“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!  

“How Far I’ll Go…”

     “See the line where the sky meets the sea?  It calls me. 

          What’s beyond that line?  Will I cross that line?

               If the wind in my sail on the sea stays behind me, one day I’ll know…”

     -lyrics from the song “How Far I’ll Go”

I might have my personal favorite princesses, but in our house, Disney’s 2016 “Moana” is an all-around favorite of all of us, especially my son.  The movie is an excellent example of Polynesian lore and culture, besides having Moana herself be an all-around exemplary, relatable 16-year-old human, even for all the legendary situations she is placed in.  I love that Moana has her family there for her throughout the film, which is unique for Disney (which tends to kill off the mom figure), and that she is searching for her own identity, not a love interest.  It has songs that are catchier than the best classic 90’s Disney tunes with amazing visuals that are an absolute treat.  It contains my husband’s favorite Disney song – “You’re Welcome” – and was my son’s first in-person movie theatre experience.  “Moana” is also the only Disney animated princess movie I cry to every single time we re-watch it again and again!  It is fitting that my last summer season sewing is something related to the princess Moana.

Of course I had to interpret this specific inspiration with a play set for my latest and greatest installment in my “Pandemic Princess” blog series!  There wasn’t a better decade for the cutest play sets than the 1940s, in my opinion.  Besides, with all the American soldiers (and their families in some instances) stationed at many of the Pacific islands during and after WWII, Polynesian culture heavily influenced the warm weather and playtime fashions for women of that decade. 

I had a head start on the 3-pieces which constitute a play set by wearing my pleated, skirt-style 40’s shorts, which I sewed years back as the base for another play set (posted here), to match with my newly made Moana novelty printed blouse.  The rich blue to the shorts reminds me of the ocean…and I enjoy being able to still be wear my older creations, after all.  Then the jumper, which is newly made and can be worn over both pieces, also matches with the blouse as it peeks out from underneath.  It creates a suddenly dressy tone to the fun time duo.  The brown linen jumper was custom dyed by me, and calls to my mind both Moana’s dark hair and the natural fibers that many ethnic Polynesian clothes are made of.

My accessories are especially coordinating this time.  I have a toy plush version of Moana’s sidekick the rooster Hei Hei to keep me company.  He might not be the best help on Moana’s boat (see this hilarious movie clip) but together with the pig Pua (shown on my blouse) complete her ‘conventional’ Princess ‘requirements’.  This Hei Hei toy was a present from my mother-in-law and can walk and “scream” by battery power.  I also have a large conch shell with me – it was acquired by hubby’s Grandmother in the 1960s or earlier.  It is a beautiful pink inside just like the ones the ocean gave Moana as a baby (see this movie clip – it’s so sweet). 

Now to the rest of my accessories, like my handmade ones! My belt is a multicolored novelty jute ‘ribbon’ which I originally made into a belt to match with this dress (post here) but works fantastically to brighten up the solid brown of the jumper.  Even my sea-inspired hair clip was me-made, too.  I started with a cheap $1 store basic hair item then glued on wooden themed charms of a sea horse, starfish, shell, and a fish that I bought from my local fabric store.  I love my self-made items which complete my outfits!  Finally my amazingly comfy shoes (the “Elinor” lace up ballerina pumps) are from the great brand Miss L Fire, which is sadly going out of business in the next week or two.  All together I felt fantastic in my outfit and also ready for whatever comes my way.  Oh ‘how far I’ll go’ for the perfect dream outfit…

THE FACTS:

FABRIC:  a heavyweight all-linen for the jumper and an all-cotton Disney brand Moana character print for the blouse

PATTERN:  McCall #5607, year 1944, a vintage original pattern from my stash

NOTIONS NEEDED:  lots of thread, vintage buttons from the inherited stash of both my Grandmother and my husband’s Grandmother, vintage hem tape, vintage bias binding, and some interfacing

TIME TO COMPLETE:  The jumper took me about 8 to 10 hours to make and was finished September, 25, 2021.  The blouse came afterwards, being finished on September 27, and was made in only 4 hours.

THE INSIDES:  all cleanly finished thanks to vintage bindings on hand

TOTAL COST:  1 ½ yards of the Moana cotton bought at Jo Ann Fabric store cost me about $12; the fabric for the jumper was linen I had on hand longer than I can remember so I’m counting it as free.  The dye for the linen cost $3 something dollars.  All other notions were on hand from my stash so I’m counting them as free, too.  My total cost for this outfit was about $15.

