“It’s A Jolly Holiday with You…”

Of all the fairytale heroines, ladies of history, or those who are more realistic in their legend, there is perhaps no woman more universally intriguing and appealing than the one who is ‘practically perfect in every way’ – Mary Poppins.  Oh, how I desperately needed a bit o’ cheer this Halloween. 

Thus, even though we played it safe and had none of the ‘normal’ activities to enjoy, I felt there was all the more reason to finally delight in fulfilling a long-standing costume goal.  Since we love a good dual outfit for a couple, my husband dressed as Bert the cheerful, spry chimney sweep and I as the nanny with magical powers.  You know what?  We ended up having the best jolly holiday!  Dare I say it was Supercalifragilisticexpialidocious?!

Perhaps the best part to my outfit was the antique authenticity which went into it.  I used 2 yards of old turn-of-the-century eyelet fabric to make the skirt after the manner of the popular “lingerie dresses” of the early 1900s.  Then, I also altered and mended a true antique ruffled underslip for the matching (proper to the era) layer underneath.  Both items just recently happened to come my way at an incredible bargain.  I was more than thrilled to have an excellent reason to take care of and restore such precious items for a good reason.  It was for more than either just dressing up historically or just for a costume for a night.  It was to recreate a beloved character from the childhood of both hubby and myself and interpret that through a true-to-the-era means, using my sewing capabilities.  This was all very redeeming, and the best way to dress up as Mary Poppins that I could have ever imagined.  I’m glad I waited until now to attempt her famous, sumptuous, red and white “Jolly Holiday” outfit.

So the bottom half of my set is over a century old…the top half mostly is not, even though it may look like it.  The blouse is modern, bought from the GAP over this 2020 summer.  It is made in a very convincing 1900 appropriate way, with cotton lace inserted in rows across the chest, loads of whitework floral embroidery and pin tuck detailing, all in a sheer and lightweight cotton.  This blouse was incredibly popular on social media, so much so that the historical costumers started the #GapToThePast trend.  Yet, I was slow to join in on the fad and by the time I looked to order my own, all that was left was a size bigger than what I needed.  No big deal – I bought it anyways as it was on deep clearance!  To adjust the size for me, I merely added more pin tucks horizontally around the sleeve to slightly raise up the long length, and moved over the cuff buttons to fit my smaller wrists.  One little red satin ribbon bow was all that I added for a subtle Mary Poppins reference!

The belt I made myself, drafted it from scratch and used some red felt from on hand.  To make it more of a sturdy and structured piece, I added thick cotton canvas interfacing in between the felt layers.  My personal taste doesn’t really like the way the original movie belt almost appears more akin to a corset, yet I did realize my version needed some slight structure to keep the points sharp.  I remembered what I learned from constructing this boned 80’s era sun top, and used the same plastic zip ties into channels across the front and the side seam points.  I did choose white top stitching for a nod to the original movie design, but the contrast thread gets drowned out by the plushness of the lofty red felt.  A hook and eye closes the back.  This may be the least historical part of my attempt at a 1900s appropriate Mary Poppins – but at least I did scale down the belt size compared to the original.  How could I possibly leave this part of the ensemble out, though, after all? 

Vintage style remake boots by “Funtasma”, an original 1920s era silk umbrella, and the “Jolie” Short Cotton Steel Boned Corset from “Glamorous Corset” worn under it all completes my accessories.  Hidden underneath is an original antique corset cover, too, something I picked up years back now.  Finally it can be paired with a whole ensemble!  This blog post from “The Fashion Archaeologist” helped immensely towards clearly understanding all the layers and garment pieces which were needed to have this outfit be historical. My first attempt at turn-of-the-century fashion circa 1905 can be seen at this post.

Let’s go back to the amazing antique items that made this outfit idea work, for a moment though.  I could tell the two yards of eyelet fabric had been cut off of a dress.  The punctured holes of rows of stitching along the top and set pleat folds gave that information away.   I counted my blessings that were weren’t any stains, tears, holes, shredding or damage of any kind to be seen.  Yet, it is so lightweight and sheer.  How is this even possible on something which is this old…and pure white to boot?!?  The hand stitched eyelet holes (each opening is literally different from each other and uneven up close, thus hand crafted) and the wonderful thin yet sturdy and soft qualities of the material make me believe it is from circa 1900. 

