“Just Whistle While You Work”

I know this year’s official Oktoberfest in Munich is over for this year.  Actually, though, the 12 to 17 of this month marks the very first occasion of this celebration, something which evolved from repeating the festivities surrounding the 1810 wedding of the Bavarian Crown Prince Ludwig and Princess Therese of Saxony-Hildburghausen.  Interestingly enough, the Brothers Grimm published their first edition of Grimms’ Fairy Tales, which included “Snow White” (“Schneewittchen“ in German) as story #53, around the same time in 1812.  What better excuse to post my outfit inspired by the legendary apple-biting princess with the most traditionally German background?  Let’s dive into my Snow White “rags” work dress, made of a 1937 design, the same year as the release of the first Disney animated film by the same name.  This post’s outfit is yet another installment in my ongoing “Pandemic Princess” blog series.

I am proud of how I incorporated the heritage of the Snow White story together with the year of its Disney film, especially when it comes to the fact that this entire dress was cobbled together from my scrap bin.  What we first see Snow wearing at the beginning of the Disney film (when she meets her prince while singing into the wishing well) has the title “rags” dress after all.  I both interpreted that dress literally and opened up room for storing more scraps – ha!  Snow was yet another princess who’s an unloved daughter working as the domestic servant in the house of her stepmother, much like “Cinderella”, and so it makes sense that her garb seemed cobbled together in tattered condition.  For my dress, my “rags” are all very nice material to begin with, so it might be scrapped together too, but it is still a very nice and comfy dress!  It also happens to happily be one I don’t have to keep perfectly clean and proper in while wearing (I don’t have many of these kind), or clean and proper in my grade of construction, as well, for a strange change of circumstances.

The location for these photos is a testament to the enduring, strong presence of German immigrants in the history of my Mid-Western American hometown.  It is a landmark for our city and called the “Bevo Mill”.  The Dutch-style mill was built by August Busch Sr. (of Anheuser-Busch fame) in 1917.  The story goes that August wanted a halfway point between his brewery near down town and his home in the county. It was later opened to the public as a restaurant.  “Bevo” is supposed to be derived from the Bohemian word “pivo,” which means “beer”.  During Prohibition (1920-1933), Anheuser-Busch brewed a non-alcoholic beer named that he also named “Bevo.  The place has a very Bavarian lodge kind of feel to it which was perfect for pictures!  I have many, many great memories of coming to this place since I was old enough to remember for good food and music with special friends and family. 

THE FACTS:

FABRIC:  100% linen – all leftover from my past projects. The skirt was a hacked up one-ish yard remnant from this 30’s skirt, the collar and sleeves came from this 1910’s era suit, and a rich brown soft vintage linen napkin set became the bodice and pocket for the dress.  Scraps of silk leftover from this blouse became the second contrast pocket and headband

PATTERN:  Simplicity #8248, a 2016 reprint of a March 1938 pattern, originally Simplicity #2432

NOTIONS NEEDED:  lots of thread and one zipper

TIME TO COMPLETE:  This dress came together in about 6 hours and was finished on July 21, 2020.

THIS INSIDES:  This is a “rags” dress made from scraps…it would be weird to be cleanly finished inside, right?!  The seam allowance edges are left raw.

TOTAL COST:  This dress cost me nothing!  I normally do not count the cost of material when I am using seemingly insignificant scraps, so this covers most of the dress.  The vintage table linen set was picked up for 25¢ and the zipper was on hand in my stash already, so I’m counting my dress as an ‘as-good-as-free’ project!

Women’s fashion for the year 1938 marked a widespread Germanic and Bavarian cultural influence that was unmistakable, frequent, and easily recognizable in late 30’s fashion for women.  A Germanic folk style had been creeping into women’s stylish street fashions before then because of nationalistic, racialist, and expansionist ideas stemming from both the collapse of the Austro-Hungarian monarchy during the First World War and Hitler becoming Chancellor.  “The traditional dirndl (a tracht) was also promoted through the Trapp Family Singers, who wore folk fashion during their performance at the Salzburg Festival (1936), and later on their worldwide tours.  In addition, the film “Heidi”, with Shirley Temple in the lead role, became a hit in 1937. By that year, the dirndl – and Germanic influenced fashion – was considered a ‘must’ in the wardrobe of every fashionable American woman.” (Quoted info from Wikipedia here.)  No doubt the influx of immigrants fleeing pre-WWII invasions and takeovers helped bring a new cultural influence into American style as well.  Folk fashion of central Europe had spread way beyond Germany but the fascination in the United States had dissipated by 1942 to be replaced by a craze for all things Polynesian and South American.    

