Runway Relaxation

Only a fishing spot in the middle of a pond could provide such a relaxing method of modeling my casual dress on the “runway” of a boardwalk.  I just can’t help but think of songs like, “Under the Boardwalk” or “Sittin’ on the Docks of the Bay”.

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This dress does not have the best fit and is not one of my better projects (in my estimation), but I don’t care.  It’s still done well, and was a quick and fun sewing project that gives me an easy garment for lazy days and playtime.  No pressure, just pleasure – this is one project where I let my “hard-on-myself” standards go, and it really feels good.

THE FACTS:100_5406a-comp,w

FABRIC:  a lovely half rayon modal and half supima cotton blend knit. 

NOTIONS:  I already had the thread and interfacing needed, but, in lieu of buttons, I went and bought the things to add on snaps down the front placket.

PATTERN:  McCall’s 6747, year 2013

TIME TO COMPLETE:  I took a total of about 6 hours to make the dress and another two hours to install the snaps.  It was finished on June 13, 2015.

THE INSIDES:  left raw and loosely stitched together

TOTAL COST:  I didn’t care to wait to get the best price and risk losing my chance to buy the fabric.  Thus, for a total of 2 yards I spent about $12 to purchase this fabric from the now defunct Hancock Fabrics.  The snap installing pliers and necessary supplies were bought from Wal-mart for about $20, but it really free because I used a gift card to pay.

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Some words need to be said about the fabric.  A modal and cotton blend has great qualities, and is indeed lovely to wear because it has a fluid drape, like a rayon challis perhaps, but the added stability of it being a stable knit helps it keep its shape.  This particular content blend also feels so breathable, lightweight, and comfortable on the skin, that even in warmer weather, my striped placket dress still is cool to wear with its long maxi length and ¾ length sleeves.  (I also like to protect myself from the sun, too, and don’t mind covering up to do so…anything to avoid sunscreen – yuck.)  Then, in chilly weather, the fabric’s brushed feel makes it cozy, while the neutral tans and brown on the fabric work for spring and fall.

However, on the flip side to all the positives just mentioned to the fabric, but it is a bit stressful to sew.  It seems that the way the chains form into a tight knit together with the fine rayon and cotton makes for a delicate fabric which acquires holes and tears very easily.  From my experience, I notice that both 100% cotton knit and 100% rayon knit also have the tendency to be similarly delicate to sew, but combined together make for an unpredictable character under your machine needle.  I used a medium weight, knit fabrics needle for sewing my dress, and I do not think a professional might have used much else, but as it was, if the machine came down on a chain of the knit the wrong way…whoops!  Then, there’s a minutely small but still unwelcome hole.  This same thing happened, as I mentioned above, to the rayon knit of my yellow 1946 blouse and my cotton knit Doris Day 1947 blouse. Boo hoo.  Apparently, this is where a small amount of “Fray Check” liquid comes in handy if I can’t screw up my eyes for some incredibly tiny stitching.  I just can’t win ‘em all.

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I changed the layout of this pattern to accommodate the way the stripes of my fabric were laying and the fact I only had two yards.  Vertical stripes as wide as these cannot go horizontal and look good…and I wasn’t going to try and see otherwise.  Luckily my fabric was 60 inch wide and so my dress’s hem and top (shoulders and neck) were at selvedge and selvedge.  I was thrown off with the sizing of this dress being a non-number sizing, merely an extra-small, small, medium and so on.  I was in between so I went up to a small, but now I wish I would have went up another size all over, maybe more so for the sleeves.  I will have to remember this about the sizing since I want to try this pattern again for a top.  Nevertheless, I’m happy enough with how this dress turned out.  I’ve got other striped dresses and the stripes in this close fitting dress shows off body curves far more than a baggy frock would anyway.  I’ve got curves…why hide them?!

 

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This was my very first placket and I feel like I graded pretty well in my own report card.  However, the pattern’s instructions might have been better than to leave the raw edges exposed, but hey, with knits raw edges are o.k. anyway.  (My successive plackets sewn into woven fabrics all have enclosed seams.)  The placket pieces and the neckline facing were both cut out of one solid color stripe for some fun symmetry.

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Taking things to another innovative “first” for me – I did snaps!  Installing the snaps took maybe as much time as my total to make the dress itself, but since it was a quick project I wanted to spend some “extra something” to give it a special touch.  It was rather unnerving to actually go ahead and place the snaps in my good fabric of the dress because there’s no room for a major mess-up.

Not knowing where to start, I bought the only option available at the current sewing supply sources – a bench press style kit which had the pliers and a dozen lovely pearl-topped snaps.  I experimented on some scrap fabric with similar thickness as the dress’ placket and found that making snaps is hard and tricky!