The petticoat slip is on the left, the eyelet skirt is on the right. Look at how the eyelet openings were worked through the original tiny 1/8 inch french seam through the material!!!

The ruffled petticoat slip is also equally amazing in the amount of detailing – so much inserted lace, yards of ruffles, and over 20 rows of pintucks!  The slip is in a much coarser and stiffer cotton than the outer eyelet skirt.  The crisp cotton could either be highly starched or merely a heavier weight, yet it does a great job at poufing the skirt out with the help of all the details (pin tucks, ruffles).  Again, like the eyelet, this slip was in perfect, pristine condition but completely missing any closures.  

Unlike most turn-of-the-century antique pieces, these were the perfect opportunity to have something in a very modern waist size.  The eyelet fabric was customized to be pleated into a waistband I made to my own size using bleached all cotton muslin.  Modern cotton cannot compare to old cotton – the antique cotton is much superior in all qualities.  Basic, modern muslin is soft, sturdy, and the best I can do at the moment. 

After examining so many images of Lingerie Dress on Pinterest, Etsy, Ebay and such I decided on a very technical, and very tiny method of ¼ inch triple layered pleats to bring the two yards into the waistband.  For as full as those skirts are they seem to have very little pleating, so this method made the most sense to me.  Doing such tiny pleats took me a few hours of insane measuring and pinning but it was worth it.  That era was all about amazing skill, high-quality, and details not seen elsewhere.  The tiny ‘pleat on top of a pleat on top of a pleat’ method also keeps the skirt fullness controlled.  It’s a pity they are completely covered up by the belt.   Old antique hook and eyes were sewn into the back to close the skirt.

The slip originally had a 9 inch wide waistband – why, I don’t know, but this lent itself to an easy refashion.  Across, there was a very tiny 20 inch waistband circumference…let that sink in for a moment.  Just imagine the wearer.  The way the overall length of the slip was rather mid-length on me, who is someone only 5’3”, makes me wonder if this slip was for a tiny teen.  Whomever the owner was, a 20” waist is mind blowing.  This would not do for me, even with a corset.  I took off the existing waistband, cut the width in half lengthwise to end up with two 5 by 20” rectangles.  These two were sewn together into a waistband length to fit me and the slip skirt was re-gathered in a hand-stitched down together again.   

However, now that I had something wearable, the length of this slip (as I mentioned) was about 5 inches shorter than the length of the eyelet skirt, and this would not do.   I did have some 6 inch wide cotton pre-gathered eyelet lace on hand which I had been saving for an 1860s era hoop skirt slip.  I sacrificed it to add on to the bottom of the existing eyelet hem of this 1900s slip.  It may not be the perfect match, but it adds enough length to be equal to the hem of the eyelet skirt plus making my Mary Poppins look extra floofy! It’s so fun!

Mary’s outfit is really a cheesy Hollywood version of an earlier decade I believe, but this was my most natural way to interpret her.  The Dreamstress defines them as thus (posted here) “Lingerie dresses were lightweight dresses, usually in white or an off-white shade, featuring pintucks, inset lace, tone-on-tone embroidery, and other delicate detailing, usually worn as summer wear in the late 19th and first quarter of the 20th century.  They were usually made of cotton, and slightly less frequently in linen, with more expensive versions were made in silk. They are called ‘lingerie dresses’ or ‘lingerie frocks’ because the materials used (cotton and light laces) and embellishment techniques (inset lace, faggoting, pintucks) were originally used for petticoats, chemises, and other forms of lingerie.”  This garment would have made sense for Mary to wear on a summer holiday outing of fun and frolics.  (You can visit my Pinterest page “Historical Lingerie Dresses” for some eye candy!) I have always wanted one of these kind of outfits, and they are either not in my size or out of my price range.  Even though this set is still not my ideal (which is a full one-piece dress) having something is way better than nothing!  Again, I am so grateful to have had the opportunity to see and appreciate these old materials and restore them to a wearable state!