There is a darker side to the German influence on late 30’s fashion, often called “Tyrolean”, which needs to be addressed.  The women’s League of the Nazi party promoted a “renewal” of the traditional Germanic designs, reworking them into a more attractive version of their folk costume which might easily entice women to adopt the styles outside of festivals.  The Nazi women’s League added short puff sleeves, a more form revealing bodice, and shorter skirt length…all scarily close to how we know the dirndl of today.  To me, Snow White’s “rags” dress seems like a hybrid, bared down version with no lacing or apron.  The way its bodice is a different color from the rest of the dress is reminiscent of an old-style tracht over-bodice with a conservative coverage over the chest, high rounded neck, and little collar.  Yet, there are the puffed sleeves and the shorter skirt.  However, this is enough of my rambling – I will dive into this topic deeper in my next post on the other Germanic fairytale princess…the one with magical hair who was imprisoned in a tower.  So stay tuned! Until then, visit my Pinterest page here on dirndls (modern and traditional) for some eye candy.

I suppose the most obvious choice of pattern to make a vintage Snow White outfit would have been Simplicity #8486, a vintage re-issue for the 80th anniversary of the Disney film in 1937, but as I keep saying for my princess series projects, I do not want a costume.  Simplicity #8486 is indeed a ‘37 design in its lines when you just look at the technical drawing, but it just seems a bit forced to make it in such a way that is a Snow White outfit.  Sure it works, but for my purposes it is too obvious of a character reference sewn like that.  I couldn’t see myself wearing these pieces otherwise, so I will come back to that pattern when I have a non-Disney inspired idea for it.  (I have made the pattern’s hat, posted here, and highly recommend it!)  Now I will explain at the end of this post why I gravitated to Snow’s “rags” dress rather than her princess one, but it was also an easy choice when another 1937 reprint – Simplicity #8248 – was an almost line for line ‘copy’.  This shows just how much Disney’s styling of Snow White makes her very much a product of the times.  I have been aching to sew Simplicity #8248 ever since it came out, anyway, and I was so happy to finally have a reason to do so!

My little bluebird pin on my collar is a gift to me from my Aunt!

Before diving into my Snow White dress, I checked out a few reviews on the pattern and immediately saw one constant warning – this pattern runs small and short-waisted.  I can now attest that this is 100% true.  Heeding the warnings (‘cause it’s better to be safe than sorry), I cut out one whole size bigger than what I needed (according to the given chart) and gave myself an extra inch in the bodice length.  It was a good thing I took these precautions – the dress just fits, and couldn’t be any smaller.  Any tighter in the bodice and I would have been restricted in reach room or my bust would’ve been smashed.  I do wish I had widened the shoulders more because they are too far in towards my neck.  However, the puff sleeve tops fill in for this fitting mishap.  I did have to take out the seam allowance from the waist down because the hips in the dress were snug enough to wrinkle and ride up on me.  I wholeheartedly recommend this dress, though – it is a cute design that lends itself to many differing interpretations.  The details are top notch (omg…the angular darted sleeve caps I chose from view B = love).  It was easy to sew.   It is a classic example of late 30’s fashion.  I will be coming back to this and making another dress from this pattern, maybe even color blocking the bodice panels.  It’s a winner – I hope you try this dress out for yourself.

Pockets just big enough for a to-do list, small handkerchief, or my lipstick – in this case Besame Cosmetics’ “Fairest Red”, a faithful recreation of Snow White’s lip color in the 1937 Disney film.

That being said, I did slightly change up the pattern, not by altering anything in the design, just by adding in extra seam lines to accommodate the small fabric pieces I was using.  The four napkin squares that I had were just barely enough to work – only wide enough to fit half of my body at a time.  Luckily the bodice was in two pieces as well because This linen was dense, super soft, and luxurious – understandable as it was intended to be napkins – and in the perfect color for Snow’s bodice.  I was determined to make my idea work.  The entire front and center bodice is supposed to be cut on the fold, but I had to add a center seam to all the pieces because of linen napkins I was using.  Even the collar pieces had to be seamed together as well because the two biggest scraps went towards the sleeves.  Since there was a seam down the front anyway, and since a collar that is tight around my neck can feel stifling for me, I added a long 22 inch zipper to make my dress fuss-free and adjustable for my comfort. Of course, the double, overlapping, two-tone pockets are my idea as well, and the cutest way to flaunt something so utilitarian!