This overall project started out as an experiment.  I had this lovely bright orange, almost neon, soft and supple linen that was my ideal fabric but in a wrong tone for the jumper to match with the Moana print fabric.  I had an overall 3 ½ yard cut of the material, and only needed just over 2 yards.  Thus, I cut out the pattern pieces for the jumper and saved the rest leftover for my upcoming “Part Two” Moana-inspired outfit.  Then, those jumper pieces were partially sewn together (darts, pleats, and all secondary seams), and the front buttonholes were marked with thread, so they could be cooked in a bath of RIT brand liquid dark brown dye. 

I actually had absolutely no idea what tone I would end up with, but expected a burnt orange.  Any way the dye job would have turned out, I was ready to be happy with it as long as it remotely matched the Moana blouse fabric and became a different color.  I think that since my fabric was a natural linen (which takes well to dye), and I chose a dark brown versus just a natural brown, I ended up with this lovely rich and opaque nut color.  I wanted a jumper which would carry me beyond this particular outfit and be versatile going into fall, but overall become an all-season piece.  This jumper as it turned out is not what I expected but just what I wanted.  It was a planned surprise.  Dyeing is always so very interesting and fun, but always a gamble.

Other than the dye job, this jumper was easy to come together.  Part of the joy to it was how much like sewing through butter was the linen I was using.  Also, though, it has been too long since I’ve used a true vintage printed McCall’s pattern – they’re my favorite.  I appreciate the general predictability of how well they fit me out of the envelope and their details are understatedly fantastic.  The waistband panel – an incorporated ‘belt’ – was eliminated for my version of the jumper because I am both short-waisted and wanted to cut down on the blousiness of the style.  Otherwise, I sewed this jumper just as it is shown on the envelope, not counting grading up in size.  The deep cut armholes are great to show off the blouse underneath and keep the jumper from being confining.  The way the bust darts radiate from the sleeve openings is my favorite unexpected detail.  I went the extra mile to do only hand-stitching finishing touches so no thread is visible besides for the buttonholes.

My blouse was super easy and straightforward as shirts go.  It has menswear details, no doubt added just to keep a smooth profile for layering under the jumper.  Many 1940s blouses have some gathers or shirring somewhere, normally across the shoulders (to add bust fullness) or the back.  This blouse has the conventional separate shoulder panel across the bodice upper back, but with masculine-style pleats for reach room below that.  The front relies on a giant bust dart set into the shoulder down to shape the bust, then there’s a small below-the-waist tiny pleats to fit the hips.  Even this collar is rather on the tame side as 1940s collars go and I like it.  The shoulders are nice and smooth, too.  These features all help this blouse seem a bit more timeless than dated, more than many other 40’s blouses do.  I will definitely coming back to this top pattern to sew a dressy, solid colored version in the future. 

Even if you don’t know Moana or have not yet seen her movie, I hope you enjoyed my new play set with our beach themed photos and find yourself inspired by what I have said about our family favorite princess.  At a basic level, it is just an outfit inspired by a girl whose enthralling story revolves around what she will do out of her love for both home and family.  Whatever her culture, that is a universally admirable quality…but especially for a 16 year old heroine like Moana! 

My outfit respectfully avoids any cultural interpretation, and instead focuses on the predominant colors of the animated tale, vintage clothing for ‘fun in the sun’ by the water, and my personal fangirl manifestation.  With the blouse, the skirt, and my old favorite shorts all in one set, it has been a fun but still practical project to complete.  Out of all my other “Pandemic Princess” inspired garments, this one is perhaps my most natural or ‘organic’ interpretation.

I for one am not into logo tees or character tops unless it is for Agent Carter, Wonder Woman, or as a concert souvenir.  For Moana to be included in that category for me should tell you something big!  Please do yourself a favor and see the animated film “Moana” if you haven’t done so already…and if you have, let me know what your favorite scene was!  I have so many, it is hard to pick anything other than every minute of the movie.  I am so super hyped to have an outfit that embodies this special Polynesian princess.  Many Pacific Islands are an underrated and underrepresented part (if only a satellite affiliation) of the United States, after all!

Effervescence

A dictionary definition says there are two sides to my title word.  It is defined as “bubbles in a liquid; fizz” or “the lively quality of vivacity and enthusiasm”.  Well, the word also happens to be the name for my dress’ fabric print…and it is every bit as lively as its name. 

