Fresh and Exciting!

Finally, a peek into what I was secretly working on behind the scenes at this time last year!  I was both the pattern maker and sample garment seamstress for a local independent designer, helping her launch her “Potion 23” line of modern clothing with an old-style aesthetic.

Victoria Cates has designed feminine dresses, wonderful separates, and lovely accessories inspired by the 1930s, and 40’s.  They are made in quality fabrics – many of them in rayon challis, vintage remnants, and her own self-designed prints.  They are all made-to-order here in town, offered in multi-sizing so anybody can now wear vintage style!  It was so exciting to be a part of this enterprise.

I now have pieces from her collection for myself – the two separates, the “Rapture” tie-front cropped blouse and the “Harp” pleated split skirt.  During the preliminary process of testing, I was happy to have the opportunity to try on one of the original aqua angel print “Rapture” blouses in my size.  Please believe me when I say this is a must-have item that is so cute, so comfy, and so classic.  There is a zipper in the back for ease in dressing, a custom buckle, a bottom hem band to keep the blouse from riding up, and bias cut puff sleeves.

Having an arrangement with “Potion 23”, I was able to make my “Rapture” blouse out of my own custom chosen fabric.  This summer I chose to use Gertie’s year 2016 lemon print cotton sateen with the bottom band in a solid black broadcloth.  I used a true vintage buckle at the center.  It is the perfect cheerful and bright summer top for me – it matches with my swim skirt (which you see me in our backyard inflatable pool) as well as many of my self-made bottoms (such as these 50’s shorts or these modern Burda Pants).  Remember, folks, however – this is a one-off item.  If you like what you see, you need to go to “Potion 23” and purchase off of her site or even message her and see what she can do for you!

For my own “Harp” pleated split skirt, I used the heavier, textured material Tori and I were experimenting with during testing stage.  Thus, my shorts have a stiffer hang than the lovely swing that her “Harp” shorts now have as being offered in a soft cotton.  I took them with me on our summer trip to visit friends in Memphis, Tennessee last summer…because clothing that goes on travels with me always gets attached to the best memories!  There I used them as a cover up over my swimsuit, but also wore the split skirt with this drapey 40’s top I made years back.  I highly recommend these summer bottoms – they are super cute, sneaky shorts that are very classy.  The details are top notch, too, with an invisible zipper hidden in the back pleats, a lovely notched closure tab, and superb pleating.  “Potion 23” also offers the “Enigma” shorts in a dark navy with custom embroidered angel wings over the pleat openings for those of you who want clothing with a ‘little bit of an extra special touch’.

Of course, the part of her collection that was the most challenging for me is also the most fabulous – 30s style beach pyjamas, “Potion 23” “Archangel” jumpsuit.  Most recently, Danielle Colby from the “American Pickers” reality television series was raving (see this post here) about her recent purchase of the “Archangel” jumpsuit…doesn’t she look amazing wearing it on the beach?!?  Whether or not you have a beach in your life, this jumpsuit is perfect for having a glamorous summer with very little effort.

As often as we rave in America about the importance and impressiveness of small business, it is a humbling source of pride to both see and be a part of it.  Now is more important than ever to support such small businesses, so forgive my advertising plug here, but please go check out “Potion 23” site today.  She also makes unique ruffled face masks of vintage fabric scraps if you merely want something practical which will keep you both looking pretty and staying safe!  See if there is something that tickles your fancy or strikes you as an item that would cheer up your day to be able to wear.  This is the closest you can get to clothing that I drafted!  Really, though – this was all because of the ideas and efforts of a woman in town that had a will to make a dream come true and found a way to make it work.

Come Into My Web…

With the amount of vintage fashions that I make and wear, you’d think I’d have enjoyed Halloween in some wearable holiday-themed outfit from one of the popular decades of the 20th century – but no!  I always seem to do a fictional costume, or something historical, or just plain fun.  I haven’t ever done anything quite spooky ever, either.  In all, nothing is ever really a garment that I can include as part of my everyday vintage wardrobe.  All that has changed this year with a circa 1949 sultry femme-fatale outfit!  Using Gertie’s newest print, reproduced from a true vintage fabric, and scroll-work felt combined with raw buckram to make a curiously detailed hat, my ensemble is perfect for a jaunt out in the dark, rainy, and mysterious evenings of fall!

