I’ve sewn it again…here is another look-alike to the fashion of the corrupt character of Whitney Frost on Marvel’s TV show “Agent Carter”, Season Two. This time I have an outfit to show you of a dress and redingote jacket, inspired from episode 8 “The Edge of Mystery” to be precise. I am so proud at how this outfit turned out better than I’d imagined it for myself, and it’s so wonderful to wear! I even found an eerily similar silk scarf and leather-like driving gloves, all vintage, to properly complete my Whitney outfit.
Both garments are absolutely great, however the dress was a bit overwhelming to make as it had a huge amount of ease on top of generously large fabric-hogging pieces. The jacket is so amazing I want to convince everyone they need to brace themselves for the challenge of making this pattern – the most lovely design of outwear I could possibly want.
Be prepared for some dramatic poses, and a disturbing crack down my face opening up a force to be reckoned with…just like the villainess who wears my inspired outfit. Yeah, it sounds weird to put myself in the shoes (through an outfit) of a megalomaniac with powers from another dimension, but Whitney Frost, like many women, was on a quest for purpose and respect…she just went down the worst path imaginable.
FABRICS: The Dress: a Gertie brand 100% cotton sateen, The Jacket: a 100% Kona cotton for the exterior, a basic poly lining for the inside, a buff poly satin for the pocket flaps and belt, and a 100% cotton for the bias binding.
PATTERNS: The dress comes from an original 1955 Advance #7095 pattern and the jacket comes from a Vintage Vogue #8875, a re-print of a year 1955 and 1957 pattern (originally V#4771). The pocket flaps were added on from an original year 1948 pattern, McCall #7354.
NOTIONS: I had the interfacing that I needed, as well as the dress’ thread, zipper, and packaged bias tape, but the jacket needed thread to be bought and I made my own bias tape. The buckle is from my stash and it is vintage carved shell.
THE INSIDES: All nicely finished. The dress has all bias bound seams and the jacket is fully lined.
TIME TO COMPLETE: Both the dress and the jacket were a bit time intensive. My dress was made in about 10 hours (not counting maybe three hours for cutting and laying out) and done on June 8, 2016. The jacket was made in about 30 hours (with about 4 hours for cutting and laying out) and finished on July 1, 2016.
TOTAL COST: The dress took so much fabric (5 something yards) I’m not sure of the total anymore, but I think it is about $25 to $30. The jacket was less because half of my supplies (the lining, satin, organza, and some thread) were on hand so my total for 4 yards of Kona cotton on sale with one yard of a remnant for bias tape comes to a total of about $23.
First off, I need to vent…this is not a costume, in the particular definition of being something for cosplay, stage, theater, or an out-of-place garment. It is clothing I want to wear in my modern living (the jacket is something I needed, actually) and was merely inspired by something on television to go the extra mile for a great outfit. That’s good, right?! I kept my outfit similar in shape, color tone, and style, but it is according to my own taste and personality because I intend to wear these pieces in my daily life, such as out to dinner, vintage shopping with friends, or to church. However, I will admit this would be perfect for the next in town cosplay event and it is fun to understand a character by stepping in her shoes, besides feeling like I could be a part of my favorite television show (see the television still at left with Wynn Everett playing Whitney Frost).
To top off the irony of my rant, the Advance pattern envelope actually calls it a “costume dress”…don’t understand why. This is an original pattern to make what looks like a very normal mid-50’s dress, albeit quite poufy. I’m assuming the use of ‘costume’ here is meant in the term of “fashion of dress appropriate to a particular occasion or season or a set of garments to put together an outfit.” Honestly, this all confusing grammar particulars.