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At first, we (meaning I had my hubby do the brunt of the squeezing of the press) found that not putting enough pressure into the snaps makes them not even hold together…but, we later found out (on my dress’ snaps, bummer) that too much pressure is also bad.  Squeezing the press too much smashes the snap backs to smithereens and mars the pretty pearl tops.  Apparently there is a fine line of how much pressure to apply for the perfect snaps.  A fabric store employee told me about another option – a method where you tap with a hammer twice on the snaps set in a base, more like eyelets…but I can’t do eyelets all that well on fabric (I’ve tried) so that might not work for me.  Oh well, I still like my snaps, think they will stay through wearing and washing, aaaand gives my dress a touch of ready-to-wear.  I’ve had compliments on this dress, and it’s always, “No way – you made that?!”  You bet.  This feels so darn good.

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My necklace is special to me.  Ever since my first visit as a pre-teen, I’ve loved the “Gem and Mineral” shows and exhibitions which go on in our town, where you can find out about the rocks and geology of our earth.  There I can just look and learn but also buy amazing, special, related items at reasonable prices, as they are coming from the vendors who make and/or source the gifts.  My all-time favorite gemstone is malachite, the first in my rock collection.  Finally, I recently bought myself a jewelry piece of it…the heart shaped pendant you see in my pictures.

100_5585-compWhat would a fishing pond be without duck bottoms!?  Aren’t they cute!  A family of ‘quackers’ were piddling around me during the photo shoot and the little ones kept dunking for a meal, entertaining me.  Hopefully the duck parents don’t mind me sharing a picture of their kids’ rears.  Nature can be so relaxing – helped out, too, by a carefree handmade dress to make one feel wonderful!

Basic is Beautiful

Don’t you just hate it when a longtime favorite and much loved wardrobe staple of yours gives up its ghost?  Yeah, always a bummer!  My decade and a half staple – a bohemian-style, maxi length, lightweight denim skirt – ripped apart from too much love.  Well, for someone who sews all chances of having a replacement is not entirely lost.

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It took me two years to find the right pattern and fabric to finally have a lovely replacement that I love almost just as much as my original – this is saying a lot!  Sure, I had plans to make a pattern from my old favorite but I realized it might not be a bad thing to move on with my style and try something similar yet different at the same time.  Also, because one basic staple deserves another, I have my new denim skirt paired with a slightly seductive, vintage, knit white tee for another wardrobe filler.  I’m hoping my set has a slight nod to the 1970s era yet still stays modern.  To have a garment be an indispensable staple piece, yet also vintage and modern, is the best combo ever for those days when I want to blend in yet still wear styles which pay tribute to the past.

Every time I make something really needed and purposeful (not just what tickles my fancy), I realize how beautiful sewing the basics can be.  This is why my outfit (specifically my skirt) is part of the Petite Passions’ Wardrobe Builder Project for the month of May. As you can see, it is helping me get the motivation to build on my everyday casual wardrobe!

THE FACTS:McCall's 6623, year 1979-comp,w

FABRIC:  Skirt – 2 yards of a lightweight, light wash, denim chambray with scrap Kona cotton for the waistband lining; Top – less than one yard of a ribbed cotton knit

PATTERNS:  Skirt – Burda Style “Tiered Denim Maxi Skirt” #102 B, from April 2017;  Top – McCall’s #6623, year 1979

Tiered Denim Maxi Skirt 04-2017 #102BNOTIONS:  Besides the invisible zipper, which I bought because I don’t necessarily keep ‘specialty’ zips on hand, everything else needed was basic (thread, interfacing, bias tape) and came from on hand.

TIME TO COMPLETE:  The top was sewn a while back now, finished on August 24, 2015 after only 3 hours’ time.  The skirt took me about 5 hours to make and was finished on May 16, 2017.

DSC_0416a-comp,wTHE INSIDES:  My skirt is all clean inside with both French seams and bias tape while my knit top is raw edged inside (as it doesn’t fray).

TOTAL COST:  The top’s ribbed fabric was a miserable little scrap remnant – technically it was about one yard but was badly hacked into with all the corners squarely cut off.  See below the “tight squeeze” to fit the pattern pieces on it.  The knit was bought for about $2 when Hancock Fabrics was closing.  The denim was bought the year before from Jo Ann’s Fabric store for about $9 (more or less I don’t remember).  I suppose my outfit is about $12 but priceless in utility to me!    

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Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced from the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t know.