This is one of my very favorite, luxurious, and completely unique garment projects.  It was so fun to make a novelty outfit which is not just for an event but also for a season of the year.  The hat was super-easy make, and should work well for other outfits of any season, but truly compliments this set in a way far better than I had imagined.  However, if it wasn’t for the roses in the dress’ print, however, there is probably no way I would be even so much as trying anything with a spider theme.  The buggers creep me out!

The irony is that I added to what the webs were missing with my jeweled brooch – a vintage-style “Webster” pin ordered through “Nicoletta Carlone.com”.  He is not hair-raising, but rather cute (weird for me to say) and definitely glam.  After all – a web without a spider is a home without a tenant, right?!  All other accessories are true vintage items.

THE FACTS:

FABRIC:  Dress – 100% cotton sateen, “Kiss of the Spider Woman” 2018 print from Gertie with a sheer black chiffon for the neckline and a sweet pink broadcloth for the bodice lining; Hat – a felt placemat, buckram hat base crown, and black tulle netting

PATTERN:  Anne Adams #4696, circa early 1950s for the dress…self-drafted hat

NOTIONS:  I had all the black thread and bias tapes I needed, and the modern tiny ball buttons (not vintage) were already in my stash.  I only had to buy a zipper for the side seam waist closure!

TIME TO COMPLETE:  The dress took about 15 hours to make and the hat was made in an hour and a half.  Both were finished on October 26, 2018.

THE INSIDES:  a combo of French and bias bound seams

TOTAL COST:  About $35 was spent on the Gertie fabric alone, $5 on the chiffon, $2 on the zipper, and $8 for all the hat supplies (placemat from the arts and crafts store Michaels, and the buckram base from the Etsy shop “DanceCostumeSupply“).  $50 is my total.

This is my second time working with an Anne Adams vintage sewing pattern and what I found out from the first time rang true again.  Their designs seem to run quite small.  Just like before, my Anne Adams pattern was a size too large for me according to their chart, but it tuned out fitting me perfectly with 5/8 seams rather than the instructed ½ inch.  As unpredictable as vintage patterns are regarded by many to be, there are benchmarks to be found the more you sew with differing companies and various decades.  I’m not for certain that all Anne Adams will have their sizing off, but two times around is a pretty good confidence booster to know what I’m working with!  Size up with this brand, just in case.

Now, I did start with an early 50’s pattern, but I slightly adapted the design lines to make it more like a 1949 silhouette.  Post WWII fashion is remarkably similar between 1948 and 1952, minus slight differences.  All it basically took to change the date to this dress was eliminating the three paneled skirt front as designed and cutting out a slimmer, swinging, bias cut one instead.  The longer and leaner lines with a longer hem are trademarks of1949, whereas after 1950 there was more emphasis on a tiny waist and full hips (below the bust).  I was mostly copying off of an Aldens Department Store advertisement from 1949 (dated using the 60th anniversary emblem) by doing my adaptation, but nevertheless – the defined spider web print needed as few seams as possible anyway.  This pattern could certainly give what the fabric needed in my mind, which was minimal seam lines with no compromise on lovely shaping for a sultry air to the whimsical vintage print.  This dress sure delivered!

I can’t believe the neckline on this is original vintage.  The cheeky and bold taste that was around back then is much more alluring and lovely in my opinion than the modern baring-it-all fashion that leaves nothing to mystery.  The pieces for the bodice were so very basic, early on I was so doubtful that they would work out at all.  At the waist of the bodice, there are two sets of three stitched-down pleats in the front, and two small open pleats in the back but somehow they do their job turning odd shaped rectangles into something special.  There are small gathers at the shoulders too, though it’s not very noticeable in the sheer material…it just sort of helps to wrinkle up the front neckline a bit.

French seams are the strongest seam possible in such a lightweight and unsupportive fabric as chiffon, so that is what is holding the shoulders – and the body of the dress – together.  Fully lining the bodice not only gives body to the soft fashion fabric but also is a great way to cleanly finish the wide arching neckline where the sheer and the printed cotton meet – with no seam there, it lays nice and smooth.  A little sneak peek of pink that can sometimes be seen of the inside makes it so worth it, too.

