“Wallis” Chic

I always suspect that a good amount of the appeal of the 1930’s fashion is the flaunting of elegance with chic, completely accessorized outfits.  I can’t think of a better face for this in the late 1930’s than the famous Wallis Simpson.  As she was already gracing every news headline in 1937 for her marriage to England’s former King Edward VIII, she became the woman that the most talented designers of the times jumped at to clothe…and boy did she ever wear the fashions!  She is quoted as saying, “My husband gave up everything for me. I’m not a beautiful woman. I’m nothing to look at, so the only thing I can do is dress better than anyone else.”  Whatever her reasons, she inspired my latest 1930’s outfit.  So many details of my outfit make this a very specific 1938 garment, with a heavy nod to ‘Wallis’ in my accessories. I’m not out to overdress, just dress “to the nines” in killer Tyrolean era, late 30’s style!

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Not only did I make the dress of this outfit, but I made the hat as well, and even broke out my prized 30’s gloves and vintage shoes to boot.  This is the kind of outfit I hate to take off!

Simplicity 1736, year 2012 hatsTHE FACTS:Hollywood 1647, year 1948, front cover-comp,w

FABRIC:  The dress – a 100% cotton print, with a selvedge marking of ‘“Nana’s Quilt” by Joan Pace Baker, Designs by Logantex’; the hat – a lofty and thick polyester felting

PATTERN:  Hollywood #1647, a Maureen O’Sullivan pattern from year 1938, for the dress and Simplicity #1736, year 2012 pattern, for my vintage-style hat

NOTIONS:  I had everything I needed on hand – buttons, ribbon, thread, and bias tape.  The buttons are authentic vintage from the stash of my Grandmother’s.DSC_0559a-comp,w

TIME TO COMPLETE:  My dress was made in about 10 hours and finished on May 14, 2017.  My hat was finished on May 19, 2017, in only 2 or 3 hours…easy-peasy!

THE INSIDES:  Half French seams and half bias bound (in red, too, for fun) on the dress while the hat is raw edged inside – it’s felt, after all.

TOTAL COST:  I’m counting this as free as the supplies were on hand and the fabric has been in my stash for so many years!

In the year 1937, Simpson made more than headlines, though.  She made fashion history Wallis' gown designed by Mainbocherin two dramatic ways – she wore the then shocking but now famous Schiaparelli-Dali “Lobster Dress” as well as sporting the “Wallis Blue” wedding gown designed by the Chicago-born designer Mainboucher.  Hollywood brand patterns were well known for imitating the rich and famous, bringing their styles to share with the masses, and there is a trickle-down effect which puts the newest fashion in the hands of those masses at a delayed time.  Thus, it makes sense for me to see details of Wallis Simpson’s influence in the Hollywood dress pattern I used to make my dress from the year afterwards – 1938.

Hollywood patterns that I see almost always stick with sweet princess styling, which can Hollywood 1647, year 1948, back cover-comp,crop,wbe complimentary in the way of thinning the body lines, yet overly youthful and conservative with Peter Pan collars and high necks.  Not for me – not with this dress!  Sure, there’s princess seaming to the front, but I changed up the neckline of the original pattern for an open, adult style, while the dress back (as designed) does have a very 40’s appearance (different from the front) with its darts and defined waist seam.  This is a dress which breaks both consistencies of the conventional Hollywood pattern!

I’m tickled at how I found a way to complement the original styling and make my dress more ‘grown-up’ and sophisticated by a mere change to the neckline.  A good friend of mine helped me realize one of the neckline shapes that are very specific to 1938 – an upturned curve to be the third ‘leg’ of a square neckline.  The late 1930’s frequently borrowed from historical garments for new features, particularly those that were severe or heavily restricting, and this type of curving squared neckline, which was popular in the mid to late 1500s 1, had a widespread use on women’s dresses of 1938.  See this Butterick Spring 1938 news flyer for a small example of this.  Period revivalism combined with modern touches was especially popular with one of Wallis Simpson’s designers, Elsa Schiaparelli – see her designs from winter 1937 to 1938 2 and many are strongly influenced by historic clothing from around the world.  If you read up on history, all that is old become new again at some point, it seems!

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Anyway, this 1938 neckline adaption coordinates perfectly with the likewise arching bust detail.  Wallis’ wedding dress had the exact same upward curving side panel bust gathers!  It is such a lovely, subtle, and slightly-tricky-to-sew touch that I don’t really see that much (whether on an extant garment or pattern).  If you would want to snag your own true copy of Wallis Simpson’s wedding dress, good news if you can sew! There is a reprinted pattern of it as Superior #114 (year 1939) up for purchase here at the Etsy shop “tvpstore”.  Go and drool over it at least, like I did!

Besides the redrawing the neckline change and making the bust gathers, the rest of theDSC_0520a-comp,w dress was a cinch to sew together.  The lines are really simple for the rest of the frock.  I did have to grade up to over the amount I really should have needed, and it’s a good thing I did!  Most 1930’s era patterns I come across run small, besides the fact that a full button front dress cannot be snug, and so I made sure to have extra room rather than too little. I ended up being able to have 5/8 inch seam allowances, rather than the original pattern allowance of 3/8…too little!  The modern sized seams allowed me ‘wiggle’ room to make clean finishing French seams and give myself space (if needed) to take it out if I need to in the future.  I want this baby of a dress to last me a good long while ‘cause I love it!