There were only subtle changes that I made to the skirt for my version.  The main change, to lessen the gathers of the lower panel, was part taste.  I planned on doing that anyway, but the amount of the gathers was dictated by the fact I was working with only 2 yards of material while using a pattern calling for at least 3 yards.  I am a smaller woman, and on the edge of being petite height, so I figured such a full maxi skirt as the original design might be a bad idea.  I really do like the skirt fullness as it is now even if I did not get to choose exactly how I wanted it.  Sometimes “making do” works better than trying to start from scratch to be ‘perfect’.

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Other than changing the amount of gathers, I sewed the gathers onto the upper skirt piece like a normal seam rather than top-stitching on like the pattern called for.  This top-stitched panel would’ve created a frilly ruffle where the two panels came together.  I was decreasing the gathers for a slimmer skirt and a frill through the middle of a half-gathered panel would have messed with the silhouette.  This regular seaming also saved me the trouble of finishing the one edge of the gathered panel so I could equalize my time spent to invisibly hand-stitch down the hem.

I already took out 3 inches from the overall length but my hem even still became a wide 3 ½ inches.  This baby runs very long as if it is a “Tall” sized pattern.  It does sit on the hips, with the top of the skirt riding just below my true waist.  As one who wears a lot of vintage, which almost always has a high-to–true waist, I still like this feature which is more modern, it’s just a change for me (not a bad thing, as I said above).

DSC_0404a-comp,wAs I went through the extra effort to make no stitching visible, under stitching the facing at the waist and having a hand-done hem, I figured an invisible zipper here was the only way to go.  After having my last invisible zipper failing on me and trapping me in my dress back in 2012 (post on that here), I have taken a long hiatus from this specific notion but coming back to it has been a refreshing and rewarding success.  I love how you don’t see anything but the zipper pull…but, yes, I realize that’s why they are called invisible!

My top is the third time I have used McCall’s #6623 pattern – this is unprecedented for me!  (Here are my first and my second versions of this pattern.)  I still yet want to have the gumption to make and wear that strappy cold-shoulder version.  The tank is so lovely and basic I need to make a few of those in some basic colors.  For some reason I really love this one pattern, and it loves me by the way it fits me so darn well.

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I find this pattern interestingly unique, not just from the fact that each view top has its own pieces (none shared), but because of the small “From a Norton Simon Inc. Company” logo next to the McCall’s logo.  This pattern’s year, 1969, was a decade after Norton Simon himself retired from active involvement in his business.  What’s up with that?!

McCall's 6623, year 1979-comp,zoomNot too many people know that Norton Simon, the smart art collector and businessman behind Max Factor cosmetics, Avis Car Rental, and Canada Dry Corporation (to name a few), also controlled the McCall Corporation and all its publishing (magazines and such) between 1959 and 1969.  How I have not heard of this man, who seemed to have an influence in so much of the companies and products that are a part of our modern lives, before recently?  He was on the cover page of TIME magazine on June 4, 1965, in People magazine (1976), and even ran for the United States Senate (in 1970).  His conglomerate is now ranked 112th on FORTUNE’S list of the 500 largest American corporations    I wonder why this is the only McCall pattern I have seen with his naming rights on it.  See – patterns are so interesting in so many ways!

Sewing this top was super simple and easy.  This is the first time I have used this pattern un-altered.  I did have to add in snap on lingerie straps made from ribbon to anchor the shoulder to my underwear.  Otherwise the shoulders on this open-back hottie piece slide a bit all over the place.  Basic bias tape adds a bit of soft shaping and contrast finishing for the neck edges, and a little left chest pockets adds some small utilitarian interest.

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My biggest setback was working with the rib knit – a very first for me to work with.  I thought I had this pattern understood but not this time.  I had to sew the side seams several inches smaller than normal to accommodate the give of the ribbing.  It acts like a slinky toy!  It was a tough call to figure out the sweet spot between too loose of a fit and too snug.  I didn’t want the rib knit to lose its design when fitting over me yet I wanted it to be body complimentary without being a second skin.  After several stitchings, un-pickings, and re-stitching spells I like the balance I found.  This top does look so hilariously small on the hangar – the ribbing springs back so it seems like something for a 10 year old girl.  It also is best dried flat after washing.  The weirdness of the rib knit also meant all my hems are unfinished – not by choice but at least I think the raw edges look good on this occasion.  This quirky material has a definite personality!  Working with it was a definite learning curve.

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Between all the challenging and involved projects that I want to make (from my too numerous ideas), sewing basic necessities always is a pain to get around to.  Who completely wants to sew something merely because you need it, when nowadays ‘stuff’ is so easy and available to buy?  And yet, such sewing also always ends up so satisfying for me and it always amazes me.  The staple clothing necessities that you reach for everyday can be an uncommon source of creative pride and possess better individual style if you don’t exclude them from receiving the personal touch of hand sewing.  I’m practicing what I preach lately by giving away a good amount of the ready-to-wear that I do not like or use so that my ‘me-makes’ and my vintage pieces can take over my wardrobe.

