“Laundry Day” Dress

Have you ever had those days where you have errands to run and things to do but you want to be casual and comfy yet not completely dressed down?  No matter how nice it still appears, this is another much needed, throw-on, chore-time dress…yet it’s still vintage!

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Here’s a dress from 1948, something late in the 40’s and not yet 50’s, that now, re-made and sewn with modern fabric, becomes a frock for current times!  The lovely ribbon-like seersucker fabric of the dress is effortless to wear and take care of (it’s meant to be wrinkled, for goodness sakes), making this one of my wardrobe’s go-to, easy-wear pieces for those “laundry days”.  The cream, white, yellow, and green tones are a lovely combo that has a cool mental ‘feel’ for warm weather, yet pairs well with many cardigans and blazers in cooler temps for a multi-season garment.  What more could I want from a dress?!

Betty and Peg Braden - 1948, smaller picTo put the icing on the cake, this dress looks much like one worn by my Grandmother, as seen in her high school pictures.  She was 18 in 1948, and there are several pictures of both her and her sister from that year lounging around the high school campus with her books, both wearing matching, striped, button front dresses.  Her mother, and herself as well, were good at sewing whatever they needed, so I’m DressLikeYour Grandma Challenge 2017 badgecurious as to whether or not their two dresses were made by them.  My Grandmother’s dress, in particular, (on the left) has the most fun with stripe placement, most similar to my dress.  Her dress and mine even have the large, handy horizontally striped hip pockets, too!  This is a lovely knock-around-town dress, so I perfectly understand her style in these pictures now.  I guess it’s no wonder this dress is part of Tanya’s “Dress Like Your Grandma” sewing challenge.

THE FACTS:

McCall 7212, year 1948 day dress,pFABRIC:  a 100% polyester seersucker, with the bodice facing and pocket lining cut from a scrap of 100% cotton

PATTERN:  McCall #7212, year 1948

NOTIONS:  all that I needed to buy was a pack of buttons, but the bias tapes, thread and hook-and-eyes were already on hand

TIME TO COMPLETE:  not long – 7 hours.  It was finished on August 23, 2016

THE INSIDES:  Every edge is cleanly and easily finished off in yellow bias tape. (In this detail pic, you can also see my “fake” feature at the waist – there might be a button and a button hole on the outside, but there is really only a hook-and-eye inside to keep things stable.)

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TOTAL COST:  This fabric has been in my stash for as long as I can remember (it was in my parent’s fabric stash first).  Thus, I’m counting the fabric as free, so all that this dress cost was the pack of buttons…$2.00!

I actually hated what I saw of this dress as it was coming together.  It did fit perfectly in the size that it was, and it was mildly challenging yet easy enough to be fun.  It’s just that the dress ran so darn long…as in ‘evening length’ long.  I know that fashions from post-WWII were much longer, more mid-calf than the actual early 40’s shorter knee length of my dress.  However, this was the only length that I felt looked good on me and did well for the dress, too.  I’m not one to try to be so authentic to every detail at the cost of sacrificing my taste and my style and happiness with making a garment.  The shorter length also solves a few issues as well.  Yes, there is a deep 8 to 10 inch hem on my dress, and –no- I did not want to cut it off because it makes the poufy, lightweight fabric hang nicely and it also results in a completely no-see through skirt (which would have been a glaringly obvious problem otherwise).  Guess I was ‘taking down two birds with one stone’ as the saying goes!  After all, I did have four yards of this fabric so I might as well keep it on the dress rather than in my ever growing scrap pile…

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The hardest part about making this dress was deciding on the buttons – of all things.  It took me a week to figure that out.  I even ordered matching green buttons…which I didn’t use.  I looked through my substantial and varied button stash from Grandmothers on both sides of the family, and still nothing seemed to be ‘the one’.  This is when hubby came to the rescue.  He enjoys browsing through button collections and frequently has a good eye for my projects.  He said I needed to go with something not distracting from the rest of the dress, but extremely plain, basic, and mundane, so I picked out the cheapest bulk pack of what were labelled as “sweater buttons” at the fabric store.  I think he nailed it here.  Where I would be without his help sometimes, I don’t know.  (Don’t tell anyone that my man goes with me to the fabric store!)

Instead of choosing the high, choking, buttoned-up-to-the-top view, I chose the option that has the slot-type of neckline with buttons starting at the middle of the chest.  However, I still thought it looked a bit confining so I merely have both sides of the neckline flipped back as if they are lapels and only temporarily tacked into place.  Guess it’s a good thing after all that my cotton facing for the bodice matched with the dress so well!  I think the lapel neckline softens and lends more of a relaxed casual air to the dress (which I want) than the proper and perfect drawn cover version on the envelope.

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I sort of feel bad that I did kind of copy off of the cover by using a green striped fabric.  At the same time, I don’t feel guilty.  You see, after looking around at all the versions of this same sort of style of dress (and there are lots of them believe me, dating from about early 40’s to 1950s, at this Pinterest page of mine), I realized that many of them were in a green striped fabric of some sort.  As I figure it, I am going along with a late 1940s trend, not just copying the cover to give me a good reason to use up a long-time occupant in my fabric stash, ahem.  Besides, I did find ‘proof’ that this type of ribbon seersucker was around years back.  Granted they wouldn’t have had a fabric made from polyester in the 1940s, but look at this old original 30’s dress for sale at Emily’s Vintage Vision’s Etsy shop – doesn’t that type of fabric for the bodice seem so very similar to the fabric for my dress?