The cotton print is a rocking awesome re-print of an original 30’s print.  Sadly I do not remember where it was bought.  I do have proof of historic authenticity for it, though – see this original dress, sold over at Dorthea’s Closet Vintage.  Seeing that original dress ‘sold’ me on the idea of actually using this prized fabric which I had been hoarding…I mean saving for the perfect pattern.

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For as cute as the print is with its cheery daises and red contrast, my cotton is not the softest…it is actually quite stiff.  For once, a stiff cotton actually comes in handy!  The stiffness lends itself wonderfully to the puff sleeves and the button front as well as keeping the long princess seams smooth and non-wrinkly.  Anything softer and I would have had to use some powerful interfacing, with would be too noticeable to look great, I would think.  As it was, I used only a small strip of lightweight cotton interfacing down the front buttoning self-plackets and zero supports for the sleeve caps to do their glorious late 30’s obnoxiousness.  I had just enough material, too – 3 ½ yards of fabric to work with, which seems like a lot to me, and I just barely fit all the pattern pieces in on it.  Whew! Talk about making the most of what you have!  This was obviously a serendipitous match of pattern and fabric.

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What do you think about that two-at-a-time button placement?  Now that I see it done, it was worth all the bother, time, and trouble…and boy, was it ever!  It took me 3 hours just to make the buttonholes, cut them open, match them to the other side, and sew the buttons on… all 13 of them.  But like I said, so worth it, so unique!  The buttons themselves are vintage of a mystery era, but amazing nonetheless with their deep-set wells for the stitching spots and the faceted shiny outer edges.  They had been a set that I have been itching to use from the first I set eyes on them from in my Grandmother’s stash.  They make the bits of rich red in the fabric pop a little better.

I know what also adds to the red contrast – my lobster pin!  Again, I’m not sure what vintage era this is from, but the back pin mechanism is so rudely simple, I’m assuming it’s 50’s or older.  I’ve had this as long as I can remember so I don’t know where it came from or who gave it to me.  I’ve always seen it in my jewelry box ever since I first had such a thing.  Finally after all these years of keeping the lobster brooch and having mixed feelings about the combo of weirdness, ugliness, and cute quirkiness of it, I like that I have now found a way to enjoy and wear a time honored piece from my jewelry collection.  I feel it properly ties together the colors, the historical significance dating my outfit, and the ties to famous personas of the past.

1938 Dobbs womens hat trends make headlines & German 1938 vintage millinery adSpeaking of famous persons, too many past Hollywood starlets and fashion designs have included a killer fedora to their ensemble like this one!  And this was so easy to make, and it turned out so well, it is ridiculous.  This pattern is like a hidden gem, because everyone seems to make the View E 1920s style cloche hat (they are all awesome) but I only found one other version of the fedora style on the internet.  It is the perfect style for anything late 1930’s into the early to mid-40’s, and really should be labelled as retro or at least vintage.  Just look at how it matches up to these images from 1938!  Find this pattern for yourself, and please do sew this hat!

The design of the hat is like a hidden surprise.  It wasn’t until I began to make the fedora that I realized its lovely tailoring, something that isn’t even apparent from the line drawing even.  Every panel to the crown is its own specialized piece, cut once, and once sewn together, all of them have an elegant effect of motion by the way the seams are on the diagonal around the brim.  Even the top of the crown adds to the wonderful shaping by being a unique, long, oblong oval.  The brim accommodates to the overall drama by being shortest in the back, short on the one side, and longest in the front – again, very specialized shaping for a lovely final, finished hat.  I did make the front of the brim ½ longer just to make sure to give my face full sun protection.  The pattern doesn’t specify lining the hat, and I didn’t since I wanted my hat to be for the summer.  It didn’t even say to sew an inner sweat band or ribbon or anything to the inside of the crown/brim seam…rather odd.  I merely sewed a wide, cotton, bias band to the crown/brim seam inside for comfort against my head and a clean finish.  I played around with the ribbon placement for quite a long time, and had some bold, different experimental ideas (as many hats of those times had fun, unexpected decoration), but ended up going with a rather basic hat band treatment.

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Part of my success with this hat, I suspect, is the great quality felt I used.  I’m not meaning to brag – I don’t even remember where it came from, it has just been in my stash since I’ve been in this house.  I know it is polyester, at least 1/8 inch thick, but from the look and the feel of it, and the way it holds its shape so well, it acts like a nice wool felt.  Awesome!  This gives me the best of both worlds – and my hat is even crushable and washable yet still holds its shape…believe me, I tested this!  But really, for best results, find a material that has body for this hat, something easy to work with, washable, and that doesn’t need lining to make it oh-so-practical yet stylish at the same time – like mine.  You won’t find that combo with a true vintage hat, and even if you did, you wouldn’t want to treat it like that, so come on, sew up your own fedora!  I love this hat.

There is a tinge of nautical (ahem, cue the lobster, especially) and summer luxury-themed undercurrents to my outfit and our amazing background building for our photos is the icing on the cake!  Listed on the National Register of Historic Places, is was designed by a local architect, Eduoard Mutrux (an apprentice to Frank Lloyd Wright) in 1936 or 1938.  It is a very strong, very odd but wonderful combination of Streamline Moderne and International Style.  This masonry building has all the best of the avant-garde forward thinking that the 1930s did best.  However, this building sneakily looks like a lovely white cruise ship when you go and look at other views, as if it had just moored on the parking lot and been swallowed up by asphalt and ground, with its sweeping front facing the busy street below.