I want to revisit our outfits again and find a proper hat to match my dress, too.  After all, a lady like Mary was not seen outdoors without her hat if she could help it, even with all her umbrella flying and carousel horse racing.  Also, we want to go to a thrift store and find items which can be turned into the bold, striped suit set of Bert from the “Jolly Holiday” sequence.  According to my plan, an obnoxious Bert striped suit refashion will probably include some fun fabric painting to make it work.  Until then, my vintage silk scarf and items he hand on hand filled in for his chimney sweeper’s outfit.  It’s amazing how the love for Mary Poppins transcends people’s age and stays with them for years.  We just now introduced our son to the original 60s film to pass it onto the next generation.

I hope you had as safe and happy of a Halloween as we did!  I also hope you enjoyed this dive into something a little different – an era out of the ordinary here on my blog, while presenting sewing techniques more about repairing and finishing methods.  Sewing knowledge is good for more than just creating from scratch…it is also good for carrying on the loving attention to well-made garments of ages past.  This preservationist creativity is the only reason we are able to see historical garments in museums.  Granted, I fixed up these antique items to wear, but they will only go out on a holiday jaunt and be well cared for otherwise.  As I currently have old original items which date back almost every decade from now to the 1870s, I suppose I’m starting my own little museum at this point.  Would you like to see more of my original extant pieces here on the blog?  Also, where are my fellow Mary Poppins fans out there?

Undomiel and her Numedor Knight

Fantasy worlds can be quite lifelike and believable.  Fiction can seem more convincing than reality, especially when – in book form – the writing is realistically superb.  Then the reader’s imagination is traveled through space and time by the magic of the written page.  This can be especially true of stories which have make-believe creatures that have been known for centuries, such as dragons, elves, dwarves, and wizards to name a few.  The stories of the great J.R. Tolkien stand high as a remarkable, memorable tale of very credible and well-crafted fantasy, even rising to the likes of a cult classic.  To tell you the truth I am more of a C.S. Lewis Narnia gal, but I am almost as equally ‘into’ the Lord of the Rings world, as well as my husband.

I have been wanting to recreate something from the Peter Jackson Lord of the Rings movies ever since all three were out, thus this project is very fulfilling as it has been so long in coming!  Even better yet, I was extremely happy to have my son want to jump on board with my costume and match me for yet another themed Halloween!  Recently, the film trilogy had been out again to re-watch in the big theater near us and my son has now seen snippets of them, as well, so the fire for these films were renewed for us.  With a medieval and renaissance themed event going on at our local Science Center, too, and everything I needed for my own outfit on hand (thanks to having everything ready to whip the dress up for the last 14 years), I felt now was the time to make good of an extended sewing project plan!

Besides the fact I saw the films again now, why am I just writing about our Halloween outfits when it’s almost Christmas, you may be wondering (guess if you weren’t thinking about it before, you are now).  Well, as other detailed oriented Lord of the Rings movie fan will understand it is around the middle of December that the trilogy films were always released.  Everyone who has seen our outfits always guesses my son and I are supposed to be Guinevere and King Arthur (kind of a gross pairing for us when you think about it), so I’m wondering how many die-hard fans of Lord of the Rings are out there today.  Unfortunately, Peter Jackson’s “The Hobbit” trilogy most likely killed off a good part of the fandom (those movies are SO bad, it’s no wonder).  Yet, I merely remember that the enduring beauty of the original written tales still remain and there are many more of Tolkien’s stories yet for me to read and many more costumes yet to be remade for myself, he he!

THE FACTS:

FABRIC:  My dress – crushed panne polyester velvet, red hammered-finish crepe-back satin, and a golden small mesh netting; My son’s ‘chain mail’ tunic – silver oversized mesh netting

PATTERNS:  My dress – Simplicity #4940, year 2004; My son’s tunic – no pattern but my own…self-drafted!

TIME TO COMPLETE:  My dress took about 20 hours to make and my son’s tunic took about 3 hours both were finished at the end of July 2018.

THE INSIDES:  all clean from serged (overlocked) seam edges

TOTAL COST:  Having all the materials on hand for my dress since over a decade cut down on costs, and the grommet setting machine (more on this later) was paid for with a birthday gift certificate, so the only costs were on my son’s ‘chain mail’ – about $10 or less.