DSC_0257a-comp,wWe were happy to chance upon a vintage Laundromat in one of our shortcuts to get from one errand to the next.  Funny thing is, I found out that day this dress actually repels water and keeps me dry.  I suppose the tight polyester and rippled seersucker keeps the water rolling right off.  Later on, at a “Steak n’ Shake” for lunch that day, when my dress did get wet from my water glass, the fabric sort of “held” the water and kept my under layers dry.  This is one weird but awesome fabric – I haven’t had another material act like this.  Now, the only problem was making sure my natural fiber wedge espadrilles and braided cord belt didn’t get wet, too…

At the onset of this sewing project, I was aware that I have a similarly styled dress dated to the year before, 1947 (see it here).  It does have the same slashed neckline and pockets, but with the stripes and buttoned front, this post’s dress is different, after all.  This is a look alike to one my Grandma wore anyway, so that’s a big win.  Maybe this is just a trend of the post war that I like.  I know the large pockets are a big draw for me.  Do you have a certain style niche in the history of fashion that you especially love for one reason or another?  Do you too find yourself copying envelope cover images more often that not?

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Shopping at the Old Arcade

Most people generally know twenties clothing as being tubular with drop waists.  Many also frequently think of the twenties as having beading, sheer fabrics, and fringe, but that was for evening and special occasion.  However, do you know what the turn of the decade, year 1920, actually looked like for everyday wear?  When I started doing research on this I was surprised.  Very high waists, overly exaggerated hips (many with ruffles and ridiculous pockets), slightly awkward long mid-calf length hems, and loose but lovely bust-less blouses.  Yes – this was the year 1920, when women were wearing fashion which was both a carry-over from 1918 – 1919 that was also finding its way for changing up styles in a new decade.  Here is my sewing creation interpreting the year 1920, as a woman in her nice, almost sporty, and nothing-too-fancy clothes to go do some window shopping.
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Actual teens era/1920s hand painted glass buttons (close-up picture here on my Instagram) were included on the blouse I made, as well as several hours of decorative hand stitching on both neck and sleeves.  My hat is a thrift store purchase, which already had straw flowers, but I piled on a wide lace band and silk flowers for an old fashioned style.   I also made the skirt and the purse, as well as some of the authentic lingerie I’m wearing underneath.  This ensemble did not look right (silhouette speaking) until I had the correct undergarments, so I will definitely show you what I wore (and made) in a future post.

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Period authentic doesn’t have to be old-fashioned or un-wearable today.  Because it is all cotton and not body figure conscious, this is really quite comfy to wear.  Sure, it’s different, but yet lovely and tasteful enough for me to only receive kindly smiles from strangers who saw me.  I love the subtle complexity, the understated richness, and the odd femininity to the style of my 1920 pieces.  The ideal of beauty and the popular silhouette for women has changed so much throughout history, and this is just another incarnation that I am glad to have learned to appreciate through sewing it for myself!

THE FACTS:McCall 9412 & Pict.Review Overblouse, both ca. 1920, fm Past Patterns

FABRIC:  100% cotton specialty twill for the skirt, 100% cotton for the blouse, and a tapestry remnant (mystery content) for the purse lined in a burgundy Kona cotton leftover from this project.

PATTERNS:  Past Pattern’s No. 8268, Ladies’ Overblouse, from Pictorial Review circa 1920; a Past Pattern’s No. 9412 “Ladies’ Skirt with Hip Pocket Effect” from McCall Company circa 1920 , and a Vogue 7252 year 2000 patternVogue #7252 from the year 2000 for the purse

NOTIONS:  The notions for this came from everywhere.  The detailed, Art Nouveau-style brass buttons were a Hancock Fabrics’ store brand item, bought when the company was closing, while the old vintage blouse buttons were from our favorite antique store.  Most everything else needed was on hand – I even had the tassel for the purse in my stash!  

TIME TO COMPLETE:  The skirt was made in about 6 hours and finished on October 21, 2016.  The blouse took 8 to 10 hours, with 4 more hours for the hand embroidery, and was finished on February 26, 2017.  The purse was made in about 2 hours on February 28, 2017.

TOTAL COST:  The skirt’s fabric was bought at the now defunct Hancock Fabrics for less than $2 a yard…and I only needed 2 yards here.  I have 2 something extra yards still left for another (upcoming) project.  The blouse’s cotton was bought at JoAnn’s fabric recently for maybe $10.  The brass buttons were expensive even with the Hancock Fabrics closing clearance – maybe $17 – while the old buttons on the blouse were only $5.  The tapestry brocade came from I don’t know where from I don’t know how long ago, thus I’m counting it as free, but the cord handle was bought at JoAnn’s for about $4.  So, my total is about $40 something.