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The Streamline Moderne architectural style is after all about movement merging with stationary objects.  Originally intended to cut down on drag for cars, ships, planes and trains, Streamline Moderne designers and architects wanted a classicism to their buildings so they would last and span the test of time.  This is the kind of buildings you see in all those vintage travel advertisements of the 30’s that are so enchanting and appealing.  Streamline Modern buildings are also almost strictly inspired by movement (visit this Flickr group to see what I mean).  The International style is a friend of stark simplicity – form has to follow function and ornament for its own sake is an outrage…to the point of harsh sterility. Cubical balance and proportion was key, along with white being an important color.  This style of building was rare in Missouri before WWII. International is a major style that re-blossomed in the 1960s as Mid-Century Modern, and it was also the founding idealism for our modern business spaces made of metal and glass!

My sewn outfit is the best of combo of architecture and fashion I could ask for – ornament with a purpose and message, streamline shaping, comfortable practicality, and chic styling which looks good no matter what era it technically originated from.  The light and fun bright colors are perfect for reflecting my current summer mood.  Hello fun!  I have the perfect outfit for you…

Footnote links :  #1.) Detail from Mary Magdalene, 1519.Oostsanen Van (1475-1533); Portrait of a Lady as the Magdalen (Flemish, 16th century); Queen Catherine Parr reproduction gown; and info on sporting carcanet necklaces

#2.) Woman’s Evening Jacket, Designed by Elsa Schiaparelli, Winter 1937-1938; Silk Cape, Designed Elsa Schiaparelli, Winter 1937; An Elsa Schiaparelli couture black velvet ‘highwayman’ coat, circa 1935

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Candy Stripe Blouse

dsc_0976-compwI don’t know about you, but we have plenty of candy leftover still from Christmas (and even a little from Halloween).  Among the candy, we had so many candy canes we actually were able to decorate the tree with them!  Now that the tree and Christmas are past and out of sight, we have to work on finishing those candy canes still around.  Well, how about instead taking care of some scraps of red and white candy striped fabric?  As one who’s not that crazy for sweets (I know, call me odd…), this ‘sewing option’ to finishing off some ‘candy’ is my kind of thing!

Hubby thinks of the hospital volunteer “Candy Stripers” when he sees this blouse.  I know the two share similar fun red and white stripe usage, but they technically wore pinafore-style jumpers and my garment is just a blouse.  Still, both a pinafore and my 1940 blouse are peasant themed, and a rather “cute” (yuck – hate that term) style which tends to make one seem younger than one’s actual age (I don’t need help there).  Both are from the same decade – my pattern dates to 1940 and Candy Stripers originated in 1944.

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However, my blouse has something extra to it that makes it uniquely special in its own way, apart from any history or style or whatever.  It is made from fabric given to me by my Grandmother.  This post is in memory of her, as she is now deceased as of this past weekend.  The fact that the fabric for my blouse was from her gave me some stress and self-inflicted pressure, at first.  I wanted to make the very best I could with what she gave me, but I realized when planning to make this blouse that she would want me to only enjoy and be creative with what she gave me, and nothing less.  I felt the fabric and the pattern were made for on another, so it must be the best re-use of her scraps – I am quite pleased with my blouse, and thankful for her always encouraging appreciation of my talents.  She was seamstress herself, as was her mother, too, so she had some awesome and useful sewing related items she was sweet enough to want to see what I would do with.  Grandma, this blouse is for you!

dsc_0974a-compwThe date of this design (as I mentioned above) is 1940 – thinking back, my Grandmother was 10 years old that year.  To make this blouse all the more poignantly related to Grandma, the family (myself included) suddenly realized, while looking at pictures of her long life over the weekend, how very similar her face and mine are to one another.  Goodness, we seemed to have more in common than I knew.  She was such a lovely woman, always with a kind word, a smile on her face, a thoughtful act, and a love of nature and of family, just to name a few qualities.  I just hope I can be more like her, not just in face, but in person, too.

THE FACTS:hollywood-1991-year-1940-envelope-front-compw

FABRIC:  a 100% cotton flannel scraps, from the stash given to me from my Grandmother; linings and facing are cotton broadcloth scraps from on hand in my stash

PATTERN:  Hollywood #1991, year 1940

NOTIONS:  The only notion I bought was the trio of front buttons; otherwise, everything else was from on hand – the thread, bias tape, and hook-and-eyes

TIME TO COMPLETE:  This was relatively quick – 6 to 8 hours were spent to make this blouse and it was completed on February 4, 2016.

TOTAL COST:  Just the buttons were bought (modern & basic red half-ball type) , so only a few dollars in total

This was a fun, intriguing, yet challenging project all-in-one.  I had plenty of inspiration that I had found for late 30’s and early 40’s striped blouses (many of which can be found on this Pinterest board of mine) so it was just a matter of choosing a combo of directions 100_6728a-compwfor each section of my own blouse.  This part was quite the memory game, trying to remember which pattern piece was for which section of the blouse and trying to lay it out in the intended stripe placement, all the while remembering to match lines!  At first, it seemed I was quite limited as to what I could do because the fabric was a scrap piece, all cut up already in odd places.  But, some mind crunching and much switching around of pattern pieces (again, like a puzzle game) and I was able to get what I intended, with only the blouse bottom waistband being necessarily cobbled together from four individual parts to make a whole.  In all, this was another “close call” sort of project where you cut the pattern squeezed onto the fabric so much so that you barely have a few inch scraps leftover – so difficult but these kind make the most of every inch of fabric.