Do you make your tees, and jeans, and anything else basic?  If yes, do you like them better than the ready-to-wear option?  Have you ever worked on sewing up a replacement for an old favorite garment?  Is sewing what you need something that you have a love or a hate attitude towards? Maybe, like me, you feel a bit of both?  What is your experience (if you have one) with rib knits?  One last query – has anyone else seen a McCall’s pattern with a “Norton Simon” logo?  If you have any feedback for these questions, please do share – I like to ‘hear’ what you have to say!  As always, thanks for reading.

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“Retro Forward” Burda Style – “Fill in the Blanks” Gather and Tuck Dress with Purse

If garments could be reasonably conscious, this dress would definitely be very confused.  My original plan was to make a knock off a Dolce & Gabbana outfit from fall of 2016, but the pattern which I used for the dress is from 2013.  The knit tulip fabric I used is vintage from the 1970.  My husband says the finished dress reminds him of the 1980’s, and here I thought it reminded me of the 1930’s!  Finally my purse was self-drafted off of an existing 1940’s leather purse from my wardrobe but has more of a 1950’s air now that it’s completed. Gosh – almost every decade from the past 80 years has some sort of influence (in our eyes) to this outfit.  Confused much?!  Is your brain alright?  I know my head is swimming.

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Linda of “Nice dress! Thanks, I made it!!” hosted the “Designing December” months back now and personal illness combined with a busy holiday season made for my being unable to even get around to making this dress and purse until recently.  Besides, everything that had to come together for me to even work on this project was slow and time consuming, but don’t get me wrong totally worth every minute.  Thus, my outfit is being blogged late but perfect for those chilly spring season days that hang around right about now.  It might be spring, but it feels like winter some days in our climate…and this subtle but cheery, long sleeve black dress with a season-less hound’s-tooth fashion purse suits those times perfectly.  I know because it was quite brisk and windy the day we took these photos, and I am sensitive to the chill.  Sigh…a warm enough spring is so long in coming sometimes.  That’s why I need to wear some bright tulips!

THE FACTS:

FABRIC:  for the dress: The tulip fabric is a polyester interlock knit vintage from the 1970s ordered through an Etsy shop, the skirt flounce is a modern, newly bought solid black poly interlock while the lining fabric is the same except in white.  The neckline facing is a cotton broadcloth remnant.  For the purse:  novelty hound’s-tooth felt and polyester imitation snakeskin (leftover from this dress) for the outside, light blue lining on the inside with a big pocket made from a scrap of cotton leftover from this apron.#112 Gather and Tuck dress, line drawing

PATTERN:  Burda Style’s Gather and Tuck Dress, #112, from September 2013; no pattern for the purse, it was self-drafted

NOTIONS:  This dress and purse used up a lot of what was sitting around on hand – such as charms, buttons from my Grandma, elastic, interfacing, and thread.

TIME TO COMPLETE:  I have no idea how much time I spent to prep the tulip fabric, but the making of the dress took about 8 to 10 hours.  The purse was started and finished in 4 hours.  Both were done and ready to be worn on March 13, 2017.

TOTAL COST:  The vintage tulip knit was about $10, the modern interlock knit (in both black and white) for the bottom flounce and the lining were just under $20, and the cost for all the fabric pen packages was $15.  Everything for the purse was already on hand (bought years back) so I’m counting that and all the notions used from out of my stash as free.  I suppose this outfit is a total of $45.  This is more than I typically spend for many other outfits I like much better than this one, but I had a creative itch I needed to scratch!

As for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced off of the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t know.

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First off, I will say that my first impression of the dress at the pattern stage was one of strong dislike.  The comments on the bottom of the pattern’s page online express “terrible look” and “reminds me of Downton Abbey”, and yes, I agree. However, the line drawing is what kept pulling me in…the style lines are lovely and indeed vintage inspired.  This is why my dress is included in my ongoing “Retro Forward Burda Style” blog series.  As to the vintage inspiration, I listed most of it at the top of this post.  My favorite vintage pattern that I think looks quite similar is a Pictorial Review Pattern from the 1930’s, no 6459 (picture on Pinterest).  It is labelled as a “Duchess de Crussol (d’Uzes)” personal pattern design, and as that is one of the oldest premier dukedom in France, this design must have been a big and rare deal for Pictorial Review to offer.  After all, Dolce & Gabbana’s summary of their collection references “the ’30/’40s shoulder line of the Cinderella-referenced puffed sleeves.”  Modernly, though, I feel like the “Gather and Tuck” dress is a slightly poufier version of another one of their patterns – Burda #7127.  Perhaps I should have chosen this dress design instead…oh well, too late for this thinking.