I am pleased it is also a play on the two Pantone colors for 2021 – “Ultimate Gray” and “Illuminating” (bright yellow) – in a manner as trippy as a psychedelic Ishihara eye test.  This works perfectly for the decade of the 60’s.  I had to oblige my inspiration by using a vintage pattern to make this dress a reality soon than later.  I need the mood boost this color combo promises!  Pantone explains it thus, “”Illuminating” is a bright and cheerful yellow sparkling with vivacity, a warming shade imbued with solar power. “Ultimate Gray” is emblematic of solid and dependable elements which are everlasting and provide a firm foundation.”  Such a summary makes my dress sound like a grounded, tangible interpretation of effervescence to me, and I like the sound of that!  Add in a dash of turquoise – just about my favorite color – and I am a happy girl.

THE FACTS:

FABRIC:  a 100% cotton “Effervescence” design print in the “Riviera” color way by Amelia Caruso for Robert Kaufman  

PATTERN:  Simplicity #8591, re-issue of a year 1961 Simplicity #3782

NOTIONS:  Lots of thread, one 22” zipper, and some bias tape

TIME TO COMPLETE:  This dress would have been even quicker to sew if I hadn’t had fitting problems…as it was this was a reasonable 5 hours to finish.  It was done on June 18, 2021 and ready to go with me for a weekend getaway!

THE INSIDES:  cleanly bias bound

TOTAL COST:  For 1 ½ yards at 45” width my total price was $18.  My fabric was bought from “Bits & Pieces” shop on Main Street in downtown Hannibal, Mo.  I highly recommend their shop – it has high quality offerings at reasonable prices and excellent service!!

This is yet another experiment with a border print fabric.  This time I had the border run up starting from along the bodice waistline.  With this layout the border ends with its vertical stripes across the bust line.  The remaining overall print is used for the skirt as the border runs along just one selvedge.  I have seen this layout in mostly 1950s era dresses, and I feel that a pattern from the very early 60’s wouldn’t be too far of a stretch.  The perks to such a use of a border print is that it visually slims down the hips by overly emphasizing the bust and shoulders.  Granted, this dress has a full skirt that sort of negates that benefit, yet I did greatly pare down the gathers from the original design in my own version.  This was equally due to being short of fabric as it was because I wanted the skirt more manageable.  I only bought 1 ½ yards of material because I originally planned on making a blouse.  Soon however, a better idea presented itself, as you can see.  I’m glad I chose to sew this up as a fun, simple frock. 

I think the crazy print and the fact this is above my knee in length, as well as sleeveless, helps this dress has a slight 60’s air.  Yet, the classic bodice and the gathered skirt, even if it isn’t very full, helps this dress be a call-back to the 50’s decade.  I wanted this to be an example of what the fashion of the early 60’s was…a thorough mix of both decades.  Styles didn’t change overnight.  What we think of being the stereotype fashion for a decade in the 19-something era is often a fad that came later on at the end of those 10 years.  The mod youth fashion of the 60’s wasn’t a widely adopted style until after ‘65.  Before then, there were a lot of deceptively 50’s looks.

Let the ‘vintage’ labelling be darned here, nevertheless, because the bodice is pretty close to having design lines of a basic two dart bodice block, also called a sloper, and the skirt is self-drafted by me to accommodate my lack of yardage.  Thus, I truly don’t know how 1962 it is on paper at this point.  It’s all about the styling here I suppose.  I almost always have a vintage influence in my choice of accessories and the way I fix my hair, so there’s that.  I do love how versatile this dress is – it can be vintage looking or not as I choose.  Either way, it’s a comfortable, sensible dress that will work for several seasons, too.  Adding a grey blazer, fun tights, and booties might creatively make this dress work into the cooler temperatures of fall or spring.

For being so basic, though, the bodice of this retro re-issue fits horribly.  For me, the torso length was very tall (long), the bust points were high on the chest, the shoulders were generously tall, and the armscye openings were very tight and restrictive.  I needed to do lots of tweaking and try-ons, including cutting several inches off of the waistline length, which only made me crabby such a “simple-to-make” dress wasn’t living up to its promise.  Yet, if you do the work at the pattern stage to perfect this bodice to your measurements this would be good shortcut to having your own sloper bodice block to use to future self-drafting.