The upper bodice from behind is, to me, a very slight call back to Victorian times, when the necklines were high, severe, and replete with a multitude of tiny buttons.  During Halloween, Victorian times seem to be what is stereotypically associated with haunted mansions and creepy, cackling women in frilly black dresses.  There are only 5 buttons here, but still – the difficulty it presents to dress yourself is a goth reference to decadence and stuffy society.  I hand sewed thread loops along the edge to catch the buttons.

I suppose now is a good a time as any to talk about what’s on my head, now that you can see the full details from the back of my hat!  Yes, as I mentioned above, I started with a placement to decorate a dining table, but in my defense it was thick, dense felt after all, too similar to hat material to ignore doing some Halloween shopping one night.  It was on clearance too!  I have always admired the wide hats of the mid to late 1940s which have decorative ‘windows’ or fancy cut outs in their big brims.  Such vintage hats I have seen are either too costly for my wallet or disappear too quickly to act on buying them.  So, as I do with most else in my wardrobe, I make my own version!

The place mat was slightly oval but so is the buckram crown (luckily on hand…I do keep a stock of hat bases “just in case”).  Luckily the crown was just enough to replace the skeleton head cut out of the center!  Before hand-stitching the place mat’s inner edges to the wired crown edges, I did add a double layer of tulle to the top (upper) side to stiffen it up.  The tulle adds a mesh look that compliments to raw buckram plus it makes to hat brim flat and not wavy along the edges like a 70’s slouch hat.  I merely hand tacked the tulle halfway through the felt all around the outer edges, kind of like a very tiny pad-stitching.  Most of the time, the tulle and the buckram base used for my hat are only foundation materials which are not meant to be seen, only hidden under other, better, fashion fabrics to achieve a final end.  By leaving the raw supplies I used exposed, the effect reminds me both of the fragility of a spider web and the physical decay we frequently revel in around Halloween.

Spider web prints seem to have exploded in the vintage fashion scene.  They are incredibly popular and collectable today, so it’s no wonder that several retailers are reprinting such fabric.  It’s a good thing for those of us who sew because we can provide ourselves with what we cannot get our hands on – vintage spider web dresses!  These prints can be found starting in the 1940s, or very late 30’s at the earliest.  Spider web prints seem to have had their high point between the mid-1940s and mid 1950s, but still quietly persisting through the 1960s and 70’s through the work of some bigger named designers.  For some reason, though, the form of stylized web-and-roses print that I have used from Gertie is the one that is most frequently seen.

Although I and the world of today tend to automatically associate spider web anything with the holiday of Halloween, if you look closely at the old original vintage advertisements for such spider web print dresses they specifically are for spring, yet also mention that it is an “all year design”.  I have a whole Pinterest board dedicated to “Spider Web Clothes Vintage and Modern” so please visit there and look closely to read for yourself.  It is so interesting to look at the primary sources for this new vintage trend, because when you do, you realize we are looking at it quite differently than they did.  Spider webs for spring?  As lovely as my own dress and hat turned out (if I do say so myself) and as wonderful as it feels to wear this swingy and sexy little number, I think I’ll take any and every excuse to wear this as much as possible!

Summer Rose

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

DSC_0022-p,a-comp,w

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

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

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

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

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

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

THE INSIDES:  cleanly bias bound

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

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

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

DSC_0026a-comp,w

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

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

DSC_0035a-comp,w

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

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

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

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

“Poster Girl” – Hat, Dior Flower, and 1951 Dress

If it’s on the front cover of a magazine, or in a publicity shot, your outfit had better be good, right?  Well, the villainess for Marvel’s “Agent Carter” television show wears some pretty killer post-War 1940s and early 50’s fashions, and no less so for the outfit she wears for both the preview publicity pictures of her character and for the cover of a vintage “Fashion News” magazine (seen in “Better Angels”, Season Two, episode 3).