I had the feeling the “Gather and Tuck” dress design needed something bold and not in the least cutesy or else I could not pull off wearing/liking it.  Enter one of my favorite fashion houses – Dolce & Gabbana to the rescue courtesy of their Fall 2016 ready-to-wear Dolce & Gabbana Fall 2016 Ready-to-Wear -comp,comborunway releases.  I love all the details of that whole entire line (especially this one), an occurrence unique to me, but the tulip dress especially struck me…it was just something I had to have for my own and it would be something unique for my wardrobe.  Luckily, it strongly reminded me of Burda’s “Gather and Tuck” dress.  Now I had a tip as to what fabric print might work for such a quaintly designed pattern!  Then came along Linda’s “Designing December” sewing challenge and I knew what I had to make for it.  Finally, because I love to go all out for an awesome outfit, I even imitated the purse.  The model’s handbag reminded me of a project I had been wanting to make for the last 3 years, with the hound’s-tooth fabric and everything I needed to make a purse luckily (and conveniently) waiting downstairs to be whipped together.  Granted I know my outfit is not an exact copy, but to make a carbon copy would have resulted in something I might not have liked as much as this version which still stays true to my own taste.  I do not know if I fully succeeded in achieving what I’d hoped and envisioned originally in my head for this outfit, but I feel like it’s a successful attempt.  If I can’t buy designer, I’ll have my own designed style!

What is the most special and time-consuming part to making this project is the fabric.  It is hand colored!  That’s right – why just leave the current coloring craze to be restricted to paper pages in books?! This was a complicated yet invested choice – a desire to have something incredibly personal, creative, and out-of-the-box, as well as out of necessity. I could not remotely find any tulip print I liked to also have a lovely drape except for a 2 DSC_0882a-comp,wyard remnant piece of old 1970’s era knit in a black and white tone.  So I used fabric pens to color in the yellow tulips and draw in two-tone green leaves to end up with the closest possible match to the original Dolce & Gabbana fabric.  I worked in spurts, setting aside about an hour or two at a time to fill in a portion of the fabric until it was done.  Yet, I didn’t just color – a tried to add texture when drawing the leaves and a hint of yellow to the flowers, not an overpowering brightness, with a random tough of black for the stamens.  Too bad the true-to-life colors do not translate well enough through the pictures as they are in real sight.

Using fabric pens was fun, but also sort of a nightmare.  I actually had to end up buying 5 packages (two different brands) just to finish.  The fabric pens were brush tipped and between the material soaking up the ink and also fuzzing up the tip of the pens, there was a disappointingly short life to them.  The tough part was the specific green colors I was using.  The dark forest green and the lime green were hard to find in the heat-set type of fabric pens I preferred to use.  I found some online but the seller on Ebay that I ordered from was dishonest and sent me something I did not order.  Desperate, I ended up finding what I needed to finish from Wal-Mart, which had these cheap $3 packs which worked well enough.  From this experience, I can say that three things – I think Crayola fabric pens are the best working brand of fabric pens, I definitely prefer heat-set fabric pens, and make sure to have several back-ups of your colors before doing a project.  This is advice from a lesson well learned.

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Now, to get to some info on the actual sewing of the dress!  I found the sleeves to be rather skinny, the top half of the skirt to run small, and the rest of the dress a tad on the generous side.  It sewed up pretty well, but some of the directions were just plain bad and ended up a little silly and bulky.  The “slash-and-gather” darts at the waist and the mid-shoulder line are by far my favorite feature but kind of turned out a little weird looking where they end to meld into the dress.  Two of my 1940’s projects (see here and here) have very similar “slash-and-gather” dart details at the shoulder line, although this Burda pattern has them on the back as well…very nice!  The pattern originally called for only one button at the top of the closure, but I felt the pull from the gathers made me feel that the neckline needed another.  The bottom third button is decoration only.  I did leave out the wrist button closing on the sleeves, as my fabric is a stretchable knit.  Other than the button closures, I made no real changes to the design.  When you see the V-neckline in some of my pictures that is not a permanent thing.  See – it’s merely me folding half of the high neckline inside for an easy and quick change to the look of the dress.

Perhaps you didn’t notice, but there are no closures needed to be dressed in this frock.  The waistband gathers are mostly from an elastic casing made out of the waist seam allowance, and besides the neckline buttons, that is everything it takes to put this dress on.  I’m so used to zippers in a dress that it kind of felt as if I was forgetting something.  This one feature offering both easy dressing and lack of zipper setting was a nice change for me to come across.