There was a chunk cut out of the almost perfect one yard left that I needed for the dress’ skirt.  No problem – I was being forced to do the natural thing to make an accurate rendition of the “rags” dress…patches!  It’s not just decorative for looks alone…I really used up the few pieces I had left to barely cover the hole in my skirt material.  It couldn’t have been any more perfect, it was laughable – I would never do this to a project otherwise!!  This was a fantastic case of serendipity.  I left the dress bottom raw, fraying and unhemmed to complement the “rags” look.  Even still, I did use decorative, basic embroidery (a chain-stitch and feather stitch) to sew the patch panels down so at least they would look well-done.  The patch work goes against my ingrained sewing style but the embroidery made it palatable. 

I realized something important here – just because clothing becomes mended doesn’t mean it is ruined or on it’s last life.  My husband, my son, and I have been wearing out our clothes, socks, etc. at a far quicker pace than ever before since the start of the pandemic in 2020 and the rate of repairs I have been doing is quite constant.  I suppose it’s all the extra time and work we are getting done at home – I don’t really know.  Anyway, this Snow White dress is a good example of the visible mending trend I am trying to lean into anyway.  I have always been about reusing, refashioning, and recycling what we have on hand for a new purpose here at home.  Sure, it would be easier to just pitch or recycle such items and buy new, and in some cases we need to do just that, yet change in the fashion industry has to come from somewhere…so it might as well start with me.  I’ve just never tried to incorporate mending so intentionally into something vintage, much less newly made.  As I said, it’s weird for me…in a good way.

As much as I love this dress, and as happy as I am wearing it, Snow White’s story is troublesome to me, mostly on account of the many questionable and problematic elements to her tale.  One young woman to keep house for seven men she just met?  At least the Grimm Brothers’ version makes the Disney interpretation seem so much better than it is on its own.  Don’t get me wrong, though.  The Disney movie version is fantastic in its own right, particularly as a landmark achievement in animation history, and charming in its presentation.  I love how Snow was animated, I enjoy her songs, and relish the humor intertwined in her movie.  Even still, as a person, I find Snow White to be one of the hardest Disney princesses to associate myself with or understand…she is too naive and gullible, for my taste.  Even the messages of both the Grimm tale and the Disney story is sort of confusing…physical beauty will save you and find you love?  Be kind to the point of overly trusting of strangers?  I know it was the older “scare” style of teaching lessons. Yet, seriously, folks…how the antiquated fairytales were for children, I’ll never fully understand.   

I like to ‘see’ a better message from Snow White’s tale, which is why I gravitated towards the “rags” dress in the first place.  Beauty is not dependent on the clothing you wear or the manner of styling oneself.  Marilyn Monroe put a spin on this belief in the most fantastic, hilarious manner in recent memory by wearing a potato sack for a photo shoot.  Beauty is what’s on the inside.  I know this may be a cliché phrase by now, but it’s worth repeating so we can remember what’s important in a world that’s driven by image-centric social media ‘perfection’.

Furthermore, on a practical level, I can completely relate to Snow White’s working song, “Just Whistle While You Work”, which I why it’s my post’s title.  I do like a bit of merry, energizing background music while I do chores or sewing (but not fabric cutting…too much to focus on).  Believe it or not, I sometimes even like my favorite tunes playing on the side when I do my blog post writing.  However, such a setting only applies when my “comfort” music is played, the kind that I know by heart and places me in a great mood!  Now if only I can get all the squirrels, rabbits, and birds that we have around our yard to actually help me get things done, as well, I suppose I would be ecstatic enough to whistle about it, too!  

Bittersweet

This time of the year always makes me a bit melancholy.  There’s just something about the beauty of gradually realizing summer is fading into fall, and seeing the season gently usher in the upcoming cold I despise.  I am not one to have Halloween in my blood the minute September rolls around.  Instead, I like to let the fall season come in barely perceptible stages, as it does naturally, and enjoy its every transition.  The sun might be just as bright but there is a different smell in the air.  The cricket chirps are louder without the competition from tree frogs and cicadas.  The night settles in a bit earlier.  Fall’s entrance is indeed bittersweet in emotion, which is why I find it so ironic I love the shades of bittersweet, the plant, because it also is the time of the year I can appropriately wear the most gloriously rich earthen tones of that vine – browns, tawny shades, dusty green, a wine red, and hues of gold.  This little vintage number is early fall embodied in a dress!

THE FACTS:

FABRIC:  a sheer printed polyester crepe for the dress and some colored jute ‘ribbon’ with some leather cording scraps for the belt

PATTERN:  Vintage Vogue #9295, reissued in 2018, labeled as a year 1940 design.  The original pattern was Vogue #8241, an “Easy to Make One-Piece Frock”, featured in Vogue Patterns booklet for March 15, 1939.  What is up with the confusion of the original date on the cover of the reprint?  My me-made belt was made with no pattern…just an idea in my head!