As was the case for other Hollywood patterns, this blouse again ran large.  I know it seems it is supposed to be quite poufy and generous by design anyway, but I accounted for it by slightly downgrading with bigger, more modern, seam allowances.  My only complaint to this top is that the button front neckline does not give me enough room for my head.  I am able to put the blouse on as you can see, but getting it on is like some sort of skin pulling, “second birth” experience (sorry ‘bout the mental picture) that leaves the tasks of fixing one’s hair and applying make-up to be something that comes after being dressed.100_6948-compw

The awesomely full and puffy 30’s style sleeves are my favorite part to this blouse, besides being proud of the matching I achieved in the arm pleats on the side (see right picture).  Also, this is the first Peter Pan collar that I really actually like on myself for some reason.  The controlled, even fullness of the bottom band is easy to wear – nothing to come un-tucked!  The flannel keeps me just warm enough on chilly days but the short sleeves prevent me from being overheated when being inside.  In all, this blouse is a great wear, so comfy with full movement, bold statement striping, and a vintage look that is a good kind of unusual.

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In order to avoid a side zipper being too stiff for the side closure, I buried my intolerance for hand stitching and sewed in snaps.  The snaps keep the bottom blouse poufing out like it should above the bottom band.  A strong waistband hook-and-eye holds the waist 100_6946-compwtogether.  Sometimes I tuck the waistband into my bottoms (as when I wore my 40’s style denim skirt) and sometimes I leave the blouse band out (as when I wore it with my 40’s jeans), and I can’t decide what I like better.  The blouse appears more like an Eisenhower-style jacket when untucked and closer to a blouse when tucked.  Either way, I guess I do need to find more than just navy and denim bottoms to match with my blouse, at some point.

This last mention is no big deal, but I wish I had thought about “setting” the colors before100_6949a-compw I washed the blouse fabric.  It was a crisp red and white originally with a generally smooth feel, but after washing the flannel its brushed finish fluffed out more than expected and the red leaked slightly into the white turning some stripes into a faded pink tone.  The color problem is not something obvious enough to really show in our pictures, however I wish I had thought of it beforehand and am keeping this lesson in mind for the next bold two-tone fabrics that have to make their way to the washer.  Any suggestions on how to do this “setting” of dyes that leach?  I have seen salt water soaks being recommended, but does anyone have first-hand tips to share?

I attempted to channel to quaint hairstyle on the cover of the pattern envelope with a simple ribbon headband.  In the one set of pictures I even tucked my hair up to have more of a late 1930’s look, then the other pictures have my hair left down long for more of the ‘40’s young lady’ look.  It was after the pictures for this post were taken that I saw these old photo booth shots of my Grandmother in 1940 when she was 10 (center) and some others as a teen in post WWII times.  In the 1940 pictures, she had her hair short and curled, wearing the same ribbon-headband-with-a-little-bow just like me, but the teen pictures are pretty alike, too!  These old photo booth pictures make me see similarities between us all to well…

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There are many ways to remember the past, but remembering it through fabric is kind of special.  You get to wear it, do creative things with it, and it can be seen in pictures for a long time after.  Admittedly, there is nothing that can beat a memory but clothing certainly can add to that recollection or bring it back.  This might not be the best garment I’ve made but the special background to it makes it pretty great to me.  Now that the time for stories coming directly from my Grandma is past (sadly), I’ll keep paying attention to my her pictures and maybe I’ll see a glimpse of what she made with the other part of the fabric I used to make the blouse in my post.

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“Blank Canvas” – a 1939 Hollywood Dress and Re-Fashioned Hat

Allie J's Social Sew badgeEvery blank canvas is a starting point just waiting, pleading for personalization and a touch of color.  My creation happens to have soft, white linen as the canvas, and all the colors added (in controlled moderation) for a culturally-influenced dress and hat.  I even made my own earrings from buttons to match!  This is part of Allie J.’s Social Sew #4, theme “Vintage”.

Mock embroidery, courtesy of some appliques, a wildly striped scarf belt, and my bright coral “Chelsea Crew” T-strap shoes liven up a white dress.  Subtle features and lots of bias cuts take the backstage to complete the dress.  My Tyrolean-style, dome-crowned straw hat was another successful experiment in more modern hat re-fashioning.  Together, I am again finding myself loving the year 1939 fashion – part 30’s and part 40’s combined into one lovely and comfy outfit.

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My dress and hat happen to have a wide variety of Hollywood personas related to its making – the famous Lucille Ball is the “star” of the dress pattern I used, an “Agent Carter” character Ana Jarvis was another inspiration, as well as actress Joan Blondell’s fashion, especially as worn in the 1939 movie “Good Girls Go to Paris”.  My more basic sources were 40’s and late 30’s pattern covers plus an extant 1939 garment from Jonathan Walford’s “Forties Fashion” book.  My first 1939 dress (blogged here) was also directly patterned after a dress from his book.