DSC_0393a-comp,w

In order to recreate her “Poster Girl” outfit, I made a bunch of different pieces – the dress, the hat, and the clip-on flower.  I’m not complaining – this was closer to being a labor of love to sew, not a bother.  It required a good flow of my creative juices, some good pattern sourcing, and taking my time to enjoy myself for things to turn out “just so” for an equally killer outfit which I would like to think could hold its own against the class of Whitney Frost.  Her sense of fashion is probably one of the reasons she was held as the face for Hollywood, as well as her seemingly ‘perfect’ life with her husband.  However, 'All eyes on her, but no one sees her'-combobeing a “Poster Girl” (definition here) was a hard standard to hold up to for her.  For Whitney, it only meant keeping up the façade of happiness and glamour, always smiling and keeping the truth hidden…and boy, did she have some dark secrets to hide.  George C. Scott once said, “Technique is making what is absolutely false appear to be totally true in a manner that is not recognizable.”  Here, I intend to only stick to Whitney’s fashion without her superficiality.  This is my closest copy yet of a Ms. Frost outfit, and I absolutely love it!

THE FACTS:

FABRIC:  THE DRESS and FLOWER: a 100% cotton sateen, a “Gertie” print; THE HAT: Simplicity 8390, cover front-comp,wa buff satin polyester solid in fuchsia color

PATTERN:  THE DRESS: Simplicity #8390, year 1951, “Misses One-Piece Dress and Stole”; THE HAT: Vogue #7657, view F, year 2002; THE FLOWER: the instructions and guide to how to make a ‘Dior’ rose came from a small “Easy-to-Sew Flowers” booklet, compiled by Threads magazine, copyright 2012.  The tutorial is listed as adapted from Threads article “Dior Roses” by the late Roberta Carr, in issue no. 34. 

Vogue 7657, yr 2002, pics onlyNOTIONS:  Believe it or not, this outfit was made with only what was already on hand.  I had all the thread, interfacing, closure notions, bias tapes, and other odd and ends needed for the hat, dress, and flower here in my “magic” stash.  The only thing I needed was to order a buckram hat blank base (more info where it came from and what it is exactly down later).  Ah – and the cotton velvet ribbon,  “Waverly” brand, was bought (of all places) at Wal-Mart.

TIME TO COMPLETE:  The Dress was made in about 20 hours and finished on September 15, 2016, and the hat came maybe 10 hours later.  The flower was made in just under an hour the day or two afterwards.

THE INSIDES:  There is a combo of both French and bias bound seams inside this dress for a clean finish.

TOTAL COST:  The dress cost a reasonable but decent amount, about $7 a yard for about 4 yards.  The hat fabric combined with the buckram base and ribbon cost me just under $15.

DSC_0388a-comp,w

I had some problems dating my dress’ pattern.  My first problem was the presence of new pattern numbers stamped in grey on the back info of the envelope.  The instruction sheet has the date of the year 1951, but the newer stamped numbers of ‘4291’ would make this about year 1953.  However, as everything else to this pattern points to the year 1951 (the style of dress, the original numbers, the instruction sheet, as well as the double bars on the top left side of the front envelope), I am sticking to that early year in the decade.  I have not yet found any evidence of this design being re-released later under a new number, so I’m not sure why the stamped combination was added on (it does look quite official like it was a die cast impression).  One of the many wonders and curiosities that vintage patterns offer…

DSC_0384a-comp,w,combo, Whitney and Calvin

The dress design is lovely, and smartly designed.  It also fits very well on me – perhaps the best fitting 50’s pattern to date.  I usually find that the back waists are too long, shoulders proportionally too wide, and busts too generous on other 50s patterns, but not here!  The pattern was close enough to the inspiration dress that some small adaptations were needed to get to where I wanted it to be for my copy.  The fabric is, as you might have seen above in “The Facts”, another lovely Gertie print.  My other Whitney Frost dress that I made was in a different Gertie print, so this is the second time her fabric has been what I feel is the right parallel for channeling the Agent Carter villainess.  Sure my dress fabric has more grey with an addition of magenta and deep purple, but these last two mentioned are her signature colors, and the print is still a water colored in theme like the original, so I feel it is a good match.  From what I can tell, I suspect that the original dress on Whitney Frost is silk, and maybe a taffeta form of that, but Gertie’s sateen prints are quite luxurious without being impractical for a not-overly-dressy garment.  This means my dress will see more wearing…and as comfy and classy as I feel in this, frequent donning of it is good!

