knew ahead of time that the busy print would conceal the smock-frocks details, but they are simple and few so I was okay with that happening.  There are princess seams which divide the back and the front into a six panel dress.  There are big, generous pockets tucked in between seams to the front side panels just at hip length.  Then, the sleeves have puffed caps and a box pleat at the outer centered hem.  Finally, two ties come out from above the front princess seam just above the pockets so as to bring in the waist and shape the dress by tying in the back.  The attached ties make this dress reminiscent of a hostess dress, as I mentioned above (and posted about here).  It is the fact I have the ties – and the way I gave up fitting the dress to me any further after bringing it in by 4 inches – which lets me get away with no zipper or buttons or closure.  Contrary to the pattern, I cut the center back on the fold and lowered the V neckline so that this was an easy-peasy slip-on garment. 

A word or two needs to be said about my ascot neck scarf.  I made that, too!  It was cobbled together into being a long, tapered rectangle of two scraps leftover from making this sheer chiffon 1950s redingote.  A small French seam goes down the center to connect the two scraps, then went to my local sewing room and used their serger (overlocker) to stitch a tiny rolled hem edge finish.  I love making my own scarf!  It is yet another little but very useful outlet I recently discovered to use up scraps of lightweight material.  My neck is often chilly in both air conditioning and cool spring or fall days.  Also, my hair styles need protection from wind and rain, so I use sheer scarves a lot in all seasons.  This handmade version was just the thing I needed in lieu of a necklace or contrast belt to give my dress a splash of something extra.  It kept my neck cozy for these pictures, too, as the sunshine was warm that day but spring is still slow in coming here.  The neckline is pretty basic otherwise.  A vintage stick pin keeps my scarf in place on my dress, here tied in the manner of an ascot.

My fabulous shoes bring my dress way above its original humble smock-frock designation, but they are such a fun pairing here I couldn’t resist!  They are part of my latest and greatest shoe splurge purchase.  Miss L Fire Company was going out of business a few months ago so I *had* to snatch up several styles I have longed under deep clearance prices.  These are the popular Miss L Fire “Clarice” heels, made of color blocked leather suede panels with tie ankle straps.  These color blocked beauties make me forget I have heels on, but really elevate my outfit, as well as anything else I pair with them.  Just as I did with my scarf, I wanted to channel everything I love about the panache that 1930s street wear displays with killer accessories.  Even if this is just a homely cotton dress, I can show how versatile it is my making it fancier than it really is!  A great pair of shoes always helps in such a situation.  Believe me, there is no better company for statement footwear with high quality and superior comfort. Miss L Fire’s offerings are so well made and so comfortable but so standout chic, it is a true loss that they are relegated to the second hand market now. 

There is so much more I could have written in regards to smock-frocks, but I didn’t want to end up boring anyone and end up with too long of a post.  I have just found so much depth of interest in the history behind this basic little dress I whipped together!  What I didn’t mention above, is the irony of how it combines the masculine (through the working man’s shirt smock) with the feminine (a frock dress) in such a unique way.  Even still, the supreme mockery to my 1938 incarnation of a house-frock is the fact that it turned out so appealingly cute.  It is meant to be so utilitarian as to not give a darn about keeping it pristine yet I will be sad the first time it gets marred.  I don’t want to destroy it too quickly, but I also don’t want to let that hold me back from enjoying this dress whenever I want.  This is why I made it – to be worn, appreciated, and practical.  The print is so busy it shouldn’t be too noticeable when I do eventually end up staining, tearing, or otherwise using my dress as the pattern intended.  If this was going to be a true smock-frock, it was going to have to live up to its name and be a practical, work-horse kind of piece for me.  I always need these kind of clothes.  They truly do take a beating, though, but I think appear none the worse for their wear.  This mid-1940s dress is my go-to well-worn housedress, next to this cranberry cotton shirtdress, and my “Dust Bowl” Burda dress.  I am happy to have a real-deal 1930s house dress now, as I have only had ones from the 40’s until now!