NOTIONS:  I needed nothing but the basics – thread, some skinny ¼ inch bias tape, and a small 14 inch side seam zipper

TIME TO COMPLETE:  Even with all the fine finishing inside, this dress took me only 5 or 6 hours to complete and the belt was made in 30 minutes.  Both were finished in May of 2020.

THE INSIDES:  All French seams

TOTAL COST:  This dress is practically free as all my supplies came from a local sewing rummage sale where everything was $1 per pound of weight…so my frock may be a dollar at the most!  My belt was made from some sort of multi-colored jute ribbon I bought on clearance many years ago when the now defunct Hancock Fabrics was closing.  I bought 2 yards of it for about $5.  The leather cording is leftover from a hat I had on hand (free).  This is a $6 outfit!!!

This is quite an interesting dress, full of contradictions.  First of all, it is a very classic dress design for 1939, with a very basic general construction and silhouette yet very interesting, tricky-to-make little details.  It is a sweet and feminine dress and tries to be complimentary with no real body shaping profile to it at all.  It is certainly not your 50’s take on a ladylike style, nor even a 40’s ‘I’m-ready-for business’ style…this is softer and more delicate without being girlish.  Even though the drawing makes one think this pattern might be scaled for a very tall woman with long legs, the proportions seem to be the opposite.  Sewing my dress as-is straight from the tissue, no fitting adjustments, it turned out perfect for my almost petite height (5’3”) and my short (14 ½”) back-of-neck-to-waist ratio.  The envelope’s yardage chart recommends anywhere between 2 ½ yards to 3 yards depending on the fabric width, yet – believe it or not, but I am the queen of optimal pattern placement – I was able to eke this dress out of 1 ¾ yards, with no compromise on grainline.  What gives here?  Overall, this was a quick treat to whip together and is a new dress that I absolutely love to wear, so I will not complain…not a bit.  I’m just warning every reader not to read this dress by its cover.

The full skirt, puff sleeves, and the bloused-out bodice are the obvious, and well-known visual giveaways for its original date.  Yet, somehow, the way Vogue styled their model and sewed up their sample dress made it seem more like a 1980s garment.  Weird, right?  That is an unfortunate reference which I do believe has turned off a number of sewists from potentially picking up this pattern to try it out because anything blatantly 80’s seems to repulse many.  As I said above, do not judge this by how Vogue has marketed it.

The decade of the 80’s does not give me an immediate adverse reaction and neither do puff sleeves, and so I tried to focus instead on the line drawing and give the design a chance.  I’m so glad I gave it a go!  It does have a bloused-out bodice that is something not all women will have a taste for today, yet it is very authentic, if you look at how garments fit women in old photos from the 40’s.  This dress has good lines, but it just cannot make up its mind what decade it wants to be in, and is not as timeless as other vintage designs.

 I dare to say it has a “cottage core” or “Laura Ashley” aesthetic at heart, with everything I still love about the 30’s, 40’s, and 80’s, so I’m there for it!  It is as comfy as a glamorous nightgown, with no need to feel to have a certain body image, yet it is as pretty as a picture perfect picnic and as breezy as a romanticized run through a field of flowers.

The one major change I did do on this dress was to simplify the neckline.  The pattern calls for a short back neck zipper to be put into a slashed and faced opening, and then self-fabric bias facing to be sewn along the neckline and sleeve edges.  As my fabric was a delicate crepe, and sheer too, I disliked the idea of a bulky back neck zipper.  I tested out the opening space of the finished neckline and guess what – you really don’t need that closure!  The dress can easily pop over my head without it, thankfully, because I think the dress is much better lacking the back neckline zipper.  Then, I used vintage cotton solid brown pre-made bias tape in lieu of self-fabric facings.  I love the simplicity and bit of contrast that this little step added.  Granted, I still made sure to cut the pre-made vintage bias tape out according to the patterns measurements for the given facings, just so I knew I was still keeping to the correct neckline.  I love it when some of my sewing work is already done for me with pre-made supplies, yet by using such quality vintage notions, I’m not just taking it easy – only adding a singular touch and putting my stash to good use.

Such a subject brings me to unashamedly brag about the total splurge of my really good vintage supplies on a finish that no one but me will ever see in real life – old rayon hem tape.  This stuff is so wonderful, and if you’ve never tried it, please find yourself some, use it, and you’ll thank me.  The wide and full skirt of this dress needed a deep hem to hang properly and have the proper weight, yet doing so is normally a slightly tricky technique.  It requires the cut raw edge to be gathered softly in to fit.  A regular folded-under edge is harder to do with this kind of a hem and, even on a soft material like this crepe, can turn out bulky and noticeable.