DSC_0232,p,a-comp,wWorking with patterns this old presented plenty of unknowns, but the primary one was in regards to fit.  What kind of body, what kind of peculiarities, and what ease do these patterns account for?  It’s one thing to get something to fit, but historical garments need a particular fit (as well as the right underwear) to be authentically worn.  I did have the assurance that my pattern came from Past Patterns Company…every single garment I have made from what they offer is a wonderful success I am most happy with.  No wonder they’ve been in business almost 40 years!

Let me start by talking about the bodice.  After some figuring, my estimated bust measurement of the blouse pattern as-is (in the size 38 to 40 bust) is 45 inch around.  This led to my figuring the wearing ease to this blouse was about 5 inches over and above the bigger of the two sizes (bust 40).  I can see that the bust is supposed to be bloused and roomy (over a flat chest) so I went down to a generous measurement for myself and ended taking out a total of 4 inches around hoping to end up at what would be the next size smaller for this pattern.  The side seam allowance is 1 whole inch so I figured I had plenty of room to fix a wrong calculation is sizing, but still…it’s easier to  take out some extra than it is to be stuck with a garment which ends up too small.  I totally feel like I nailed the right fit!

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I realized that this is an overblouse that I am not wearing as an overblouse.  This is not the first time I have made an over blouse only to wear it tucked into a skirt – see this 1958 project.  When I received my pattern in the mail Saundra Altman kindly included a tutorial page on how to add in a stay-belt inside the blouse.  As I am just getting the feel for teens and early 20’s dressing, I kept the construction of my blouse simple from the waist downPerry, Dame & Co Catalog, New York styles, fall and winter 1919-1920 because for now I plan on only wearing it as you see it.  At some future point I hope to make a year 1920-style pleated skirt and wear this same top as a proper overblouse, and at that point I might come back and add the welt pockets and a stay-band to the waist.

I did use my oldest (1930’s) sewing machine to do all the button holes along the front opening, but I also splurged and used all cotton thread and self-fabric bias tape for the neckline.  After I had made the button holes I decided I really didn’t want to subject the buttons to the wear and tear of pushing them through every time.  So, I still sewed two at a time connected like link buttons but they’re on there permanently for now, and if I want them off I’ll just cut the linking threads.  I did try to make these buttons linked by a metal loop with a connecting chain but I had disaster strike doing that.  The back loop on one broke by cracking right off, but it is a molded part of the rest of the button so it cannot be fixed unless I glue some loop or such on it.  I never guessed these were as fragile as they seem to be.  Until I figure out how to add something to the back of this broken button, I will sadly made-do with one at the top closure.  This is the risk of working with, or even wearing, old original items from many decades back – they are unique and fragile, but deserve to be seen nonetheless, so using them is a risk that also could only garners appreciation.

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My decorative hand stitching is I know not the best compared to many others, but this is so much better than I used to be able to do.  Whatever my skill, the stitching does take my blouse to the next level, I think, besides show casing an old time-honored practice that modern garments are so far from.  Hand stitching was very much needed here because of the rather plain color of the blouse’s cotton.  I made my own design, and after several unsuccessful Art Deco drawings I settled on the softer more feminine floral on my blouse.  After all King Tut’s tomb would not yet be discovered for a few years from 1920!

The skirt probably would’ve fit me pretty much as-is, but I did add one extra inch to the waistband only to be on the safe side for fit.  I did not change the rest of the skirt because I wanted the gathers to be a bit looser.  Looking back I wish I had made no gathers across the center front of the skirt – the pockets and the hip panel would look better.  No matter, I like it just the same! DSC_0297a-comp,w

The skirt did not need any special closures for the left side opening – the placket kind of conceals itself because of the side seam pleat overlay.  Only hook-and-eyes keep it together at the waistline.  The waistband is quite neat.  It is a two inch band against my skin on the inside, with a 4 inch waistband gathered horizontally on the outside so it looks like a cummerbund belt.

DSC_0220a-comp,wTrue to the era, the back of the skirt is just a long rectangle for a small taste of the slim and skinny.  What a contrast for the front!  Along the front geometric pocket edge I made my own self-fabric “ribbon” to decorate, finish, and stabilize the edge.  At first I tried a brown velvet ribbon for the edge, but, no – I didn’t look good so I took it off and went with the matching fabric.  This pocket edge needs to be stiff enough to stick out on its own and define the hips so I was tempted to add interfacing.  My skirt’s twill fabric was thick enough that three layers along the edge (1 – the skirt, 2 – the ribbon edging seam allowance inside, 3 – outside of the ribbon edging) was plenty good.

Needless to say, as much as I love pockets, these take the cake! My skirt’s pockets are like mini suitcases.  I can keep everything in them and it doesn’t even make a difference the skirt is so roomy and meant to be billowy.  Yet, the only thing that mystifies me about my 1920 outfit is the pockets, mostly because the purses and hand bags were so tiny!  Pockets and purses were still relatively new items to 1920, and both signifying the independence and progression of women, but to go overboard with such a contrast between the two in interesting to me.  As you can see, I did take a slight shortcut and have the pocket opening close with a snap rather than a real working button and button hole.