I really hope to sew with this pattern again in the future using yet another charming cotton print, so this is not a one-hit-wonder here.  Perhaps next time I will choose the short, hip-length smock version that buttons down the back and has the Peter Pan collar.  Maybe I will just sew another dress version because it so handy and darn comfortable.  I also want to try out the “Edith Smock” from “Pattern Union”.  It is a zero-waste design with amazing details and a style strongly reminiscent of working smocks of old, only with large roomy pockets and billowy sleeves for the modern romantic in you.

I hope you enjoyed this little post on my smock-frock, and learned about a new facet of fashion history.  Please, give this post proper credit if you share elsewhere what you learned about here.  Also, remember to stay inquisitive and keep finding answers to the interesting questions of your own making.  Perhaps you will uncover something that will fascinate, teach, and entertain you just as much as I have found in the process of creating and wearing my smock-frock!

White, Orange and Green

There is nothing 100% “from scratch” in the outfit that I’m posting this time, as this is (mostly) about a current refashion of a 1940s blouse I’ve already made back in 2013. Yet, I have paired it with a “new” woolen skirt that I refashioned after finding it chewed up during storage in our cedar closet.  Together, this is a fresh take on two existing items in my closet which needed some care and attention…and that deserves its own post, right?!  After my previous post on my Victorian skating ensemble, I thought I’d keep things simple and mix things up by showing how I keep up pieces in my wardrobe.  In order to earn its keep in my closet, each item needs to be something that fits as well as something I love.  I have no qualms about putting something I’ve sewn through a scissor and under the sewing machine to have that happen!  I made it, I can fix it up, too.  Beyond that, though, this set is the perfect colors to wear for St. Patrick’s Day – the white, orange, and green of their national flag!

I couldn’t help but title my post after the song that this outfit calls to my mind.  It is an Irish folk song which supposedly rose out of the 1919 to 1921 War of Independence but got a popular revival in 1989 from the album “Home to Ireland” by Spailpin (listen to the song here).  It is almost my favorite Irish song album – I have loved it since my childhood!  “The Rising of the Moon” song is not to be missed and “Three Young Ladies Drinking Whiskey Before Breakfast” will get your toes tapping.  I am proudly very Irish through both sides of my family as well as my husband’s side, so this is not just celebrating a holiday which is alien to me but happily honoring my heritage!  Although some of my Irish ancestors may have preferred to sport orange for today, I align more with the wearing of green, so I love how this outfit unites all the colors just as the flag does.  (If you know your Irish history, you’ll understand this one without looking it up!)

THE FACTS:

FABRIC:  The fabric for the blouse is from a seasonal collection of soft 100% cotton quilting fabric, lined in a matching rust orange color 100% cotton broadcloth

PATTERN:   Simplicity #1692, a 40s era re-release from 2013 (it’s one of their 85th Anniversary patterns), originally Simplicity #1093 from year 1944

NOTIONS:  I really had everything I needed on hand – thread, zipper, and bias tape.  The single button at the back neck closure is probably close to being the correct era for my vintage blouse, and comes from my special familial vintage button stash.

TIME TO COMPLETE:  My blouse originally (first incarnation) took me about 10 hours to be done back in October 2013.  In the fall of 2021, I spent another 5 hours to renew the blouse into its latest version. 

Both pieces have recently been discovered to be too small on me, but the skirt also had damage so I had more than one incentive for altering them.  Now that we are coming out of two years of isolating and staying at home, I have to get to know the full potential of my closet again.  A good amount of my pieces have not been touched in a while because of the pandemic, and although my body has mostly either stayed the same or lost weight through it, the same cannot be said for my upper arms and hips. In some of the cases, letting out my 5/8 inch seam allowances is enough.  In other garments I find that I will need to add in gussets, side panels, or re-work the bodice.  These have now gone to my “need to alter, fit, or refashion” drawer. 