To get the nicest hem that is also invisible when worn, soft rayon hem tape is an incomparable wonder which does the job perfectly.  One long edge is sewn onto the cut edge of the skirt and then the other edge of the hem tape is sewn down to the body of the skirt.  The fabric merely ‘hangs’ from the hem tape instead of being firmly sewn together to the body of the skirt.  A light steaming sets the hem and controls the gathers.  Being out of the silkiest rayon, it gathers in so nicely and its lovely variety of colors that can be found make for a cheerful little splash of added beauty.  I chose a sky blue pack from on hand, and it contained a 3 yard length which was just enough for the skirt width with an inch or two to spare.  I do get a little concerned every time I use one of these vintage rayon hem tape packs because I know they are a limited resource and are not made anymore.  When they are gone, they will not be coming back.  Yet, what good will such items do me stashed in my notions drawers when they can be used and both bring me joy on my handmade garments as well as teach me a better way to do a sewing technique?  I rest my case.

Keep in mind the tiny, 1/8 inch pintucks are oppositely directional. They fold towards the center for both the front and the sleeves.  This was quite a challenge to accomplish when also sewing the edges into the skinny bias tape along the edges, but a little hand stitching finished off what I could not do using my machine.  Since the neckline and sleeve pintucking is practically the only major detail to this dress, it is well worth the extra time it demands.  There were so many thread ends to tie off though!  I can imagine how wonderful the pintucks would look on this dress if it was made of a solid color fabric.  They do stand out on my version by difference in texture alone, but are a bit lost in the print overall sadly.  Who knew making so many tiny stitched pleats could make such a difference in shaping when you do about a dozen of them!?

I paired my dress with a simple handmade belt, too.  I had two yards on hand of this novelty ‘ribbon’ made out of different colored jute.  I figured it would brighten the dress up a bit to add in more color -the late 1930s frequently combined unexpected tones to great success, anyway.  So I cut the two yards into half (for two one yard portions) and sewed them together lengthwise using a zig-zag stitch to end up with double the width.  I instantly had one wide belt.  Next, bias tape was sewed over the two raw edges for a clean finish, and then the edges were turned under and stitched down to form a loop on either end for the leather lacing to go through.  My belt kind of has the same idea as the one that came with the pattern, but was more fun to construct because it was my own idea.  I somehow like the belt better when the lacing is at my back and not the front.

The rest of my accessories are mostly vintage originals.  My earrings are from my Grandmother, while my straw hat is a 1930s mint condition original and a lucky find, as well as my kidskin leather driving gloves.  My velvet vintage purse is the only item that is from the 1940s and not the decade before.  Since the dress is sheer, under it I wore this deep purple, full-skirted, opaque 1950’s slip that I sewed awhile back now.  The two-tone heels are reproduction Miz Mooz brand.  I highly recommend anything from this vintage inspired shoe company…it’s like walking on air, they’re so comfy, especially their heels, and crafted with high quality (I have several pairs from this brand now, he he).  Altogether jazzed up, I went for a visit to our neighborhood “five and dime” candy shop to sweeten the melancholy I get from early fall.

I realize that readers on the other side of the world from me are just now easing into spring.  That is the other season of transition, kind of like fall, but with much more of a cheerful flourish.  I understand – which is why a dress like this could also be very appropriately a spring dress, too!  A little multi-season sewing is the most bang for my time spent, and hopefully a good inspiration for my readers no matter where you live.  Have I convinced you to pick up this pattern and give that 2 yards of material which is floating in your stash a chance to shine with this pattern?  What are your favorite tones of the fall season?

Conifer Night

Conifers are the mysterious ones among their fellow hard woods, the trees – they stand fully clothed when others go naked in hibernation.  They jealously kill the grass over their ‘feet’, have unfriendly prickles for ‘leaves’, and cast mellow, unholy shadows when they are planted in a huddle together.  Their perennial greenness is cheering, though – providing color and shelter outdoors in winter, the resiliency they represent ends up decorating our living quarters at the holidays!  Combining an overcast rainy evening with a patch of winter green becomes embodied together in this comfy set of viridescent and navy hues.

After my last 1940s suit from post WWII times, I’d like to share another focused on a slightly earlier time frame of the late 30’s to early 1940’s.  The now past holidays for all things green (St. Patrick’s day and Christmas) originally inspired me to keep to a certain color scheme linking each piece together.  This set is sans jacket, but at least it does have a statement hat!  This is also put together (like the last one I posted) with a mix of re-fashioning and sewing from scratch.  Just the same, it is also for winter, again composed of a span of years and fashion influences, and has a blouse pattern from 1941 as its common separate.  A vintage look, or a new outfit is only a re-fashion or a simple sewing project away!  This was relatively easy and fun to whip together, with only one pattern needed and lots of inspiration.  I do like to keep my styling connected to the past for the best practical glamor.