Of all the weird things I’ve found in pattern envelopes, the Advance pattern had double pieces, as if someone bought two. Why just double of the bodice, the skirt side panels, and collar pieces? To further complicate the mystery here, the skirt double pattern pieces were cut in half, like the previous maker intended on cutting those on the fold, and sliced accordingly. All the pattern pieces are the same size as each other, so why buy another just to cut two pieces in half?! After all the unnecessary pieces, the pocket top band is missing, and there is one of everything else. Was somebody making a lining? Oh the stories these patterns could tell…
I expected the dress pattern’s fit to be normal or at least semi-generous, but this Advance dress had the most unexplained extra ease of any pattern I’ve made. It was like a gi-normous fabric monster. The skirt pattern pieces were so huge, I had to taper off several inches on each side of all of them and they are still incredibly full. Several inches had been taken out at the bottom hem because it seemed evening length long, and also to help fit everything in. I had bought 4 yards already and still realized I did not enough for all of the pattern pieces. To top things off, I miss-cut on one piece and had to frantically search amid town to find the last remnant so I could finish my dress. As it turned out, I hacked off 6 more inches from the hem to get my dress the length you see and even sewed up the duo of giant pockets (which I didn’t add), so I guess I sort of wasted a bit too much fabric here. The pattern I had was technically in my size but I did add in 3/8 inch so I could have a little “just-in-case room”, but I ended up taking out a few inches all over any way, distributing it between the panels. The empire waist down is still kind of generous on me but I can only take so much in before I give up on reaching that “perfect fit”. What was the deal?!
For all my saying how huge the skirt pieces were, this dress is such a feminine, swishy, perfect-for-twirling outfit made even better with my full ruffled petticoat underneath. My petticoat does not remotely fill the skirt out though. The wide, oval, shoulder-to-shoulder neckline does balance out the vertical seamed skirt, compliments the waist, and creates a lovely 50’s silhouette which I think works for me.
The ‘anchor’ of the dress is of course the dramatically subtle collar-like neckline. It was quite fiddly, time-consuming, and difficult compared to the rest of the dress. The combination of a curved, interfaced, skinny strap, faced with another piece and attaching to the full dress with four gathered sections, too, was stressful, requiring lots of pins and slow stitching. The front tabs end at the same place at the neckline, which was also tricky, then flipped under one another
Whitney’s dress had a remotely similar neckline collar, except hers was folded over (free hanging) and tied in the center front. Her dress has quarter sleeves and center bust gathers while mine has is neither, but our dresses do share the same skirt shaping. Also, her dress was a solid purple in some sort of jacquard (in maybe rayon or silk) while mine is not, but I prefer the printed cotton sateen to stay true to my taste. Besides, the children’s’ toy jacks that are on my dress are a nod to the Agent that aims to get on Whitney’s “good” side to reach what he wants – Jack Thompson. Furthermore, my outfit is titled atomic because a faulty A-bomb is the catalyst for the events in “The Edge of Mystery” episode and the reason both Whitney and myself are in an empty, forgotten dirt patch. Hence, the “Atomic Jacks” title is now explained.
This style of dress seemed to be a common design around 1955 especially with the Advance line but also seen through other companies. For some examples, see Advance 8296 (pic at right) or view Advance 6915, Advance 8047, Butterick 6988, McCall’s 9647, all 1953 to 1956. I find it funny that so many dresses look alike in a handful of years almost to the point of being boring. One could buy only one of this style dress and tweak it to copy all the other releases.
Compared to the neckline, the dress from the empire waist down was just single layer fabric and incredibly lightweight, so I unhappily found out it liked to creep up on me and wrinkle in terrible horizontal folds around the natural waistline. I had to get creative to combat this bad behavior of my dress. What I ended up doing was sewing down about 8 inches of skinny ¼ inch ribbon to the dress starting at just below the waist to below the waistline, with a long tail of ribbon hanging down tied at the end to a weight of a ¾ inch washer. I did this in three places down the two front skirt seams and down the center back skirt. The weights don’t really get in the way of my legs because I keep them over my frilly ruffled petticoat and they are totally removable because they are tied to the ribbon ends. The weighted ribbons help the waist stay smoother instead of wrinkling up and nicely keeps the dress in place on my shoulders. This is probably the most unusual fashion fix I’ve come up with but it totally works.