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Patterns for both the skirt and the blouse both seemed to run very long.  I made the shorter length of the overblouse, which was just over 10 inches shorter than the full-length option, and it is still falls about mid-thigh on me.  For my skirt, I took out 4 whole inches from the length because as-is the pattern falls to floor length (I’m about 5’ 3” height).  Now, take into account the fact that these two garments are meant to have deep hems, especially the skirt.  My skirt does have a wide 3 inch hem to it which helps to weigh it down properly besides bringing it to the proper just-below-calf length for the year 1920.  Skirt and dress lengths of 1920 seem to be just enough to show the ankles, just enough to move freely in, and a tad shorter than just a year or two before (1919-ish).1916 purses

My purse is something so easy but I’m so tickled at how lovely and cute it turned out.  The pattern I used is a real unknown gem with lovely designs straight out of the teens and 20’s.  I remember my mom and I being so excited when this came out!  Look at this comparison between a 1916 handbag poster for comparison.  In a 1926 catalog, I’ve even seen a strikingly similar version to “View C”!  They are all really quite simple designs but I like the fact they give the tracing designs for all the beading and decoration.  My purse doesn’t hold much but came together so quickly.  Trimmings and de-luxe materials seems like the way to go with this pattern and a remnant was all I needed.  I will definitely be using this again!

In the 1920’s, handbags were often just enough room for a few small essentials (including lipstick and keys) and often geometric in shape, like my own vers ion.  Mine is probably way too stuffed than what a 1920 woman would have carried, yet as it was I didn’t have room for everything I needed!  Also in the 1920’s, handbags weren’t necessarily meant to match with an outfit but carry their own tasteful, individual, and often ostentatious flair…quite different from modern times!

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By making my purse (a ‘reticule’ style) from tapestry I am harkening back to a popular type of “daytime” purses of the 1920s – ones made of richly complex fabric carpet bags and delicately flourished needlepoint.  Handbags from these materials seem to either be meant to show the wealth of the one possessing it or the talent of the maker, as many of these types of purses were often handmade by either the woman herself or someone for the company that sold it and some were quite expensive.  By having a decorative tassel at the center bottom point I’m aiming to narrow this to a primarily early 20’s piece.  To read and see more, this “Vintage Dancer” page has a wonderful overview of all the ways 1920’s women carried what they needed.  There is so much history to this littlest part of my ensemble!

All the materials I used for this outfit are just a dream to wear and were wonderful to sew.  The twill for the skirt is a lovely weight and hand – almost as heavy as a denim, slight body, but drapey and soft enough to hang nicely.  The low-key design of the fabric adds interest and keeps the olive and brown tones to it from being too drab.  The cotton of the blouse is so soft it doesn’t really wrinkle all that much and it’s just sheer enough to be pretty.  The tapestry of the purse is so rough, textured, and stiff it provides a nice contrast to the blouse and skirt.

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The place of our photo shoot is something quite special.  Not only is it a city landmark and the town’s best example of Gothic Revival architecture, but it is a National Historic Landmark.  I’m talking about the St. Louis Arcade/Wright Building, opened in year 1919 as one of the very first indoor shopping areas of its kind in the country, a very early, but much more elegant version of the modern American suburban, indoor, covered “Mall”.  Just think how extraordinary this is from a historical standpoint – plans for this steel and stone skyscraper was begun in 1913 before World War I and many of the materials needed for this building were rationed.  Federal officials closed and postponed many construction operations during WWI.  It is rumored that the principle contractor apparently had a simultaneous deal with the government at the time, so I suppose he was able to pull a few strings.  The Arcade was the tallest building in the world for a number of years.  Besides, the architect, Tom Barnett, was something quite important nationally.  This multi-story hall was recently renovated (after being vacant for several decades), preserving much original pieces so that the Arcade can still give visitors a taste of what it might have been in its heyday when people came here for high-end purchases such as jewelry and fine china.  Being able to walk through and visit places like this in period authentic clothes makes sewing this outfit a very worthwhile experience.

DSC_0295aa-comp,wP.S. Good news…you don’t necessarily have to sew if you want this ‘look’!  ReVamp vintage has re-made an amazing year 1921 oversized pocket skirt very similar to my own, the “Prudence” with brownish olive twill and lovely details!  Although, there are a few ways to wear a modern take on such a style – “Dress Romantic” on Etsy marketplace has a neat version that’s my favorite!  As for ready-to-wear 1920 style blouses, ReVamp has lovely options but any loose modern blouse with lace and/or feminine details would work – my favorites are this Anthropologie yellow blouse, this J.Crew cream colored pleated neckline blouse, or this sheer smocked neckline top.  There’s always old originals out there, too, (like this one) for a taste of the real thing!  Will you be channeling the early 1920’s for yourself, or have you already?

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Bringing Some Texture to the Party

Allie J's Social Sew badgeRoses are always lovely, and red and green are so stereotypical of Christmas.  Thus, for a yearly fancy holiday festivity (sponsored by hubby’s work), I went and made a dress which made the best of both – a textured rose satin in a blue-green turquoise.  This dress throws in some awesome texture to what was a plain pattern, and puts a nicely different spin on wearing one of my very favorite colors!  This dress is my creation for Allie J’s monthly Social Sew #9, “Holiday Glamour”.  With my sewing skills and some standout fabric, I won’t have to worry about wearing the same dress as someone else at a party!