THE FACTS:

FABRIC:  a semi-sheer 30% silk/70% cotton blend for my blouse, a cotton flannel for my skirt, and a poly felt for my hat

PATTERN:  Simplicity #3714, year 1941, for the blouse.  The skirt was made with no pattern. The hat is loosely based off of Vogue #7464, view D

NOTIONS:  I bought the base for the hat at Wal-Mart (sounds weird, but I’ll explain down below), but everything else cane from my stash – the buttons are vintage “Schwanda” brand from the 1950s, the zipper is vintage (metal teeth), the wire for the hat came from hubby’s workbench, the interfacing was scraps on hand, and matching thread was already here.

TIME TO COMPLETE:  The blouse was made in about 15 hours and finished on December 18, 2017.  My skirt’s re-fashion took me about 6 hours, while I spent no more than 4 hours to make the hat – both finished only days before Christmas 2017.

THE INSIDES:  French seams for the blouse, bias finish for the skirt

TOTAL COST:  The hat cost me a total of $5; the blouse cost me $6 for two yards; I’m counting the skirt as free as it had been on hand for so long.  Thus my total outfit cost is under $12 – how awesome is that!

Although this is a winter outfit, these pieces are quite versatile on their own, especially the lovely blouse in its soft silk blend ordered direct from China!  The way silk breathes and adjusts to one’s body temperature makes it fabulous and perfect for any and every outdoor or indoor climate.  When combined with the easy care and softness qualities of cotton, it is such a winning blend (would be perfect for some heavenly bedsheets!).  This blouse can definitely be dressed up but also be quite casual, especially when used as a layering piece under a sweater.  Having semi-transparent sleeves keeps me covered in a very lightweight, yet dressy way that also both keeps me at a good temperature and are easy to roll up to short length for summer.  I am slightly obsessed with its creamy celery green color and loving what it does for my light olive skin tone.  This blouse is really the one new piece of my outfit that will be a dependable workhorse in my wardrobe, besides being the one linchpin which inspired the whole set’s idea.

The rest of my ensemble is from items on hand – even my true vintage gloves and earrings but especially in regards the skirt!  Originally, it was something I haven’t put on in years, though I did wear it many times when I was in my early to mid-teens.  I was more of a wall-flower then, not as comfortable in my skin, and was always cold in the winter.  If I went out in the cold, I liked my skirts long so I could wear boots and pants underneath, and I liked them basic because I probably preferred to keep my coat on (whether inside or out) and not be seen anyway.  The skirt was ankle length, A-line shape, with a wide elastic waistband and in-seam pockets on both sides.  Yet, it was not worn enough to pill up or look as well-loved as it was…prime for a refashion.  I know the skirt is definitely for cold temperatures being a flannel, yet it’s lightweight enough to not completely be a one season piece, either…which makes my sewing the most bang for the little time spent to freshen it up.  A good rich toned plaid is one of the many fabric weaknesses of mine, and perfect for the 1940s, so a basic WWII era skirt it was going to be so it could match with my silk-blend blouse.

The pattern for my blouse has been used twice already, for my basic brown version and my “Leave Her to Heaven” look-alike.  I have this pattern down pat, but I love it no less for being the third time around…it’s a winner.  However, I did decide to tweak it a bit.  I spread the fullness of the thick single shoulder darts into three tiny darts of descending lengths which get shorter as they get closer to the sleeve caps.  It is an understated detail that feels very feminine and tailored.  I also added a bit more length in the sleeves with a little more fullness.  The sleeves are single layer of fabric so they are slightly sheer and delicate, perfect for the puffier shape.  The main body of the blouse has been double layered so that it would be both opaque as well as darker in color.  Instead of cufflink holes, as I do on most of my dressy blouses, I chose some wonderful pastel flower shaped buttons from my Grandma’s stash.  They really emphasize the creamy, bright color of the fabric in a way that cheers me up in winter and makes it perfect for summer, too.