DSC_0419a-comp,wThe collar is of course the highlight of the dress and although the original design is neat, with a little mind crunching to figure out the curious construction method I was able to tweak it to have it more like Whitney Frost’s inspiration dress.  I re-drafted the over the shoulder portion to eliminate the notches, then curved and widened it a tad more.  I also had the facing be the same as the dress fabric, not a contrast as the cover envelope shows.  The underside of the collar has this interesting L-shaped method of piecing together the collar while the outside facing is all one, long, giant wrap around-to-the-back cut – I love vintage pattern details!

Maybe the collar is vying for the top favorite position among this dress’ feature because I also love the squared off armholes and the squared back of the collar.  This shows how subtle complimenting of details can go a long way and make all the difference for an awesome garment.  The square back of the collar end is something I haven’t seen in a pattern before and it is a nice way to add interest to the view from behind.  The squared armholes allow for extra room that my larger upper arms appreciate, as well as something extra different and lovely.

DSC_0404a-comp,w

The skirt had been a small, sort of adapted half-circle, bias-cut four-panel style.  What I did for my dress was to take the side seam side (over the hips) and add about 5 more inches out so I could gather the skirt over the hips.  This created and extra 10 inches over each hip which was then tightly gathered between side front to side back.  The gathers give my dress an extra 50’s style widening emphasis on the hips, slimming my waist (so I feel) and also (I think) balancing out the giant collar better than the original plain skirt as the pattern shows.  (This vintage year 1949 dress has the same skirt with gathered hips.)  Besides, I wanted to copy the same detail on the inspiration dress of Whitney Frost.

DSC_0416a-comp,wHowever, adding the gathers over the hips of the skirt portion to my dress did mean that I could not place a zipper in the side.  Where would I put the zipper?  Bing – on goes the light bulb over my head.  Down the front like a pants fly!  This idea actually came from seeing this kind of closure method on and existing vintage 1950’s dress I have – this is how I knew to re-create it plus the benefit of knowing this was done in the decade (keeping things authentic).  The front bodice of the dress is a wrap-over, double-breasted closure so I merely continued the closure down the front center seam of the skirt to include a small 7 inch zipper.  It took some forethought, but I love this part of the dress!  It’s so easy to get in and out of with all the closures in plain sight…not on the side or down the back like many other vintage garments.  I think the front zipper is pretty undetectable.  Knowing that I made something work out, besides its being different and new (for me), leaves me tickled.

DSC_0407a-comp,w

Now – onto the hat.   I must say that the hat itself is ingeniously designed and the pattern was excellent, very clearly explained and turning out a finished product better than even what the picture shows (so I think).  It is incredibly simple in its construction and design, but it is also terribly tedious and detailed work to make so that it turns out well.  The last part is where the ‘trouble’ comes in, especially for me because I cannot tolerate hand sewing (because my wrist and shoulders do not take it well).  However, every ache and minute spent on this hat was so worth it to me ending up with something like this!  I feel like this hat is my first fully ‘proper’ millinery piece, and it was good practice with good teaching steps towards diving into more detailed and professional headwear.

I was able to use everything that was on hand already, but the buckram hat base was something special needed here – no ways around it.  The good news is that I found the buckram hat blank quite affordable and very easy to work with…I was even able to stitch around the edge on my machine!  For this hat I used a 7 ½ inch by 5 ½ inch teardrop shaped blank from “Dance Costume Supply” on Etsy.  It did have a covered edge with a wire in it (not called for in the pattern’s instructions), but I think it gives the hat better, firmer shaping than otherwise.

DSC_0381a-comp,combo,w.jpg

My first step was to cover the buckram blank.  The instructions say to steam the fabric or soak in water in order to shape over the hat blank (blocking method), but my chosen fabric is a poly blend and would not react to either method so I cut the piece on the bias and lightly stretched (then stitched) the cover pieces over both underside and top side.  Next, the head straps were made and stitched onto the side edges.  Then I made a bias binding and stitched it over the edge just the same as one would for the neckline or armhole edges of a garment – easy!