I still like these items enough to want to give them TLC or perhaps a whole new spin in the future.  After all, I invest myself in everything I make and probably 90% (or more) of my wardrobe is self-crafted at this point.  I am happy with what I have and don’t need to start a project from scratch to use my sewing capabilities.  Taking care of what I have is sustainable and responsible, I feel.  I am just sad to see how my body changes add to my already large enough make-do-and-mend pile.  How have the last two years affected your wardrobe?  Do you find things fitting you differently or have your style tastes just changed…maybe both?  Do you enjoy altering and mending or is it pure drudgery for you? 

What was wrong with the blouse in the first place?  You may be wondering this because the blouse has ended up looking close to the same way as when I originally made it – just short sleeved.  Well, I wasn’t going for a different spin, just the same look in a bigger size.  The armscye was already close fitting when I first made the blouse.  Its sleeves were now uncomfortable, losing any ‘reach room’ and the hips were too snug to zip down past the waistline.  Also, at this point – since my sewing skills have improved – I was quite embarrassed by my beginner’s efforts at making a buttoned cuff on long sleeves.  Thus, the long sleeves were sacrificed to become side panels to add room.  It was easier than digging through my containers of scraps in the unlikely hope that there would be a remnant large enough to help my need for a refashion!  One sleeve was divided in half to make two panels for the bodice sides, while the other sleeve went towards the neckline (see next paragraph).  The original zipper was unpicked out of the blouse and re-inserted in between the front main body and the left side panel.

Just adding in width was not enough to fully open up the sleeves for more shoulder room.  I also unpicked the sleeves from the bodice and re-sewed them in at ¼ inch seam allowance (the original blouse had 5/8 inch seam allowance).  That was better but my big arms were still pulling at the neckline.  So I opened up the neckline, loosened up the center front gathers, cut the neck more open by ½ inch, and sewed over the edge a brand new bias band (cut from the second sleeve, as mentioned above).  This time I left lots of excess length at the back closure to the neckline’s finishing bias band so I can button it in a way that is more open.  This assuages my claustrophobia over tightly necked garments, and widens out the shoulders a bit.  I was able to cut two more small bias strips for finishing the two sleeve’s hem ends.

The brown all-wool skirt was something I have had since my late teen years.  I had forgotten about it in our cedar closet for the last decade and it was not properly stored.  I believe it was carpet beetles which found it, because moths make bigger chews holes.  Nevertheless, the skirt had most of its significant chews from the hipline up to the waist.  Being a long ankle length to begin with, I merely cut off the top 1/3 of the skirt (keeping the side zipper, albeit short now), newly tapered in the side seams, added darts to fit, and finished the waistline with bias tape.  Any tiny holes left can be patched up easily since the wool is lofty and loosely woven. This was super easy refashion.

Much better than buying raw supplies, I use garments I already have as material for my sewing ideas.  This time, these two items were more of a refitting I suppose versus a total re-fashion.  Both my skirt and blouse are much more versatile and wearable now more than they ever were, so this is not just about ‘saving’ them, I feel.  A mid-length skirt is more all-weather, just the same as making short sleeves on my blouse.  My blouse is double layered (lined in all cotton) and the wool skirt is cozy so shortening their length has turned them into something I can wear for cooler days in the spring and fall, not just for the cold of winter.   This way I have the opportunity to layer them.  Paired over my blouse to bring out the green is an old favorite store bought corduroy blazer back from my teen years. 

To conclude, I wish a happy St. Patrick’s Day to all who celebrate!  To read more on some of the ways I celebrate this holiday, as well as the fancy green-themed vintage dress I may pick to wear today, please visit this Instagram post (linked here).  The fact that St. Patrick’s Day is always immediately followed by the first day of the verdant season of spring always gives me an excellent reason to be on a spell of fascination for anything green.  Here’s your tip off as to what may be featured in my next blog post!