These outfits were incredibly fun to make, they turned out great (better than expected, actually), and were much easier coming together than envisioned.  I actually can’t wait to dive into more medieval and renaissance garments, because these time periods are my favorite specialty to study and research in non-fashion related fields.  I’m contemplating a 14th century low class woman’s set and a 16th century noblewoman’s gown, besides more Lord of the Rings costumes that are still tantalizing me.  My son would look so cute in a jerkin and doublet, I think, and I’d love to turn my hubby into a 14th century pilgrim on the El Camino de Santiago.  There’s too many ideas in my head and too little time!  Luckily, my hometown is actually a small hub for what we call “Medievalism studies” and “Creative Anachronism” so we would definitely have places to wear such old historical fashions and reasons to study them if I want to wear and sew more! Yay!

I realize that there are many historical inaccuracies to both of our outfits.  But hey – these are costumes based on a fantasy movie, and made with the purpose to go out and have fun, so I love the fact that the craving to do thorough research beforehand, like my other historical creations, as abated and I could merely sew our outfits to completely please ourselves and have them finished sooner than later.  This is my first dive into a new era of clothing and I couldn’t be happier!  If both me and my son don’t want to have to take our outfits off once they are on, but continue to swirl around and pretend play, than that is the best sign of success I could hope for.

It might be selfish of me, but can I just start by addressing my Arwen gown?  It was the more involved to make anyway.  This was inspired by her famous “Death dress”, worn when her strength was fading away as she is becoming less elf and more human in “Return of the King”.  “I wish I could have seen him (Aragorn) one…last…time…” she says in this dress as her Evenstar falls and shatters.  That scene was so emotional in the movie.  There is a large influence of early medieval Celtic in the swirling detailing of the Rivendell elves and so I incorporated much of that into my version as well.

However, I could not reconcile myself with (nor achieve) the long and perfectly shiny and wavy tresses like Arwen, so I choose a more historical, half fictional (Star Wars, anyone?) hairstyle option of braided side buns option I liked better on myself, anyway.  The chiffon headcovering was left off for some pictures so you can see the gown better or just to make this outfit easier to play in, but a medieval woman would not have went without one!  My simple ‘crown’ (as my son calls it) is a brass sheeting strip from my father-in-law toolbox of scraps leftover from old jobs.  We folded it into thirds and rounded into a headband ring.  I have a faux leather strip taped to the inside otherwise the brass turns my forehead green.

The main body of the dress has some a-mazing shaping (see this Instagram post of mine), especially for the upper body, thanks to the multiple princess seams (which are a big ‘historical’ no-no for medieval gowns, but whatever).  I sized down so I would have a snug fit since I knew my fabric, the panne velvet, was very stretchy.  Choosing this sizing was a good idea here.  There is over 4 yards of material just for the dress body and most of it is the full, flare of the dress’ panels below the hips.  This makes this such as elegant dress with lovely, princess-like swing as I walk, but the dress is very heavy.  I had to raise the shoulders by just over an inch to accommodate the dress being pulled down by the skirt portion.  I am secretly wearing my 1905 Gibson Girl era petticoat under this dress.  “Kind of weird” you might say, but the dress looked like an awkward, limp, wet rag of a thing hanging on me without the mid-calf fullness the 1905 slip provides.  With the slip, there is a much better silhouette overall plus it keeps the back train from tangling up under my feet!

Now onto the dramatic sleeves!  It took some training while wearing to figure out how to move, think ahead, and overall deal with these kinds of sleeves, but once you learn how not to clear a table mistakenly, get your arm stuck in a door, or drop them in a toilet (all of which I’ve done), they are so poetic.  I loved finding ways of doing fight scene moves so that the hanging sleeve would swirl around and look awesome, like what the actress Bridget Reagan did in the tv series “Legend of the Seeker”.  My ultimate sleeve action inspiration is from the Chinese actress Zhang Ziyi and what she was able to do (playing a blind girl) in the beginning action scene to the “House of the Flying Daggers” 2004 martial arts movie (watch it here).  I know it sounds silly to play-act with your sleeves but movies have a strong influence and with all this odd amount of extra fabric, you have to admit that sounds entertaining, right?!