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The inspiration for this dress is due to the chic fashion of the villainess on the Marvel TV show “Agent Carter”, Whitney Frost (played by Wynn Everett) in the Season Two episode “Better Angels”.  If it hadn’t been for seeing the Hollywood model gown, I wouldn’t have had the gumption or the idea to even try to sew a dress like this…believe me, I’m loving wearing the result!

whitney-frost-her-first-use-of-zero-matterThe “Agent Carter” designer Gigi Melton’s original dress is different than my own but I hope you can see where I was coming from, especially with the golden background colors and the mirror (which was an important symbolical part of the scene).  I believe the original dress has rows of crinkled, shirred, ribbon-like rows of fabric creating the direction and texture on top of a solid dress base.  My dress captures a similar symbolical greenish hue, the same complex surface, and the same wide shouldered classic silhouette as the original.  I am glad I made my own interpretation because there is something a bit unsettling about how “alive” the original dress is – it is as unnerving and deeply layered as herself and her first use of “zero matter” – a dark force from another dimension.

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I see this as a pure fantasy dress, with no real vintage to date it.  After all, I did use a modern pattern, albeit with many changes.  However, at the same time as I say this, I must be honest and admit there are references to this style to the late 40’s or early 50’s, the consistent era of Whitney Frost’s wardrobe.  The longer calf length hem and the wider skirts are very mid-40’s to early 1950s.  Also, the shoulder widening, face framing capelet-style collar piece to the dress can be found on many patterns from the same time stretch (I have saved many of them together on this Pinterest page here – look at McCall #7662 and Butterick #8457 especially).  It is interesting to me how styles were used in the past…studying such often gives me great ideas of how to use them in the present, and I’ll bet others, including Gigi Melton, do the same.

THE FACTS:mccalls-6505-year-2012

FABRIC:  a polyester satin specialty rose fabric bought from the Etsy shop “Fabric Cult”, based in Los Angeles, California.  Sorry, but if you wanted some for yourself, it’s no longer available!

PATTERN:  McCall’s 6505, year 2012

NOTIONS:  I already had on hand all the thread, bias tape, and zipper that I needed.

TIME TO COMPLETE:  Believe it or not, this was practically a one evening dress.  It was finished on December 1, 2016, after only 5 hours of effort.

dsc_0843a-compwTHE INSIDES:  This fabric’s raw edges were so messy, with the roses fraying and unwinding at every cut edge, so all of them were covered nicely in bias tape.

TOTAL COST:  only 2 yards of this lovely fabric cost me $14!

In my opinion the pattern runs a bit snug in the fit, but I do like the basic design, which gave me room to improvise as well as not calling for much fabric.  By having few seams, the designdsc_0798a-compw of the fabric wouldn’t be marred besides saving me from sewing more than I had to on this thick and complicated material!  The French bust darts are a nice touch I don’t see as often as I’d like in modern patterns.  I just don’t understand the one way mentality for this pattern to be made in lace – I treated it as a regular pattern for woven fabric and it turned out fine.  My changes were mostly only to lengthen the hem by 12 inches, widen the skirt, and eliminate the sleeves in lieu of a lapped on, all-in-one collar piece.  For both the front and the back, I matched up the sleeve pattern to its corresponding bodice and used leftover tissue to redraft based on tracing from the finished garment shape.

The capelet collar was added on as my smart and sneaky way to finish the neckline.  It was sewn on like a visible facing saving me even more time and trouble, besides ending up with a clean finished neckline!  If you look, perhaps on the front you’ll notice I didn’t top stitch the collar hem to the dress all the way to the sleeve for a real “cape” appearance, softly covering my arms.  With the collar being one solid piece around the neck, I had the back zipper start from its hem end, several inches down from the neck.

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Breaking up all the monotony and busyness of the dress is my belt.  It was self-drafted from the solid, flat fabric selvedge edge, stabilized with interfacing, and it ties around me with a grosgrain ribbon top-stitched down through the middle.  The original inspiration “Agent Carter” dress has a similar non-texture middle where it lacks some rows of crinkled gathers, and a simple ribbon becomes her belt.  I do love how my Chelsea Crew brand vintage style “Mandalay” sling back, peep-toe, tie-up shoes compliment the belt…wearing these shoes with my dress was my hubby’s idea – thank you!  My vintage brooch is also another bow tie…

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Have you ever tried an unusual novelty fabric?  What did you make with it?  What would you make with such a thing?  It’s different and took me some confidence and a number of compliments to realize my experiment with unusual material was a success.  But it’s definitely a relatively easy way to achieve a very luxurious and complicated frock.  I now know that with a lovely specialty fabric, much of the effort of making your handmade garment look good is done for you!  Besides all this, I have never yet gone wrong imitating an outfit from Marvel’s “Agent Carter” (just an F.Y.I)!

Happy New Year everyone!  Enjoy whatever you’re doing, wherever you are over the transition of the new and old year!  Here’s to 2017!