Simplicity #4203 & #2070, Walford book's 1939 Mexicali dressThe “Forties Fashion” book chapter which shows my inspiration dress (Chapter 1) addresses the subject of culturally inspired fashions of the early 40’s/late 30’s.  Much of the Mexican, South and Central American themed clothes, aprons and embroidery from those times stemmed from President Roosevelt’s ‘Good Neighbor’ policy from the early 1930’s, but as the decade went on, Bavarian and Alpine themed fashion and headwear grew popular universally.  I would also like to think of this dress as further inspired by both the classic ‘Guayaberas’ or Havana shirts and the Phillippines’ version (called ‘Barong Tagalog’) that I’ve seen on the men (and some women) in old movies such as “The Lone Wolf” series.  These shirts are made for warm weather and are often of a type of linen, have lovely details, and have frequent floral embroidery.  Havana and Panama were of course known for their straw hats, too.   Thus, my outfit combined several cultural influences for ‘39.

As far as Hollywood influence, 1939 was the year that Lucille Ball stepped out as something 1939 Hollywood inspiration collageother than a mere radio voice and a B movie actress when she starred in the film “Five Came Back”.  One of the main ladies in that film actually wears an identical hat to the one I made!  I’ve also seen similarities to my dress in the other ’39 movies like “Star Reporter” (same bodice) and “Good Girls Go to Paris” where Joan Blondell has similar puffed arched sleeves, Tyrolean hats, and cropped boleros.  Currently, though, Ana Jarvis from the Marvel television series “Agent Carter” Season Two wears many ethnic inspired fashions, and in “A View in the Dark” (Episode 2) she wears a cream colored blouse with floral vine embroidery.  I know Hollywood is not a good example of what the everyday woman might have worn, but it sure is awesome to bring into one’s wardrobe!

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I have yet to decide on what bolero to sew up to match – one with the large collar in this Hollywood pattern for my dress, but I’m tempted to go with Vintage Vogue #8812 for a simpler look that would go with my later 40’s fashions.  Something else for my already long bucket list of future projects!

THE FACTS:Hollywood 1773, year 1939, front cover-comp

FABRIC:  Thick pure white 100% linen for the dress, polyester chiffon for the scarf belt, and a basic modern hat made out of straw for my re-fashion

PATTERN:  Hollywood #1773, year 1939

NOTIONS:  Floral appliques, thread, bias tapes, and two different zippers – all bought last year when I originally planned on making this dress

THE INSIDES:  All bias bound

TIME TO COMPLETE:  maybe 10 to 15 hours to make – it was finished on July 14, 2016

TOTAL COST:  Everything was bought when a Hancock Fabrics store was closing a year ago, so everything needed was bought on deep discount and amazingly just what I needed for a perfect match.  For several yards of fabric and all my notions I think I spent maybe $20.

DSC_0973a-compHollywood pattern #1773 was an amazing find at an amazing deal which was obviously too good to be true.  It was almost like hell in paper just attempting to sew it into a dress like the one on the cover.  First of all, it was in a very large size for which I had to grade out 4 inches besides taking out 4 inches from the length of the skirt hem.  However, the real problem was the fact the pattern was cut into and changed dramatically.  I really don’t know what someone was trying to do but after studying the line drawing and doing much detailed mathematics,DSC_0972a-comp I had to re-draw in about 3 to four inches added for the center front where someone cut out scalloping.  After all this, the instructions were disintegrated to the point they were in about 5 crumbly, delicate pieces.  All the instructions have now been scanned in and saved as files on my computer for a permanently safe copy.  Still, the instructions added to the multiples of problems, although I am glad that at least the tissue pattern pieces were in good shape.  Gotta be positive especially after a (finally) successful result!

Luckily, after all the trouble leading up to making this dress, sewing it was a breeze.  There are no darts in the skirt portion, as both the front and the back are cut on the bias.  The back bodice has no waist tucks and there are only two small ¼ darts at the neckline.  The front bodice has all the details, with its ten 3/8 inch tucks (five on each side) on the shoulders and two simple waist pleats (one on each side).  The sleeves are also cut on the bias and are tightly gathered at the cap tops.  This dress does have double zippers – a decorative metal one down the front neckline and one on the side at the waist.  For some reason the pattern had the front waistline dipping down low.  I sewed it like that at first, but did not like it and unpicked to level out the waist, instead.  The seam allowance gets cut off along the neck and the sleeve raw edges so as to cover with bias taping.  My prized vintage all-cotton ¼ inch bias tape from my Grandmother was used for the sleeve and neckline edges while modern store bought (yucky) poly cotton blend was used for finishing the insides.

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The appliques are my cheat-shortcut to all the hand sewing necessary to do real embroidery.  Anything more than a little hand stitching bring out my carpel tunnel issues.  The appliques I had are actually meant to be iron-on, but I merely stitched it down by hand.  I don’t want to ruin the fabric nor make it that permanent by ironing it down.  The flowers on the design remind me of Mexican Bird of Paradise (yellow), moss rose (pink), and milkweed (orange/yellow).  The two appliques which are on either side of the neckline are the largest and longest of the set – I have four other smaller half size ones that I am tempted to add on the rest of the dress.  I sort of like the simplicity of the appliques just at the neck.  I’m afraid that with the bright scarf belt, more appliques might make the whole dress look overly busy and tacky.  For now, I’ll leave it as-is.