The fashion folds that are holding the top forearm extra sleeve length out of the way of my hands were directly inspired by both Olivia De Havilland’s costumes in the year 1940 “Robin Hood” movie and this Balenciaga coat from the fall of 1950.  It was a simple matter of tacking the sleeves down at regular intervals to a stable runner (like ribbon) underneath.  I think this is much, much nicer than a tie gathered casing (as the pattern calls for) and much better not having a sleeve top seam (I cut on the fold, instead).  I did make the sleeves a lot longer (by about 12 inches) than the pattern calls for, too, in order to do this pleating.  I also lengthened the hang of the sleeve bottom so it would end closer to the floor and could come to more of a point than a rounded curve as the pattern dictated.  The inner seam through the bottom sleeve drape was flat felled as it is visible.  I guess you can tell already, but I chose the satin shine for the outside and the crepe for the inside.

My sleeve’s upper half (bicep portion) has so many layers to it!  The first layer is the panne velvet, the same as my dress.  Then it is layered over with a golden mesh material.  Finally, my fancy ribbon (expounded on the next paragraph) was stitched along just on the other side of the seam allowances at my shoulder top and lower sleeve seams.  Next to the neckline – which has multiple layers of fabric with the facing, interfacing, and woven golden trim stitched along it – the upper sleeves are the thickest and most complex to finish parts to the dress.  I needed to add little snap-closed ribbon lingerie straps inside the tiny shoulder seams of this dress just to keep the sleeves from slipping off.

The ribbon I used for both my belt and sleeve trimming is the pride and joy of my whole outfit.  It looks like a reproduction of the margin decorations from the Book of Kells (800 A.D.) combined with the saturated tones of a 16th century Safavid manuscript and is amazing…quite heavy, rich in color, and detailed…woven like a tapestry.  I had about 6 yards of it stashed away since about 2004, and I must have found it at an incredible deal or else my mom would not have let me buy it (she never liked me spending a lot towards something I liked without an immediate plan to use it).  Its swirling designs are just like the crowns worn by Arwen or Galadriel.  This ribbon is subtle enough to not overpower, yet detailed enough to add a touch of complexity and finery suited (so I feel) to an Arwen inspired dress.  There is actually a heavy nail sewn to the bottom hang of my belt to weigh it down.  A snap connects the elbow of the Y around my waist.  I know a belt is not part of Arwen outfit, but just like my hair, it is a bit more of a historical touch that helps my version please me better than an exact copy.

There were no corsets but a natural look for women of 14th century dressing, and the lacing to their clothing closings were just that…closures.  From what I have seen, back then eyelets would have been hand worked or (later) metal rings sewn on along the edge for the lacings to go through.  I needed to make about two dozen eyelets and wanted the flashy prettiness of golden metal modern ones.  Only, I was not going to hammer each one of them in by hand, but that was the only way I had available.  Thus, I put a birthday gift certificate to good use, did a last minute run to the fabric store, and splurged on a mechanical hand pressed hole punch and eyelet setter.  It looks like a pliers on steroids!  I chose the “Crop-A-Dile” by “We R Memory Keepers” brand tool and it is so ridiculously easy, makes very uniform eyelets which are sturdy, and it has so many useful function options (it can even do snaps!), I love it.  In 30 minutes I did all two dozen eyelets cut and set through four layers of fabric with interfacing in between.  It was so fun to have such a helpful tool that takes any stress out of a complicated technique.  I have been disappointed by fancy tools before but this might be the one that has worked so much better than expected – best gift ever, even if I did pick it out.

Now, for my son’s mock chain mail tunic!  From close-up, the mesh material reminds me of tiny backyard fencing.  I had been looking for something for a while beforehand and this was the best, the most reasonable, and most available material we found.  I do believe it conveys the jist of a chain mail tunic well enough though, and when it gets wet (it rained Halloween evening) it only becomes all the more sparkly!  He loved his tunic, most importantly, but I’m glad the medieval event we attended in our outfits had examples of the real deal armor, weapons, and chain mail both on display and on re-enactors so he could get a hands-on realization of the genuine thing!