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Hubby’s Holiday Ration

Every year when December comes around is the time for me to figure out what I will make as a gift to give my husband for St. Nicholas Day/Christmas.  This has pretty much been our tradition for the last several years – he gets some article of clothing handmade by me for the holidays and then one other garment for his birthday/Father’s Day.  So, his “ration” of articles from my hands is about two a year.  I love to see his tickled and happy reaction every time I make something for him…it makes it so worth it!

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Anyway, this year’s gift for him is more than just his ‘allowance’.  It really is a garment from a time of real, restrictive, and penny-pinching rationing due to then current world history – a “Manufactured in England” year 1945 McCall’s pattern for a men’s dress shirt.  This is his ration on the ration but you’d never guess, would you?!  This is the dressiest shirt I’ve made to date, the first English pattern I’ve used, as well as the first long sleeve nice shirt that I’ve made for my man.  Come to think of it, up until now I’ve always made him short sleeve and/or sports shirts.  To make it even easier for him to wear his new shirt immediately (which he wanted to anyway), this new shirt a Christmas appropriate color!  It turned out so well and he does look quite spiffy in it, if I must say so myself.

THE FACTS:                                                                                                                 

FABRIC:  100% linen mccall-5864-year-1945-cover-compw

PATTERN:  McCall #5864, Printed and manufactured in England, circa year 1944 or 1945.  I’ve seen colorized envelope American versions of this pattern dated 1944 and also 1945, so I’m guessing this design was printed throughout both years.  However, the way my pattern’s insert mentions McCall #6044, from 1945, (more about that below) my version of #5864 is probably also 1945.  By the way, is it just me or does the top left guy’s face look like the actor Robert Young?!

NOTIONS:  I used everything from on hand in true 40’s outlook, but I only needed thread and some interfacing.  The buttons are probably close to authentic 40’s vintage as well, as they are a set from hubby’s Grandmother’s stash with obvious cut marks on the back (meaning she saved them off of an existing worn garment).

TIME TO COMPLETE:  His shirt was finished on December 9, 2016, after just over 20 hours.

dsc_0875a-compwTHE INSIDES:  I feel like because the insides are so nice in French seams, with the shoulder panel lining covering the rest, Hubby thinks I played a trick on him (…not me).  He literally has a hard time telling right from wrong side with this shirt!  Score!

TOTAL COST:  This linen was bought on deep discount when the now defunct Hancock Fabrics was closing earlier this year.  I spent probably only $6 on this shirt for him.  When hubby reads this I’ll sound cheap for his gift, but it’s the thought, fit, and quality that counts!

The pattern sadly manifests the effects of WWII compared to all the other USA sourced McCall patterns I have used before.  First of all, the cover of the envelope drawing is in black and white, the same as Australian patterns of WWII times.  Secondly, the pattern is unprinted, reverting instead to the hole-punched code system on plain paper like other companies.  This is a major step in rationing because being the very first to offer printed patterns continuously was always (and still is) part of the bragging rights of McCall’s, and I have never read that they departed from that.

mccall-5864-year-1945-instructions-compwThere are a few small “reminder” sheets inside with a half size instruction sheet…seeing how to make the shirt was like reading ant-size print, no kidding!  The one other “reminder” sheet states (in all red letters) that now the 5/8 inch seam is the baseline for their patterns, and the other sheet gives a guide of how to read their non-printed hole-punch system.  At the top of the guide for reading the hole-punch method is an interesting apology for it, “As a result of the present conditions…”  Everyone knew what those were, I guess not clearly saying “W-A-R” helped make those circumstances slightly better.  Below the apology is the confusing “notice” that their patterns have a ½ inch seam allowance up until number #6044.  What?  Didn’t McCall go out of their way to print a small added notice of 5/8 inch seam allowance, only to also say it’s ½ inch too?  I see all of this pointing to the company awkwardly, hurriedly adjusting and adapting to the (then) “present conditions”, trying to do their part in the ration effort the longer the war went on while still offering home sewers no less awesome designs.  One last thing – notice the envelope was stamped “TAX FREE”!

The quality of the pattern did not seem all that affected beyond the fact that it is an unprinted pattern.  As I every so often find with the punched hole patterns, there were some slight inconsistencies or mismatching with its making – something only I woulddsc_0832a-compw notice.  The front hem of one side to the front was about ½ longer than the other (which I trimmed), the left shoulder panel was a bit wider than the other (again trimmed), and the two collars were not shaped exactly equal.  Most of the times this doesn’t even happen because most patterns have pieces such as these cut on a fold, so both side are guaranteed equal.  However, this pattern is unusual in that it only had the back bodice of the shirt cut on the fold while all else was a full piece, with both right and left sides, and cut out on a single layer of fabric.  This together with the fact that most all the pieces were skinny and small, made for a very efficient pattern that left with plenty leftover to go for another project.  Yay for fabric thrifty 40’s patterns!

I really love all the finely classy and subtle vintage features.  All the 40’s shirts I see for men have gathers in some form or fashion, so the light, barely-there gathers at the cuffs and back panel are a nice departure from the norm.  Making/sewing the collar stand was quite challenging, small work, but compared to the turnover style (where the collar merely folds on itself) or the all-in-one style (where the stand is the same piece as the collar) this style is the best for dress shirts, in my opinion.  I already had practice with making button sleeve plackets when I did my own 1946 flannel shirt, so I really feel that I did the ones on hubby’s shirt very well this time.  The front left button overlap was fun and so easy to make as well as another classy touch.  Sewing something for my man has given me the opportunity to try new techniques I wouldn’t do otherwise.