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It was really the scarf belt that started this whole outfit.  I was so happy and surprised when I happened to find this chiffon in the same color tone and striped pattern as the on inspiration dress in the “Forties Fashion” book!  It was one of those great “Eureka!” moments that told me I needed to make this dress.  The belt is one long bias scarf cut from two opposite corners of 1 ½ yards with the raw ends finished off with a touch of fray check liquid.1936  Purple felt hat, FIT museum

My hat started out as another one of those basic one dollar non-descript pieces that I’ve re-fashioned before (here and here).  I started out by making two tapered darts about two inches apart up the crown where I chose the back to be.  Then I brought those two darts together in a tuck that extended into the brim and topstitched the excess down.  A light steaming from and iron as helped further shaped the hat.  The darts shaped the crown while the tuck brought the size smaller so it would sit higher up on my head and have that cup-like center top to the traditional ‘cone crown’ of a Tyrolean Hat (like the purple one at right from FIT museum).  To keep my hat on my head, I took a ribbon and knotted it together at the sides and used an upholstery needle to wind it down and through the straw so I can tie the hat around my hairstyle.

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This outfit so completely reminds me of some sort of summer resort wear, something meant to keep one looking great and moving comfortably in searing temperatures, and…yes, this dress does fit that bill!    I tested this out, as the day on which I wore it for these pictures was extremely, oppressively hot.  Linen is a super sweat wicking fabric, yet it kept me cool.  The linen kept absorbing the sweat off me, yet it did not feel soaked and it was a cooler temperature than I was when it was wet.  This particular linen has zero scratchiness and is lacking that “hemp-like”, raw feel which I find in many other linens…only softness so there is another high comfort here!  However, my favorite benefits are the no-see-through thickness of this linen as well as the way it does not change color or show however much I might be sweating to death, like many dark fabrics.  This linen dress definitely does not just give the impression of being cool but also helps that along.  To top things off, my hat ‘perches’ lightly on my head, keeping my hairstyle underneath pristine and cool, yet the brim is enough to keep the sun off my eyes.  I was doubtful that this outfit would be that great in steamy weather, but I am a converted believer in effortless summer fashion a la vintage with linen and straw!

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It’s funny, in the fabric stores I go to the bolts are always full and untouched when I buy linen.  The employees that cut my fabric often seem mystified that I want linen and tell me that hardly anyone buys it.  Do you wear linen?  If so, have you found it to be as lovely of a trooper for wearing as I have?  If not, what are your reservations to this natural fiber?  Why is linen overlooked as a fashion fabric?

A Hybrid 40’s Blouse and Denim Skirt

Interested?  Basically, using two mid 1940’s patterns, I drafted a mixed-breed WWII era blouse only to add some beautiful features to it and make it not 1940’s at all just so I can imitate Marvel’s Agent Carter.  My skirt is completely modern with timeless features which co-ordinate perfectly with current or 1940’s dressing styles.  I’m absolutely loving the versatility and comfort of my blouse and skirt!

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From a historical standpoint, you might say I had misdirected principles here…although I’m not too far off in accuracy.  However, being creative and having fun is to me one of the most important factors to sewing for myself or anyone else…enjoying yourself!  I also am one of Agent Peggy Carter’s biggest fans, and I am more than happy to rock what she wears, too.  So – here’s to enjoying my own style “a la Carter”!

THE FACTS:

FABRIC: The blouse: a thick and luxuriously soft 100% cotton.  It is a line of U.S.A. made “Country Classics” cottons available at JoAnn’s Fabrics.  The Skirt: a 100% cotton lightweight indigo wash denim…so nice it doesn’t really look like denim.DSC_0272-comp

NOTIONS:  None but thread and a little interfacing was needed for both projects and these notions were on hand, as well as a zipper, hook-and-eye, and vintage buttons from hubby’s Grandmother’s collection.

PATTERNS:  The blouse: a combo of Hollywood #1318, year 1944, and a McCall #5946, year 1945; The skirt: a year 2001 Butterick #3134

Butterick 3134 year 2001 coverMcCall 5946, year 1945, and Hollywood 1318, year 1944-compTIME TO COMPLETE:  The blouse was done quicker than the blink of an eye in one afternoon and evening of 5 hours on March 14, 2016.  The skirt was made in about 5 hours and finished on April 13, 2016.

THE INSIDES:  Nice!  All seams on both the skirt and blouse (except for the armhole/sleeve seam) are finished in French seams.

TOTAL COST:  On sale with an extra coupon, my blouse’s American fabric (being the only cost) was about $5.00 for one and a half yard.  My skirt’s denim cost about $10.

Happily, our new cable provider has given us the option of being able to record HD channels on TV, and we’ve taken advantage of this to have the whole “Agent Carter” season 2 recorded so we could watch it (and I could study the fashions) all we wanted.  After much pausing, playing, and rewinding, I figured out the details of my chosen-to-imitate blouse and skirt from Episode 2, “A View in the Dark”.

Peggy's outfit - model trial photos and blouse close up

First off, Peggy’s blouse is most definitely a much finer material than my own – it’s probably silk or at least a very fine rayon by having such a soft shine and lovely drape.  Secondly, her blouse has several rows of ruching or shirring across the upper shoulders, with a V-neck and three squared buttons which looked like shell.  The back of her blouse has an upper shoulder yoke with a lower bodice section with has about three or four pleats coming out from under the yoke.  The sleeves are puffed with a small box pleat at the center bottom hem.  The color my blouse and Peggy’s is pretty much exact – a soft aqua tinted baby blue.  Now her skirt looks like it has six-gores, with bias flared bottom and hip shaping.  The waist is high and arched in the front over the belly.  The material is nicely flowing…just lovely details in all, enough said.