My skirt was a pretty basic re-fashion, all I was basically doing was reshaping it.  I cut off the elastic waist first (keeping the side pockets), then chopped of only enough from the long hem to make a new, wide, interfaced waistband.  However, I needed to tailor the waist before adding that waistband!  This was the tricky part, trying to figure out how to take the waist in and how much to bring in.  This step took way too long and caused a lot of unpicking.  I had plenty of other more interesting ideas (pleats, a placket) that I tried before I settled for the basic, darted straight line skirt style you see.  Just a simple hem made, the zipper and waistband set on and my refashion might not look that dramatically different from its the original state.  It was merely fine-tuned and I hope classic enough to not just be a “vintage” style item.  Just imagine my skirt paired with tights on my legs and platform shoes or slip-on mules topped with a modern oversized sweater and a big belt…yup, it should be pretty variable.

Now, my hat is definitely and unequivocally old-style.  I have long admired the late 30’s (see this article) and early 1940s oversized drama hats.  This hat style seems to go by several names – most frequently called either the pancake hat or beret.  It just kind of subconsciously seeped into my realization to just start with a placemat. It’s round and lightweight and the perfect base for that kind of hat, but then again this is not the first placemat hat I’ve made (see this one here).  First I covered the hat in felt, but that was way too plain.  I had to spice it up.  I pleated the felt in an Art Deco style throwback in three tiny pintucks that angle in to disappear before they reach the other edge.  Art Deco details persisted through the 30’s into the post-WWII times, mostly in the built environment, so the pintucks call to mind my love of architecture.  A sculpted hat is sort of like architecture the way they are structured works of art, sometimes reaching for the skies, and craftily perched on the human head the way buildings cling and hold onto God’s good earth no matter what the angle.  I actually need my giant hat pin to keep this one on my head.

I wanted to make sure the placemat kept its shape, so, before I sewed the bottom half of the hat to it, I hand tacked an electrical wire to the underneath edge.  This was a good idea that ended up being a bad idea.  Electrical wire was the scrap I most immediately found on my hubby’s workspace and it was much too heavy for the job…why I need my hat pin.  I should have used my lightweight floral wire instead (as I don’t have any proper millinery wire).  We live and learn, and although this was not the best success, it is neither a failure.  It is a very wearable experiment that I love.  It turned out 100% better than my husband had expected and cost me pittance so what could be more awesome than that?!  I now had the perfect finish to my outfit and tried a new hat style I have long admired, besides learning what to do the next time!  The little silly hat front décor is straight out of my head, also made out of the same felt, and merely something cute and decorative to break up the overwhelming shape.

I love practicing the idealistic challenge and thrifty, global conscious practice of taking my wardrobe from years past and things on hand to use with my talents to update it for my current life and fashion tastes.  It’s not because it’s the new “in” thing to do, though…neither are we on that tight of a budget.  It’s purely because I want to.  I have been doing this for so many years, way before it was a trend, I am used to looking for what is on hand before I buy.  My husband calls it a version of shopping…where I go downstairs and rummage through my stash of unworn, but sentimentally attached garments I no longer want to wear the way they are to find something “free” to rework it and feel like I end up with a “new” piece of clothing.  Add in a fully new, made-from-scratch item, like my blouse, which was easy and fast to make in a natural fiber, and top it off with a luxurious statement hat made from ridiculously simple home decorating supplies on hand…and I get my fashion and overall creative fix satisfied.  You don’t need much money or supplies to be crafty and start sewing.  There’s a bounty of stuff nearby somewhere just waiting for a second chance.

 

Kaleidoscope Colors

As a child, my kaleidoscope used to enchant and fascinate me.  I would love all the bright colors changing and mixing with every spin, and the patterns it created were something which reminded me of a snowflake with personality, making the most of whatever light you directed the toy at.  Now that I know how it works and have so many things on my schedule, sadly my kaleidoscope is packed away and not seen anymore.  However, I do have this blouse, a grown-up girl replacement!

Modern day winter wardrobes tend to be so droll and dreary compared to the fun with color the late 30’s enjoyed.  That decade combined and paired the most unusual colors in the most creative and attractive ways.  Bright and crazy colored stripes, however, are so classic to the late 30s and oh-so-popular again today.  It’s no wonder – they are like a ray of welcome and much needed sunlight in the world of everyday fashion!  True vintage items in such a stripe print today get sold so fast at high-prices that sadly such style garments are out of the question for many others like myself…and true vintage fabric like it is even harder to find in a usable, stable condition.  Reprinted modern versions don’t often do the 30’s striping justice either, which is why I am so happy to have recently found a newly printed crepe which does match the old-time mix of happy colors.  Together with a tried-and-true 1940 pattern, which has been adapted to copy a 1938 style, I have what may be my most complimented me-made garment yet!