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So…after everything I’ve said, I am not all that crazy about my dress.  Pooh pooh!  It is comfy, easy to move in, feminine, and flowing.  Wearing a sweater with it makes the dress better in my opinion, but then you can’t see all the details…meh.  I just am not 100% decided that I love it or even look good in it.  “Is it only weird or obviously dated?” I wonder.  That lack of full confidence is what’s holding me back, but the amount of time and work invested in this project makes me think, “I’d better darn well wear this and be proud of what I made…”  I have to throw some of my indecision to the wind (literally as it was breezy the day of these pictures) and just be content.

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To be definite about one thing, I am absolutely tickled about the purse.  I really could not be happier with it and it should see much use being so roomy, practical, and stylish all at the same time.  I am resigned to not having an awesome buckle (like the original Dolce & Gabbana one) because my purse has a perfectly matched novelty hound’s-tooth printed zipper instead!  This was combined with the opportunity to use some snazzy “Hilary Duff” brand charms from out of my jewelry stash to ‘bling’ up the closing flap.  I do love Fleur-dis-lis anything!

DSC_0302a-comp,wThat hound’s-tooth print of the purse is felt, but is was first strengthened with iron on interfacing then re-enforced, as was the rest of the purse, with stiff sewing interfacing.  This way it keeps its shape well.  The edges were covered and stitched with self-fabric binding but every other seam is self-enclosed by the combo of lining/flap facing.  There are buckles coming out of the side panel pleats, so I can totally change out purse straps into something else if I so please.  The zipper was hand-sewn in last, not to necessarily make things hard for myself, but because there was no seam to connect to on one side and I wanted invisible stitching.  All in all, my one regret is that I did not make a pattern out of what I was doing so I can re-create it or even share it, too.  I just wanted to enjoy making it and get it done so I could use it!  What a one track mind I have at times…

Simplicity 1727, year 2012For the record, I did go the extra mile to make a removable collar out of the black imitation snakeskin that went on my purse.  The original Dolce & Gabbana dress has a black swede collar on it and I intended to imitate that but hated it on me on the dress.  I’m so glad I didn’t sew the collar into the dress!  I used a Simplicity #1727, a pattern of nothing but various removable collars.  My make from it turned out great and I will show it to you, just not with this post.  I seriously don’t know how the model pulls off the whole outfit so well with the collar, though!  I will try to match my collar with something yet and show you then.

Investing so much effort in this outfit might not have given me the best results, but I learned from it, did new things, and followed an idea.  Taking the safe and sure route for a sewing project doesn’t always do all of those things, right?!  It’s all part of what sewing and creating is about, anyways.  “Fashion makes people dream—this is the service fashion gives,” Stefano Gabbana has said.  I agree.

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Water Nymph

The month of April is synonymous with being wet from spring showers.  The month also frequently hosts the holiday of Easter as well.  I think I’ll just be ‘one’ with it all!

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To me, there is almost nothing that equals the calming noise, relaxing loveliness, and happy beauty of being at a woodland pond and trickling creek.  Top this off with a perfect spring afternoon and Eastertime – and we couldn’t ask for a better place to hang out, do some weekend recuperating, and take some photos of my newest dress.  It is made from a simple pattern at the heart of the “Flower Child” era, 1969, and has a water-marked sort of faded tie-dye knit to match.  My inner “nature goddess” needed a self-made lilac flower crown to complete the whole ensemble!  However, for some of my pictures later on you’ll see me stripped of the sash belt, flower crown, and even shoes to go more ‘natural’…

I see pastels everywhere (fashion-wise) this season, and I am not one to purposefully follow trends, but the new, rayon-based, super-soft knits at my local fabric store tempted me, too much.  They also happen to be a designer line!  Now I can be on trend, yet still sneak in my vintage love with this dress, he he.  Vogue 7463, late 1968 or early 1969

THE FACTS:

FABRIC:  a Kathy Davis Designer brand knit “Eraser Purple”- 97% Rayon 3% Spandex knit.

PATTERN: a Vogue #7463, from either late 1968 or early 1969

NOTIONS:  nothing but thread and two small strips of interfacing were needed –simple!

TIME TO COMPLETE:  the dress was finished on April 1 (2016) after about 8 hours spent to make it up.

TOTAL COST:  This fabric was a very recent purchase from my local Jo Ann’s fabric store.  I spent about $18 for two yards…a bit more than what I’m used to spending but worth it for a designer printed dress like this one!