I traced a pattern for a two-piece kimono sleeve tunic off of an existing t-shirt that currently was a tad roomy.  This had to be a pullover so I added a bit extra room around the t-shirt, besides seam allowance.  The shoulders and side seams were the only thing I stitched (the edges don’t fray) and I’m glad because sewing such a stiff metallic material that was mostly open was a pain.  I used mesh seam tape to give the stitches something to hold onto.  Next, his hood was drafted using the proportions of and existing hood, and then changing the shape so it would cover his neck and fall over and around his shoulders and chest.  The hood was lined in black cotton to keep the mesh from scratching his face and keep the texture of the material in the spotlight.  He wore a black turtleneck top under the tunic, and quilted black pants which kind of reminded me of a fencer’s padded practice gear.

His serious face cracks me up. Anyone recognize the Monty Python reference?

His armor is admittedly cheap plastic but it really added a lot to the tunic and it makes him feel oh-so-tough.  For my dream outfit (which are quite extra sometimes!), I was really tempted to find some fake bird wings in white to add on the sides of his helmet or even a black capelet so he could be more clearly a Numedor knighted guard of Gondor (the White City).  Yet, I realized that no one would “get it” and the extra fuss would be make his costume more complicated…meaning less fun for him.  For example, when we came home Halloween evening after trick-or-treating, hubby was trying to get decent pictures and our dachshund was incredibly curious and acting hurt at being left out, so our son, with his armor on, only began using his imagination.  It’s the tale of when our “killer” dachshund came with “vicious plans” to lick to the death (ha!) and my brave 6 year old knight threatened with his sword and shield to rescue the fair maiden. My hero…

Fiction is very much intermingled with the truth when it comes to history, for better or for worse, and the older you go (like medieval) it is even harder to separate the two.  Sometimes you have to accept them both when it comes to manuscripts because some legends, whether true or false, were part of those time’s belief system and culture.  To take such fanciful understanding away would leave a blank spot in our modern understanding of ancient pictures and thought processes.  A large percent of manuscript illuminators and textual writers were monks who never left their monastery walls, after all, while the rest were mostly young students with an extremely fanciful and active imaginations (margin doodles are sometimes quite shocking!).  The difference between fact and fiction is something we still have to define and process even today with all the information availability we have at every turn.  Perhaps our modern medieval mish-mash costumes are seriously more perfect than if we had be wearing veritable real thing.  I still open up wardrobes with a playful curiosity which makes me feel I’m in Lucy Pevensie’s shoes and can clearly picture the mischievous, animated face of Bilbo Baggins!

Halloween 2015 – Me and My Cowboy

Halloween is a bigger deal than it used to be in my life now that our little one is actually old enough to realize what it is about and enjoy it.  I’ve also realized it does give me a very good reason to sew something for my half-pint and not just myself.  In 2015, I didn’t do that much sewing for Halloween, but enough to be proud of and count as projects to share.

My outfit wasn’t much, just something I put together at the last minute.  I dressed as some sort of punk, dark, vintage-style housewife, in an original 50’s blouse, a pencil skirt, platform heels, and a handmade apron with dachshund featured print.  Yes, that is purple hair I sported for the night.  However, my son’s outfit received most of my attention.  He went as a 1940’s cowboy, with part vintage, part handmade, and the rest being items from my childhood for a special kind of outfit.

THE FACTS:butterick-2744-year-1943-envelope-front-comp-w

FABRIC:  For the cowboy: ½ yard of super clearance polyester suede with a metallic printed wrong side; For my apron: a 100% cotton M’Liss print, exclusive to the now-defunct Hancock Fabrics store.

NOTIONS:  I had all I needed for the cowboy vest and chaps, and for my apron I bought skinny bright orange single fold bias tape.

PATTERN:  A vintage original Butterick 2744, year 1943, was used as the basis for the cowboy chaps, and the apron used the “Cosmopolitan” pattern from the book “A is for Apron” by Nathalie Mornu, published 2008.  (See this post to see my last apron from this book – I’m a big fan of it!)

apron-info-comboa-comp

TIME TO COMPLETE:  The cowboy outfit parts only took me about 3 hours hours in one evening on October 29, 2015.  My apron was finished on Halloween, October 31, 2015, made in 3 hours, too.