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Now, as much as enjoy being in Peggy Carter’s shoes I still need to stay “me”.  Thus, I downgraded in materials from rayon or silks, which probably were the fabrics of the originals, to cottons and denim so my look-alike outfit is completely practical for my life.  Vintage styles are so good for offering luxury that is classy and put-together with the comfort of modern lazy-day clothes.

The blouse is a combo of two patterns which I previously made with great success (posts here and here) and they are one year apart (’44 and ’45) so I felt confident that this could not go wrong with this mash-up.  To start, I overlaid one pattern over/on top of the other so as to make my ownDSC_0088a-comp design from there.  I wanted the main body to me more or less like the Hollywood pattern in overall length and hip width, while the bodice of the McCall dress pattern was my guide for the V-neck and the shoulder gathers (shirring or ruching as it’s called).  The most challenging part was to try and define a set-in shoulder seam on the McCall pattern as the sleeves are a continuous part of the dress in the original design.  The sleeves for my “Agent Carter” blouse came from the Hollywood pattern as I knew they were loose and comfy.  Halfway down the shoulder seam of the back bodice, I drew a line for a shoulder yoke above the line and a detailed lower half.  For the lower back bodice, rather than cutting on the fold I made a center seam and added about 3 inches in a parallel block extending down the center back so I could do a box pleat.

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I’d say my blouse is a success.  There are lovely details in both the front and back, so any way you look at it, the blouse is pleasingly detailed.  The back box pleat gives me comfortable reach room and adds a masculine touch while the front has a complimentary V-neck and delicate shirring (8 rows of it) for a ladylike touch – a mix of both worlds…much like the life of Peggy Carter.  There is a similar blouse pattern from Burda Style, sans shirring and with a collar, for a lovely “as-is” option to making your own Peggy Carter blouse.

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Now, I am a bit confused though because her blouse that I imitated here is from a TV series Vogue S4223, early 40's -B1192 year 1941-compwhich supposedly takes place in 1947, but everything about this blouse is late 1930’s or early 40’s.  I have found images of patterns with box pleats in the back bodice but they were from the late 1930’s or very early 1940’s, and the same goes for opulent shirring except it started early on in the 30’s.  So my blouse is actually accurate, just a more or less mystery year as Peggy wore this in 1947 and I used ’44 and ’45 patterns to make a blouse for a period much earlier.  Oh well, it fits, it’s comfy, so versatile, and completely makes me happy!

DSC_0205-compMy skirt was super easy to make and is equally awesome as the blouse, I must say!  With the skirt being so simple, I spent the extra time to make fine finishing inside and to re-draft for some lovely generous pockets…a handy must!  Yes, the pockets were not a part of the original design, but were easy to add into the side front panels.  I simply drew in the pockets were I wanted them to go, added in the seam allowances, and cut the side front panels into three portions instead of one (an upper pocket panel, the pocket itself, and the lower skirt panel).  The pocket upper edges go at an upward angle toward the middle panel and are re-enforced with seam tape while in the stitching process to prevent any stretching.  I also added 2 inches the length of the pattern to get a skirt which has better total knee coverage (and make it more mid to late 40’s).Joan Bennet 1940's in pants with sweater and sunglasses

Originally wanted a closer fitting skirt with a flared bottom (like Peggy’s and like “Physics Girl’s” Simplicity 2451 skirt).  I was really considering using a Simplicity #4086 (out-of-print, year 2006) from my stash, but I wanted my skirt to actually sit at the waist and not the hip like the other patterns I was considering.  The pattern I used is also more classic and easy to move in with an A-line silhouette that changes to a fitted flare appearance as I move or as the wind blows.  Here is a link to my favorite version and best review for the skirt pattern, this is what really sold me on this out-of-print gem.  My inspiration for adding in the pockets, besides utility and practicality, came from a combo of the pattern “Physics girl” used and this picture of actress Joan Bennet.

DSC_0273a-compI went all out with my Agent Carter fandom and was wearing her “Red Velvet” lipstick from Beseme Cosmetics and “Cinnamon Sweet” nail color from OPI.  I can’t say enough good things about both products so I’ll just say they are wonderful.  OPI nail polish is deep color, with a great brush and long wearing.  Sometimes with a nice top coat I get a week out of my OPI colors and they self-heal with a touch-up over small chips.  The Beseme lipstick is thick and rich and also long lasting – the best ever!

Some factories from the old industrial district of our town, the Carondelet neighborhood, became the backdrop.  I was trying to re-create the feel of Peggy visiting the Isodyne Factory in the episode where she wears my inspiration outfit.  The blue factory is an authentic Post WWII building and the lovely sky was trying to match me in tone, too.  Even buildings meant for basic or industrial uses can have their own special rugged beauty in my eyes.  We had fun with this photo shoot so look for more of these Carter inspired pictures on my Flickr page soon.

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I hope this post inspires you to try that adventurous mash-up of patterns so you can wear that lovely inspiration outfit that strikes your fancy.  Every “franken-pattern” I do has some sort of frustration, disappointment, and confusion – but see what you can get when you don’t give up!  Put your own personal touch to it, enjoy the experience, and give it a go!  This is the best examples of one of the reasons for sewing – making a one-of-a-kind garment which is exactly what you wanted to wear.