This garment is part of two sewing challenges actually – the “Wardrobe Builder” dress project for April as well as the “Easter-Spring Dress” sew-a-long.  It is part of the “Wardrobe Builder” project because firstly, it is a dress, plus being one that is so very practical yet dressy at the same time.  This combo should make this a nice go-to for early spring, especially since it has long sleeves to keep me warm enough through the chilliness we so frequently have through the season.  My dress is part of the “Easter-Spring Dress” sew-a-long because of the obvious…it is perfect for spring and was specifically made to wear on Palm Sunday. This is part one of two dresses for this sew-a-long.

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Only because the design was so simple was I able to plan for two new garments for Easter time!  Although it is simple, the design is first class.  The instructions were very complicated for what one would think looking at the cover envelope picture and design lines of the dress.  The instructions were meant for a fully lined dress with fancy tailoring and made of a flowing woven as suggested by pattern back.  My own dress was much simplified, mostly due to the fact it’s merely made from a single layer of a drapey knit with no seam edge finishing.  I’ll admit I am not used to working with true vintage Vogue patterns – maybe such thorough instructions, fine designs, and nice details are the norm of all their offerings, whatever era they come from.  I do generally love the modern “Vintage Vogue” line of patterns for those same features.  Maybe, I just have a new ‘need’ to find and make some more old Vogue patterns!DSC_0036-comp,w

The rayon knit has a shifty, heavy drape so the wide bateau neckline, which is the highlight of the dress, needed to be interfaced.  I used a stiff, sew-in mid weight interfacing attached to just the one-piece, self-facing which gets turned inside the neckline.  However, the rest of the dress was left without anything to stabilize the seams and this seems to work out fine, but I still am not sure.  Was I supposed to add in seam tape to the long French bust darts, at least – or maybe to the side seams, too?  I didn’t.  The dress seems slightly generous in fit the way and I supposed it was because of the nature fabric but I don’t mind – it only adds to the comfort of wearing it.  However, I do have a very strong suspicion that this dress will “grow” after every wash, the fabric getting slightly bigger and out of shape.  That’s why they added in spandex to the rayon, to prevent this, so I shouldn’t be suspect.  So…for now I’m happy with it the way it is and if it does “grow” on me the more I wash and wear DSC_0047-comp,wit, I suppose I’ll either take it in or/and add on the seam tape then.

Only minor adjustment were made – to lengthen the dress hem and sleeve length by one inch.  I like this length of the dress (and it has a 2 inch hem) but the sleeves took about a 4 ½ inch hem to get them to the length they are and they are still a tad long.  Other than the fact that the sleeve armpit seam dips rather low for my preference and I raised by just under and inch, this dress was straightforward to make.

My floral crown was made from artificial lilac stems bought at the dollar store, carefully layered and wrapped around a band of floral wire with floral tape.  This coronet only cost $1 and I’m so pleased I could spend so little to come up with something every bit as lovely as I had hoped.  I would totally wear this out much more than I will, in fact – boo hoo.  It is so fun!  Hubby lets me do my own thing with my projects and outfits, but this floral crown makes him sigh and roll his eyes at me…really?!  Yes, really – it is awesome to wear just what I want and frolic in a lovely flower crown, just because I came up with an idea and was able to make something of it.  Luckily, previous experience from briefly working at a floral shop came in handy here…

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I do have to laugh at myself that I sew with a non-floral fabric and have it in my mind that it is inspired by nature.  It figures!  Oh well – after spending the week before at home being sick, this outfit gave me the prod I needed to get out and enjoy my favorite part of the outdoors.  Inspiration is everywhere.

For more pictures of my ‘frolicking’ through nature in this outfit check out my Instagram!

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The “80’s Secretary” Color Pop Dress

Usually when a modern pattern is made, one doesn’t sew it so it can look dated.  In this case, I think doing so does this pattern and my chosen fabric better justice.  Besides, it’s the perfect opportunity to make the most of a frizzy, uber-curly hair day for a total 80’s look!

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I used my shoes to help the highlight color in my fabric “pop” – is it coral, or is it an orange tone or just something in between?  Whatever it is, it’s fun!  This was a project that was such a totally good surprise, one I didn’t see coming until it was finished.  You see, I was on the fence about this fabric when I bought it, hubby was plain out negative, but the fiber content won me over to buying it because it’s my favorite blend.  The blend of pima and modal in a knit is so soft and luxurious.   I was doubtful about the pattern, too, but somehow the combo of the design and the fabric, or maybe just the way I laid it out, turned out a winning dress in the end.  This is my favorite go-to winter dress…not only do I feel awesome in this but it is also so cozy warm!

THE FACTS:                                                                                             

FABRIC:  A pima cotton and a rayon modal half and half percent knit.  The lining knit is a sheer lightweight polyester leftover from this 1940 suit set meant to add warmth and prevent the fashion fabric from clinging too much.Simplicity #1716, line drawing, year 2012,combo

NOTIONS:  I had everything I needed – thread, seam tape, and elastic

PATTERN:  Simplicity #1716, year 2012

TIME TO COMPLETE:  The dress was finished on February 15, 2016, after about 8 hours to make.