100_6573aw-compTHE INSIDES:  The cowboy outfit is a costume so I didn’t do anything fancy inside, my apron is all clean finished bias bound.

TOTAL COST:  $2.00 for the suede fabric, and maybe $10.00 for my apron

His hat and six shooter set is mine from when I was his age, the sheriff’s badge on the vest is also mine from a visit to Silver Dollar City.  The shirt was given to us by a dear acquaintance – it a true 1940’s original with embroidery of swirls and hobby horses, fancy pockets, and special buttons.100_6460aw-comp

For the sewn part, I basically took a simple button front vest from my tykes’ wardrobe and traced it out and remade it into the faux suede.  This was easy as pie (which isn’t as easy as some sewing) – just two small side seams and even smaller shoulder seams.  Next the vest was cut and re-shaped slightly to be more open and curved so the front so his shirt can be seen.

My original plans were to only make him a vest, but my hubby said some passing comment sounding surprised as to the lack matching chaps.  I took this as a sort of challenge even though this was not at all what he meant – he just didn’t know what I had in mind.  There wasn’t much fabric to start with and even less after the vest was made…but chaps aren’t a full pants leg, anyway.  So I pulled out a vintage 1940’s children’s pattern from my stash as the basis to cut by – this way I also was testing out the fit of a pattern I wanted to make anyway.  I didn’t have a length of fabric long enough to go all the way up his leg so I merely made a large loop to add on for the top of the chaps’ legs.  The loop is perfect for the chaps100_6476w-comp to hang, or float, over his jeans.  A length of elastic is tied around his waist with the chaps’ top loops going through, and the rest hanging from that.

A rectangular strip of fabric was sewn all the way up into the side seams, then it was cut into little strips to turn it into fringe.  I love how the metallic “wrong side” makes the fringe look quite neat, bestowing just enough ‘bling’ for a little boy’s Halloween outfit.

Our little “cowboy” was so tickled by his outfit and so proud of himself.  “Mommy made it!” he would tell others on me, but that’s o.k.  Being a cowboy must run in the family.  My Grandma has a picture of her husband, my Grandpa, in a handmade cowboy outfit when he was little, so I’ve been told.  My dad loved playing cowboy himself – his room (when he was my son’s age) had a western theme to it, as I can still see in the cute printed paper lining of his old dresser set.  One of my dad’s favorite Christmases growing up was the one when he was given a western set, and he still remembers the bright red velvet hat that came with the set.  In the old pictures from then my 5 or 6 year old “cowboy” dad looks so much like my son did for Halloween – very cute to see.

100_6470aw-compMy apron is something I’ve been wanting to make for a long time.  The fabric had been bought a while back (maybe a year or two) and the apron pattern has also been on my radar of things to make ever since I bought the book in year 2011.  Now I could combine both into one!  Besides, how could I go wrong with something that combines my favorite things – a dachshund dog printed fabric (I own a dachsie, by the way), an apron, and a design named after one of my favorite mixed drinks, the Cosmopolitan.

This was super easy to make.  I like how the pockets are right over the hips – this way they can’t catch stray food like aprons with center front pockets often do.  I like the slightly vintage “café waitress” aura to it, as well, though this is not as strong with my version compared to the original in the book.  Look at how cute is that fashion themed fabric on the one in the book!  My fabric is pretty darling, nevertheless.  I mean there are cute wiener dogs dressed as a ladybug, police officer, witch, princess, and butterfly!100_6572-comp

This is not the best apron for coverage against spills and messy cooking, but it is mostly decorative anyway.  I did slightly change the pattern by both making the inner dip of the U-neckline smaller and having the center back neck closure be Velcro hook-and-look tape rather than a button and button hole.  I also had to shorten the neck straps so the waist ties would be where they should be rather than on my hips.

I went through just over 2 packs of bias tape to go around and around all the edges.  Honestly – that is the hardest and only step that takes up all my time spent to make this apron.  I thought the amount of edging I had to sew would never stop.  This sounds like a Halloween “Twilight Zone” nightmare… the “different sewing dimension where the edges to finish never stops and keeps going…with no end…you can’t take your foot off of the pedal, and the bias tape keeps coming, never lessening…”  Oh, I could have too much fun with this!  Happy Halloween everyone!