Hollywood 1944 Scalloped Front Blouse

This blouse may be a basic white, but it is anything but plain. It has a character that reminds me of how vintage patterns conveniently brought movie star glamour to the populace for a decent price. Who doesn’t have a film fashion crush in some way or another? So…bring on the Hollywood patterns!

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Hubby said, “Strike a ‘Peggy Carter’ action pose.”  This is my interpretation.

100_4940-compMy Hollywood blouse was directly inspired by a newly modern “icon” of the vintage world – Agent Peggy Carter. She wears the most simple but beautifully classy blouses, many with amazing collars and appealing details such as contrast top-stitching, pretty buttons, or special sleeves. There isn’t a blouse in Peggy’s wardrobe which I’ve seen yet that looks like mine, but it has the same feel to me of special touches and unique design. This is why I chose to make a basic white blouse superbly snazzy with a scalloped front collar pattern. Here’s to both the red, white, and blue and the power of a strong woman clad in 1940’s fashion!

THE FACTS:

100_4818-compFABRIC:  It is a rayon, cotton, polyester blend “linen-look” line of fabric from Hancock Fabrics store.

NOTIONS:  I had all of what I needed on hand – the bias tape, buttons, and thread.

PATTERN:  Hollywood #1318, year 1944

TIME TO COMPLETE:  The blouse took me about 4 or 5 hours to make and was finished on March 17, 2015.

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THE INSIDES:  All edges are bias bound.

TOTAL COST:  Under $10

Being detail-oriented, this pattern was great for fulfilling my enjoyment of tricky time-consuming tasks which tests my skill (like all the scallops). Beyond any pleasing features, this was also compelling as it is the first Hollywood pattern which I’ve sewn. Hollywood patterns are often considered rarer (compared to Simplicity or McCall) and are slightly harder to find due to the fact that they were only made between 1932 to about 1947. Those patterns with a famous radio or movie name and face in the star on the envelope front are more special than those without. I must admit I have mixed feelings but am overall pleased using a Hollywood pattern. Its instructions were laid out differently, in a way I found a tad confusing and not as clear as they could have been. The finished blouse did seem to turn out on the generous side, too – not something I find in vintage patterns too often. I’m wondering if this tendency to run a bit large is connected to Hollywood patterns, because it certainly doesn’t have to do with the fact the pattern is unprinted (as surmised after making many other unprinted patterns). I do find their designs lovely, so I shall see what happens when I sew up the other handful of Hollywood patterns which are in my collection.

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Being an unprinted pattern using the “punched out holes” method, the scalloped front edge took a ton of marking. I just kept filling in hole after hole after hole! Then I ended up with what looked like a big connect-the-dots puzzle. The pattern piece layout guide on the instruction sheet clarified any confusion I had, but I just needed to think of how the finished product needed to look to figure it out anyway. It might sound hard but it was really fun! The only not-fun part was snipping the curves and turning them right side out into perfect half circles. Every time I do this much snipping, I always save the zillion of tiny triangles leftover…someday I hope to do something wildly creative with all these little pieces of fabric confetti.

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The instructions did not call for interfacing or any kind of stabilization, and although I know old vintage patterns leave out many basic elements of sewing because women “knew” what to do already, I left it out. I wanted my blouse to be easy care with a soft appearance, and interfacing would go against that aim. The neck and collar edges are faced, but not interfaced. I merely used a tight stitch length to keep the fabric from stretching and make my time to sew those amazing scallops not spent in vain.

100_4915-compI am impressed with the ingenuity of the sewing method to the collar. I believe it is a sort of a simple “waterfall collar” and is cut as one with the blouse front. The self-collar is cleverly manipulated so that it turns, gets slashed and darted so that it goes towards the center back neck, making the collar naturally lay open the way you see it. This part was tricky, and I got it wrong at first (due in part to the slightly unclear instructions), but with some unpicking and a little re-stitching, it came out right. Vintage patterns are so smart, they never cease to amaze me.

Down the front, the buttons are antique real mother-of-pearl, carved into a nice smooth knot with a deep inner cut out where they get sewn down. Sure the buttons are ivory on a white blouse…but I don’t care. I love how the buttons feel so cool – sometimes even cold – to the touch, much like how marble stone or metal keeps a differing temperature than the air around it. When I feel this it makes me aware of how special this blouse is to me. It has something about it you just can’t find anymore and knowing sewing can bring vintage back. However it does make me a bit apprehensive to clean this blouse in the washing machine on account of the buttons. They are extraordinarily thick nodules, otherwise I’d never have put them on in the first place. So far so good, but now that I’m talking about the buttons I don’t feel like pushing my luck and it might resort to hand washing from now on.

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My blouse goes with many different bottoms, but I like it best with a basic color skirt, such as navy blue so I can wear red accessories and feel like Agent Carter. However, for Easter 2015’s daytime ‘visiting with family’ I changed into my white blouse with a bright plaid skirt (modern thrift shop find with 40’s details) and an authentic vintage 40’s hat.

Do you have a favorite blouse which has some detailing which makes you feel special just to put it on – is it simple or snazzy? Do you also have a garment that you made in imitation of someone in Hollywood? Does imitating that Silver Screen starlet inspire you to attempt sewing a challenging garment? (This has happened to me on a few occasions already!) It’s amazing what we who sew (or knit) will do in order to make real our dream garment, isn’t it!

P.S. This blouse was part of an “Agent Peggy Carter” ensemble which I put together for being featured on “PopWrapped – Fan Tribute” (see the post for this here).