I am so glad I went with my gut and made the head straps to match my hair color rather than the hat.  I love how this helps the hat stand out all the better and the way it stays on all the more subdued.  I especially love the fact that I used good old-fashioned cotton velvet ribbon, too.  Not only does it add a bit more authenticity (being in cotton), but from a practical standpoint the velvet literally acts like Velcro to my hair keeping the hat band in place like glue where I put it without needing pins.  Cotton velvet ribbon hair bands for hats are literally the best thing ever!  I need stock in this ribbon for my next hats…

DSC_0383a-comp,wThe final step to the finished hat was the hardest – the stand-up crown.  This is really nothing more than an interfaced rectangular strip of fabric whose edge gets sewn right onto the very edge of the front 2/3 of the hat.  This was very slow, tricky work that did damage to my hands and required precision to make the stitches invisible.  Beforehand, however, I scavenged through the house to find something more poker-stiff than the DSC_0422a-comp,winterfacing sewn in the crown and – bingo – I came across a perfect sized strip of thick plastic laminate to slide in the rectangular piece.  Every so often my habit of saving “things-that-might-be-useful” comes in handy, as long as I can find what I want when I want it.  Anyway, this plastic worked perfectly – it’s still 100% bendable but keeps a shape nonetheless.  I cut the strip a few inches shorter than the fabric’s length on each end so I could fold the crown down and tack onto the hat base, behind which the bow sits.  In order to give the bow some pouf without stiffness, the final extra adjustment was to have a strip of sheer organza in the fabric bands.  In order to cover up the not-so-perfect bow center, I have a small bias band to finish things off nicely.

Last but not least is the fabric flower clip.  This flower was so fun and easy to make (one hour!) I am tempted to spend one day to make a dozen of these out of my fabric scrapDSC_0417-comp,w stash.  They do not need that much fabric – just three pointy almond-shaped ovals in consecutively smaller sizes cut on the bias.  My flower turned out very good without much difficulty and too much hand stitching (I was about done with hand stitching after the hat).  Some scraps of green felt finished off the bottom of my flower and gave me a lovely ‘leaf’ look as well as a base to sew on my hair clip.  I’d bought this how-to booklet at our local JoAnn’s fabric store a few years back, but finally just came to using it – I should have done so sooner!  If you’d like to try these Dior roses out for yourself and don’t know where to find the Threads booklet, visit the blog “Oliver + s” for an excellent tutorial along with a mini history lesson (link here).

Witney Frost cameo shot in collared 50's dressThis flower just so ultimately finishes off my outfit, in my opinion.  It’s that understated extra touch, not to mention the fact that it is a fabric rose in the style of the famous Dior.  This is so like Whitney Frost to wear an accent used by the “famous Parisian couturier whose designs were worn by the world’s most glamorous women” (to quote the Threads article).  It all adds to the sham of the “Poster girl’s” face.  For me, it makes my handmade efforts seem all the more worthwhile to be able to use my talents to re-create something from the likes of Dior, Hollywood, and the decades that had more style and class than what I see in most  fashion of today.

Speaking of style and class, a small part of this outfit is (I would like to think) also in the mode of the most sophisticated woman I’ve known – my own dear, and now departed Grandmother.  She was a young, newly married 21 year old in 1951 (the year of my outfit) and she frequently dressed up, and on these occasions would never go out lacking a hat, pearls, and a flower (she loved nature).  Grandma was also a “Poster Girl”, too – in her younger years she was a local vaudeville celebrity.  Oddly enough, I recently found a picture of her in a dress similar to the one in this post, with a large collar and double breasted front closing, from the year 1951.  I know her dress is in a solid with a notched collar, different from my own, but we do share the same smile and taste in clothes, so I would like to think she would be proud to see me wear something after her own heart.  This is why I’m including this dress in Tanya’s “Dress Like Your Grandma” sewing challenge.  Have you heard about this!  Maybe you could join in on the challenge along with me?!

DSC_0561-comp,w,combo, me & Grandma

Save