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Once again, because he is skinny I choose a pattern that has his collar size (14 ½ inch).  Unlike women, neck size is priority, too, together with the chest when making a pattern for a guy…not so much hips or waist! However, just like the last 40’s shirt pattern in this size the sleeves ran really short, as if for a teenager.  I’m not talking about adding a little – I had to add 1 ¾ to the sleeve length for my man!  Granted, in modern shirts he does look for the longer length sleeves.  I don’t know how many of my readers use vintage men’s patterns but if you do and you also notice super short long sleeves as a trend for the small sizes, let me know if you see what I see!

The linen for this shirt was an absolute dream to work with – so soft and easy to sew!  People who only work with polyester need to try this kind of fabric, and they should be amazed at what they’ve been missing. To keep the linen in the right shape, the interfacing weights were switched up with the mid weight stuff in the collar cuffs while the lightweight was in the collar stand and button overlap.  Hubby’s linen shirt is the same cross-dyed, semi-sheer linen used for my 1933 skirt, just a different color tone.  Cross-dyed colors do make for such a lovely option to plain solids.

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Christmas is a time to sing, hope, and pray for “peace on earth” and “goodwill towards all”, so I find it rather funny in an ironic way how my shirt for hubby brings the Allies of World War II together.  I made this living in my country of America, the pattern I used is from the United Kingdom, the inside seaming to the shirt is French, and the material for it is similar to a fine Irish linen.  (Ireland was officially nonpartisan during WWII, but they had many contraventions helping the Allies and being aided by them in exchange.)  Perhaps a shirt for the peaceful time of Christmas can assuage the facts of the circumstances around this war time pattern, and provide a nice way to “wrap up” memories brought up by the recent celebration of the 75th anniversary of Pearl Harbor.  Green is symbolic of many things, but also of balance…perhaps I should have called my post title “Holiday Harmony”.  We all need a taste of that!

I’m hoping everyone had a restfully happy and beautiful holiday season of Christmastide!  I also hope you were told compliments on all your handmade garments and received some lovely sewing related and creative-inspiring gifts!

Year 1933 McCall’s Reprint Set

With all my recent criticism of modern “Big  4” pattern companies’ reprints of old original patterns, my budget is nonetheless limited when it comes to buying all the old sewing patterns I would like.  (Guess you can tell my ideas are bigger than my budget!)  Thus, in the spirit of being open-minded as well as needing a resource for more variety of past years to sew from, I do still use the re-releases with some misgivings.  Recently, in my effort to understand and sew the early 1930’s, I have used two of the first releases from McCall’s “Archive Collection” – a skirt and tie-front blouse for an ensemble from 1933, worn with my vintage 30’s Dr. Scholl’s brand shoes.

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Both pieces, and particularly the blouse, do have the classic 30’s look of easy sophistication with ‘simplicity-yet-smartness’ of its design.  Both are feminine and flowing yet a bit structured in their own way.  The blouse is one of the many designs of the early 30’s which had interest going on over both the chest and neckline (visit my Pinterest page for some visual examples).  Adding such details gave illusionary body lines, as well as ways to play with dramatic, inventive, interesting, or just plain weird ideas of how many ways to avoid a plain fronted blouse or dress. This skirt, as well as my previous 1930’s skirt, is in line with the style of Lucien Lelong, who in 1925 debuted his “kinetique” line of clothing.  Lelong over saw the creation of slim silhouettes with inset pleats that would pop open when the wearer was in motion but fall back into place at rest (quote from page 82 of the 2014 book of the FIT museum exhibit, “Elegance in a Time of Crisis, Fashions of the 1930s”).  This outfit is from the beginning of “sportif” clothing – the first modern means of dressing with both comfort and style for a new-to-the-30’s type of female…an active, independent, and collectively important woman.

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THE FACTS:

FABRIC:  The Blouse – a 100% cotton Swiss dot fabric in a deep dusty peacock turquoise color; mccalls-6993-7053-ca-1933-pattern-compThe Skirt – a heathered tan oatmeal-colored 100% linen 

PATTERNS:  McCall’s #7053 for the blouse and McCall’s #6993 for the skirt, both “Archive Collection” patterns circa 1933

NOTIONS:  I used all of what was on hand – a vintage metal zipper for the skirt, vintage bias tape given to me from my Grandmother for the skirt, as well as thread and interfacing that I had already.

dsc_0519a-compwTIME TO COMPLETE:  Pretty darn quick – the blouse came together in 4 or 5 hours and the skirt in about 5 or 6 hours.  The first was done on September 23 and the second on September 26, both in 2016.

THE INSIDES:  The blouse inside is left raw (it doesn’t fray) and the skirt is clean inside with all bias bound edges.

TOTAL COST:  Both fabrics were bought when Hancock Fabrics was going out of business so both fabrics were only a few dollars a yard.  My total is probably about under $20.