THE INSIDES:  Neither the cotton/rayon fashion knit nor the poly lining fray, so the raw edges are left basic and, well, raw.

TOTAL COST:  This cost just under $15

Ever since sewing my first knit top with a twisted neckline detail, my 1935 blouse, I’ve been on a quest to find the right design that I am perfectly pleased with.  Then, I tried Simplicity #1613, but that turned out o.k., not fabulous like I’d hoped.  Now, this Simplicity #1716 rocks my boat and is my perfect twisted neckline detail top, even if I did go and turn it into a dress.  Third times a charm, I guess.

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I am very happy with the pattern.  The design is great and turned out exactly as shown.  The clear, concise instructions made a tricky and semi-complicated detail easy to accomplish.  The neckline was just enough of a challenge to be satisfying, too.  It is so very important to be precise here, I think, for this neckline to turn out well.  All those markings are important in the end, and even though it was hard to find and sew in certain spots, by exercising patience (with some venting of non-child appropriate words) I was able to somehow gather and stitch in certain seemingly non-stitchable spots.  My double layered fabric was the limit of what this neckline design can handle, and I think thinner, non-bulky fabrics are ideal to make this easiest to sew, I think.

For the rest of the dress, I went up a size.  I’m glad I did for I think this pattern runs small and I didn’t want a body suit sort of fit.  To turn a tunic into a dress, I added about 12 inches to the bottom.  I kept that extra foot of skirt rather straight and slim, just how I wanted it.

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The longest sleeves are a weird bracelet length – in between ¾ length and a full long sleeve.  I added on plenty of extra inches to end up with a long, long sleeve, much like the sleeves on this Burda dress.  My sleeves reach down to my knuckles.  This was on purpose because I like how the draping fabric bunches up around my wrist, but the sleeves are skinny so the extra fabric does look bulky.  The fabric is stretchy enough that I can still push them up to ¾ length easily.  My only complaint is that the shoulder seam is very short and doesn’t reach to where it should.  I didn’t think to check this ahead of time because the shoulder seam is a spot that I rarely have issues with for fit.  However, the generous upper sleeves and stretchy fabric makes the shoulder tops still fit and the busy print hides the ‘fault’.  Add on an extra inch or two to the length of the shoulder seam coming from the neck if you make this…just an f.y.i!

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The print, to me, is like a hybrid cross between a hounds tooth and stripes.  It’s like somebody was either scatterbrained, or went psychedelic, or perhaps was just plain inspired when they designed the fabric print.  It changes design slightly every 12 inches or so in a rectangular block.  Something in the back of my head led me to line up those design changes in the print at the main body points – bust, hips, and knees.  I think this is what made this outfit work!  It was my way to make this tube-style dress body be even more complimentary!

Speaking on complimentary, I cut the semi-diagonal chest/neckline panels on the cross-grain direction to highlight this feature, otherwise it would have been lost in the print.  I think this touch makes it look like more of a wrap-and-pulled down sort of neckline.  You sort of make an open cowl neck turtle, and then the diagonal panels coming DSC_0013,p-comp,wout of the front armholes extend out and over the cowl neck, get tucked in, gathered and stitched down.  This neckline keeps my neck and chest warm without being completely covered up.

My post’s title comes from hubby’s summary of the overall “look” that strikes him with this dress.  He said it reminds him of 1980’s era business attire.  I took it to the next level and thought “secretary” in my mind.  There is the traditional winter’s black in the print after all, with enough ‘pop’ to break the ‘boring’ category and keep it on trend.  To match as our background, we chose a late Mid-Century Modern office building that is a landmark in our town (which unfortunately needs rescuing).

This dress is another one of those projects that reminds me why I sew.  I can make exactly what I want to wear as well as something that caters to my needs.  The ultimate perk is DSC_0030a-comp,wthat this dress, and most of what I make, makes me feel like the best kind of me when I wear it.  Not that I need this dress or any specific clothing to be myself, but many people who only have ready-to-wear hate the way the way they look and feel about themselves in what they have on.  It seems to affect how often they go out and what their persona is out in public.  This is why there are “makeover” programs like the newest one I’ve seen, “What Not to Wear”.  A half of an episode was all I could stand to watch…I was yelling at the television.  The people on the show just don’t get it.  There is nothing more empowering than being self-sufficient, capable, and creative enough to sew, choose, and make what you or others wear.  It’s like artwork you can put on, and have others see the real you!  Sewing rocks!