This is a fussy pattern, but once I found the original to the reprint, I feel comfortable surmising the reason why.  Simplicity #3782 was originally a teenage and junior’s proportioned design.  I’m wondering if in re-sizing it up to adult woman proportions, they drafted it badly and threw the fit completely off.  How Simplicity allowed this to be printed this way is disappointing and beyond me.  What about standard sizing and quality control?  In whatever way it happened, something is wrong with the new #8591, and I might not be coming back to use this re-print again.  If you do try it, make sure to be prepared for some fitting frustrations along the way to completion.  

In all else, though, I love how this turned out.  I achieved a very good zipper insertion despite doing it by machine, bias bindings were much simpler than facings, and self-drafting skirts is such a joy for me.  The circumference of my skirt hem is the whole of the 1 ½ yard stretch of material and I took advantage of the other selvedge to avoid having to sew a hem.  From the waist down, my skirt is about 22” because the border at the other selvedge edge went towards the bodice.  As I my fabric was originally 45” width and I had to use extra inches along the border to match the stripes, this shorter-for-the-50’s-style skirt was all I could eke out…but I like it, after all as I said. 

A fully gathered skirt would not work I knew, yet at first I gathered only the sides over the hips.  This did not look right – it was much too poufy.  I unpicked the gathers and made a few 3” long half inch wide tapered darts on each side to ease out the total at the waist without taking any out of the hips.  This way I get a lovely bell shape to the skirt and an appearance of fullness to the small yard plus bonus length around.  Ah, isn’t the best part of sewing the way you can make the most out of what little material you may have?!?

Ready to walk down the famous Beale Street in Memphis!

I keep surprising myself at the amount of dresses I can make out of just over a yard.  This one has a full skirt to boot, though!  It was a happy last minute creation that was whipped together so it could have its grand promenade on a trip out of town.  Memphis, Tennessee was hot as blazes that day, but I was staying cool and looking good.  What is there not to be ecstatic over here?  I would say the print is very aptly an energetic word of life and activity the way my dress finally turned out, but then again most all of my handmade wardrobe gives be that happy confidence as well as this one. 

Have you specifically tried to wear the two Pantone colors for 2021, separately or together?  What do you see in my dress’ print – bubbles in a fizzy drink or a color test for your eyes?  Do you believe along with me that there is a special “effervescence” which exudes from someone who wears something handmade? 

Gift Sewing: A Reversible 1940s Apron

My most common item I create as a gift for someone is a really cute, finely detailed apron…and if not self-drafted, there is one pattern that I use for all of them.  It’s a vintage re-issue, Simplicity #1221, originally Simplicity #4939 from 1944.  This is a true winner of a pattern, with one cut piece needed to make it and a good design that has a complimentary fit.  Not every apron is so good at being fashionably waist slimming yet with full coverage for food stain protection, too.  Neither are all aprons so good at being a one yard, two hour project!  One of these days, I need to get around to making a version for myself, especially after making so many for others.  Here’s the post on my first gift version of this same apron pattern.  This particular one was going off to my hubby’s godchild as a present.   

This is the first time I had made a reversible apron, and I love how it turned out.  I wanted her (the recipient) to have something she would not find otherwise, something fun, and ultimately useful!  Just one layer of material (printed cotton) alone was too thin to be a useful against food splatters anyways.  As the apron design is so simple, it was easy to merely have the backing fabric become an optional, yet wearable, second side.  The entire raw edges are encased in ¼ inch bias tape so they look the same on either side, too, besides being an easy and colorful finish. 

The sizing is good for gifting, as well.  It is in loose, general blocks of measurements as small, medium, and large gradients rather than precise numbered sizing.  As long as I can estimate the recipient’s body as compared to my own, I can find the right size.  The waist of the apron should just about cover the front 2/3 of the wearer’s waist, so that always gives me a good way to choose what size to make after measuring the pattern in comparison.  The godchild is actually a 20-something who is my size body (or slightly smaller) so I made the apron to fit me.  However, it is always harder to let something go to someone else once you try it on for yourself, you know what I mean?

I made the ties as long as the pattern calls for, which is short enough for only a knot and not a full bow.  The neckline has no closures and flips over the head to lay on the neck and shoulders like a collar, so I feel the shorter ties complement the overall simplicity of the design.  At the base of the ties, I added a small name tag to credit me, the maker, so the recipient can remember who gifted it to her!

What is your go-to for handmade gifts?