I am quite happy with my finished outfit.  My all over outfit is completely authentic to the times with the fabrics I chose (especially the Swiss dot), the colors will span seasons and match well with what else I have in my closet, and the fabric textures add interest.  Early 1930’s patterns from the time of the NRA are expensive (to me), a bit harder to come by, and considered more collectible (at least from what I see) so this outfit is a welcome and oh-so-very wearable addition to my wardrobe of this decade.  I am itching to make the other long sleeve cowl neck view on the blouse pattern – it looks just as practical yet lovely for my growing amount of 30’s clothing!

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However, I do have lingering doubts that these are 100% true carry-overs of 30’s patterns as they are quite fabric hogs.  I know the 1930s patterns demanded more fabric than a 1940s pattern, but this was still Depression times and almost 3 yards for a blouse seems like almost too much.  I am not certain my claim is worthwhile because this was the era of both an aura of elegance and superficial extravagance, even if only to “keep up appearances”.  I have read other bloggers who have mentioned ad-for-1933-achive-collectionthis seeming incongruity of era and fabric demand seen on the envelopes.  These 1933 pattern re-issues also include a vest and a jacket, but each were released as their own individual pattern.  (Why? To make us spend more money?  It’s quite rude to do this for the Archive Collection when the regular patterns have sets in one piece!)  I am guessing this whole 4-piece suit could have been in one complete pattern set originally – this was common practice in the early to mid-1930s.  I have yet to find the original for these patterns, so for all I know I’ll have to believe McCall’s…for now. 

I did have some problems with the fitting of both pieces – they seem to lack good fitting in odd places and run quite large!  I needed to dramatically take in both the blouse and skirt as well as add more darts and shaping.  Generally, I made the same sizes I would have chosen had these been McCall’s traditional modern pattern, and the blouse and skirt are not the same as them nor are they the fit of old 30’s patterns I have sewn up before.

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First of all, the skirt needed more curving added in to both make the hips and waist smaller and more fitted.  Even with an extra two inches taken out, I still could have taken out more and curved in the waist better because it has a weird placement on me.  I sewed my “normal” McCall size – that’s what makes this fit so weird.  Since the waist is not fitted to my body while the hips fit better, this skirt hangs from the hips while the waist kind of floats in place.  Anyway, it is comfy being loose, and what I feel with the fit is (I think) not noticeable on me.  The cover drawing makes it look like the waistband panel should be snug and at a high point across the middle…I wish I would have achieved that with my version.  I tried to do so, I really did.

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Secondly, the blouse’s shoulders were incredibly droopy on me.  As the perfect fix, the back of the blouse has a Y-shaped dart system where the horizontal “arms” of the Y come up and over my shoulders and down into the wrap front.  The blouse is designed with a Y paneled front, why not do it to the back when it is the best option to achieve a well-fitting blouse?  Of course, this blouse is supposed to be loose and kind of baggy, but too much hanging in the wrong places and a garment just appear poorly made.  Once ironed, my Y darts became invisible – yay – and each dart picked up the shoulder by an extra 2 inches to make the lantern sleeves puff out over my elbow right where they should be.

dsc_0485a-compwWhen the front wrap ends are held out they look like some sort of wings.  I think they are pretty and a good kind of different but having a blouse with fabric hanging down the front does take a little getting used to.  When I sit down at a table with food in front of me, I have to remember to place my arm across my front to keep my blouse’s fabric from dipping into the plate and making a mess.  The same thing goes for being over a sink to wash my hands.  I have heard this pattern design referred to as always wearing a napkin under your chin to catch any mess and generally be in the way.  I do not think it is as bad as that – the wrap front with its hanging ties can be tacked down permanently if you would so like because you do not need to undo it to put the blouse on oneself.  This doesn’t need any zipper or closure, for goodness sake!  For as easy to make as it was and as lovely a blouse as it is, this pattern is definitely worthwhile…as long as you’ve got 3 yards of fabric for it.

We kept with the time period with our background and went to take our pictures in the Continental Life Building.  It is a scrumptious Art Deco gem which was built in 1930.  It has had a tumultuous history and more recently saved from demolition by being turned into an apartment complex.  The lobby that you see behind me is such an over-the-top way to give a visitor their first impression – so classic of the wonderful architecture of the 1930s.  I just love the awe and tingling happiness it gives me to be in these types of buildings, especially when I’m in period clothing!

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In the competitiveness and eagerness to move ahead and be “modern” it seems many towns, especially ours, glazes over architectural history as if it was a hindrance rather than a necessary link to connect us with the past.  This can be the same situation when it comes to clothing styles seen in the stores to buy.  Past fashion trends are always being re-used and re-hashed but once recognizing where they came from and why they were first used, the reason to admire or wear a new type of detail becomes a source of learning, knowledge, and sense of the bigger picture.  (Hint – has anyone else seen a whole lot of 1930s era sleeves on the fashion scene since the last several months?!  Check this out for one example.)  Somehow, I feel like I’m doing both the building and my outfit due appreciation when I am able to pair a ‘me-made’ outfit with its time period counterpart place…and learn in the process.  Also, I guess I’m just venting appreciation for every historical gem of a building that gets saved, just the same as for every vintage fashion trend treasure that gets re-made, re-worn, loved and respected anew.