Now, the jacket is an awesome pattern which makes for a silent showstopper. A redingote jacket is guaranteed to be awesomely special. The 50’s were the hurrah for the redingote, although you do still see a few in the 60s, too. Wearing a redingote is the most fashionable way to have a coat on yet still show off your clothes underneath, besides being so complimentary to the waistline. (More history on the redingote can be found on this ‘Witness 2 Fashion’ post.)
For this pattern, everything matched together beautifully, the fit is engineered brilliantly, the sizing seems right on, and it is nicely unique. Yet, it is tiresome to make and quite challenging…there are eight tricky corners in total to make. (See the pic at right which shows three views of the angled corners, inside and out) Once I started on the lining I wanted to give up on the jacket and swear I couldn’t sew another one of those funny angle/tight point corners. I’m not even talking about the wraparound collar, either. Yet, as I was making this, I could tell I was going to love it, and the promise of a rocking outfit (as well as a very rainy coming weekend) gave me the guts to suck up my distaste and finish the jacket. I’m so glad I did.
There are just a few things I did to the pattern to make it slightly easier to sew. I did not change any of the design (besides shortening the jacket hem by 4 inches). My ‘tricks’ here merely have to do with construction changes to achieve the same result as compared to what the instructions show. First of all, I disagree with the need to do so much cutting down of all the curved seam allowances. I did not see any noticeable restriction to the sleeve curves as they were and I think paring them down might make a high tension spot a bit less stable. A little snipping maybe but that’s all. It is still very important, as boring and repetitive as it might be, to stitch and re-enforce all the points and corners you’re supposed to and, yes, you do stitch the stabilization squares over the corners on the right side. I didn’t disregard these points but I did use sheer organza instead of self-fabric for the re-enforcement squares (much lighter but just as strong).
Furthermore, I did not use any interfacing anywhere, and also left out the extra add-on contrast collar. The facing for the jacket’s front edge was sewn to the lining’s outer edge to make a one-piece inner coat. This was then sewn, as one ‘inner’ jacket to the ‘good’ outer jacket, along the front edge, from one hemline, up and around the collar and back down to the hemline. Now where the jacket facing joins the lining the meeting is much more stable, strong, and smooth…besides saving me a butt-load of hand stitching! I know this is sort of ‘cheating’ (so I’ve heard), not very time-committed, nor couture, nor vintage correct. Hey, when sewing is a chore it doesn’t give personal enjoyment, so anything that saves one’s creative sanity is good in my book. Besides, ready-to-wear has got nothing on this coat!
Perhaps the best part (besides the awesome pocket flaps) was taking the extra step for self-made bias tape. I know, I might sound nuts, but making bias tape is incredibly fun – a total mood-lifter for me, especially with my Dritz tool won from my entry to the “Butterick to the Big Screen”. Once you have made and used your own bias tape, it is quite hard to use bought pre-made bias tape…no kidding, you’re ruined, spoiled. Self-made bias tape is 110% better especially when it is made to match out of fabric better than the stiff poly-blend available in the stores nowadays.
To make my jacket truly stand well in rainy weather, I sprayed it down with some “Protect-All” fabric and shoe coating. This doesn’t stiffen the fabric at all, nor does it make the water bead or roll off, it only retards liquid from soaking into the fiber. A whole can was used to spray my jacket with one generous coat of “Protect-All”.
Did you ever have a film star for which you just had to have her wardrobe? Well, I guess Whitney Frost is that person for me. However, I believe I am not just making for myself her fashion. I also try to put my own touch into it to make sure I feel like “me” in it. Besides, since I do love purple in all its shades, and this is the color Whitney wears most often, I find it hard to resist. No, but really – I do promise to make garments in other colors for your sake, and more Whitney Frost outfits for my sake!
If you’re interested in learning more about the vintage methods of make-up that were used to “make” Whitney Frost, see this article on ‘World News’ – and don’t forget to click on the full page option through the L.A. Times! There is also a photo galley for this particular episode of “Agent Carter” (which you can find here) if you’d like to compare our outfits or just take a look!