THE FACTS:

FABRIC:  a 100% polyester crepe for the fashion fabric, and a scrap of cotton broadcloth the line the shoulder panel inside

PATTERN:  Hollywood #1991, year 1940

NOTIONS:  I had all the buttons and thread I needed.  The buttons are vintage from the stash of my husband’s Grandmother

TIME TO COMPLETE:  This was made in about 8 hours and finished on October 10, 2017

THE INSIDES:  nice French seams inside

TOTAL COST:  under $15

This was really a simple blouse to make, but the fabric and the sleeves are what helps to make the blouse standout.  I got rid of the angled panels to the original pattern and cut this version in all sharp geometrics, which complements the stripes.  The collar was re-drawn to be pointed, and the wide front (as well as back) upper bodice was made completely horizontal.  I lengthened the blouse hem as I eliminated the attached waistband.  As the golden yellow stripe was missing from the color sequence across the blouse front because of the way I cut, I added the ocher tone in through my choice of buttons.

I was basing my new composition to the 1940 Hollywood pattern off of images of true vintage patterns I do not have but admire, old fashion advertisements, and past photographs of both celebrities and regular women wearing striped blouses which have a crazy assortment of color.  It seems as if this trend is concentrated in between the years of 1938 and 1940.  I can’t help but wonder if that mode of fashion was begun with the lovely “Alimony” evening gown (year 1937) from the American designer Elizabeth Hawes.  However, it seems that multi-color striped garments after that designer were frequently in housecoats or sportswear pieces.  To see more inspiration of late 30’s to early 40’s multi-striped garments see my Pinterest board here.

My very favorite multi striped garment for inspiration is in the Agent Carter television show Season Two with the character of Ana Jarvis.  Ana favors late 30’s style in her wardrobe, and her blouse in the episode 5 “The Atomic Job” is a true and striking sample of the best from that period.  The only obvious difference between hers and mine is that Ana’s is satin with a waist tie front, and mine is a crepe finish with a regular blouse middle.  She was the cheerful, hopeful, and helpful backup character that was supporting all the others embroiled in the possible-death mission of the “The Atomic Job” episode, and her wardrobe shows this fact.  I want my wardrobe to reflect my happy inside…or if my day is going badly, I want it to cheer both me and others up.  Elsa Schiaparelli has been quoted as saying, “Color gives me ecstatic pleasure” from her book “Shocking Life”.  I’m so in agreement, and so are many people I think.  It’s a shame that out of the many people who compliment me on my blouse, many admit that even though they want it off my back they really wouldn’t wear it.  I’m guessing it’s because they just have a certain color comfort level they’ve grown used to and might even be afraid of being too flashy or too different.  Whether my colorful garment flags people down or not, we all know need color in our lives and regular RTW fashion certainly doesn’t seem to realize that so this blouse’s kind of different is good!

The wonderfully wide bishop sleeves with its big cuffs and puffed shoulder tops are the only thing I left as the pattern designed…and why not because they are killer amazing!  The pattern for such a full bishop sleeve with such forearm-encompassing cuffs was almost confusing because it was as wide as it was long.  Just like for my recent 1962 “Beatnik Blouse”, the sleeves atop big cuffs are so much shorter than “normal” long sleeves I am used to and it throws me off.   It also takes a good deal of both seam allowance clipping and ironing to harness so much gathering into a cuff so it stays flat.  The cuffs have dual buttons with close under embroidered thread loops along the edge.  These are rather hard to do on myself but I like how they keep the cuffs wrapped flat and snug around my lower arm verses buttonholes.

Can we set aside a minute just to gush over my jaw-dropping belt!?  This was a very lucky and therefore ridiculously affordable second-hand find for me, and is a ‘dream belt’ come true!  All in leather and detailed tooling all around front and back, it is a perfect bold and statement piece to complement the already outgoing feel of my blouse.  Actually, though – the late 30s was all about statement belts anyway, especially wide ones that had complex or unusual closings, anyway.  The only thing is, I haven’t yet figured out if the buckles are supposed to be worn at the top or on the bottom!

Yes, I realize I have been posting a good number of both blouses and shirts lately, but this has been what I have been sewing most of this year!  Separates are to me the salt and pepper of my everyday dressing.  Especially when it comes to vintage garments, having something that looks nice, yet is still casual, and definitely comfy as well as practical for whatever life throws my way for the day is what I can never get enough of.  The 1930s had this down to an art, in my opinion.

I must admit I never thought I would be wearing all those colors I admired so well in the light coming through my kaleidoscope.  I have been searching long for the right fabric to remake this now popular vintage trend for myself.  Now that I can do so, I have something to resort to for the long, dreary, chilly cold weather season we experience here…because warm weather garments shouldn’t be the only clothes which get the prettiest colors.  Do yourself a favor and don’t be afraid to try a new color in your wardrobe today!