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“There’s No Place Like Home…” for Halloween

I went to movie inspiration for this year’s Halloween in our household.  Except for missing the tin man, we were the four major characters from the movie The Wizard of Oz, and, in my opinion, did a smashing good attempt at re-creating those costumes.  Toto might look a bit different, and our lion is too cute to be scary, but altogether, we made smiles from whoever saw us.

Halloween2013 #2-fixed#2     Now, just to clarify, I only sewed my outfit and the neck/head wrap for the scarecrow, my husband.  Our little tyke’s outfit is from Target, hubby’s clothes are over-sized items from relatives, and my white blouse is a cheap but fancy resale shop purchase.  In this post, I would mostly like to brag about my resourcefulness and creativity in coming up with my costume on such short notice.

THE FACTS:

FABRIC:  cotton blend blue and white gingham check; in total there is about 10 yards of this stuff

NOTIONS:  two over-sized white plastic buttons from my inherited stash

PATTERN:  none!

TIME TO COMPLETE:  done in a total of only 3 hours on October 30, 2013

THE INSIDES:  the only seam showing is the gathering at the inside of the waistband; all other seams are folds.  I’ll explain the why and how of this down below.

My stash has recently been expanded with the addition of several large containers of scraps and extra fabric from my parents’ AND grandparents’ houses.  Most of these fabrics that I now have also have special connections to people, places, or events.

Thus, when I ran across yards and yards of blue and white checked gingham cotton, I knew it would make the perfect “Dorothy” jumper.  But, at the same time, I remembered it is also the same fabric used to make the curtains in my parents’ kitchen. 100_2121

I knew I wanted to make something quickly, preferably using no pattern, and sew an item that I really might use again.  Yet, I really wanted to make it in a way so that I didn’t have to cut the cotton gingham at all, or at least minimally,  just in case my mom should want to make some replacement kitchen curtains.  So I made something that comes naturally to me – an apron!

There was one big 8 yard piece and two separate pieces of gingham, each about 1 1/2 yards in length.  One of the two smaller cuts was used for my bib by being kept folded, selvedge to selvedge, then folded some more into fourths and sewed down.  The raw edges of the fabric were all at the one short end of my rectangular bib, so I cut off about 4 inches off that end.  Now I had four long strips that got sewn into two shoulder straps, my waistband, and hair ties, while the bib was finally the right length to end at my waist.

Next, I cut the large 8 yard piece in half to have two 4 yard parts.  The gingham is a 45 in width fabric, and I know that half of 45 makes a good length skirt for me.  With the fabric folded selvedge to selvedge again, I sewed a loose double zig zag stitch all the way across.  It took QUITE some work to gather 4 yards this tightly.  In a little over an hour the selvedge edge was gathered and sewn to the waistband, with a nice folded hem and double layered skirt for no show-through.  I suppose I was following the engineer’s principle, K.I.S.S. (keep it simple, stupid), when my “Dorothy” skirt was in my mind.

100_2119     Notice how my “Dorothy” outfit goes all the way around me like a skirt, but ties in the back like an apron.  The back skirt/apron center seam is kept together for now with a handful of safety pins.

100_2125    I think this might look quite good worn as an apron with a 50’s or 60’s dress, and I can even take it apart without too much grief if my mom needs my outfit take a second life as curtains.  There sure was an element of surprise when my parents recognized the fabric of my “Dorothy” apron/dress on Halloween night.

Hubby the “Scarecrow” had his head/neck covering from a small square cotton scrap found in the parental scrap tubs, as well.  The back and the front were loosely gathered and the ends frayed a bit.  I think my little creation, together with plenty of straw and his natural skinniness, makes the whole outfit work.

There isn’t much to making this but…no pattern + I made it equals something I’m very proud of!

It’s amazing how something as simple as fabric can link memories and people together.  Making something with this gingham from my parent’s stash gives me a plethora of ideas to create things with many other fabrics that were a part of my childhood with my family.  Do you have any fabrics or clothes that are connected to old memories which make you feel good inside?

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