“A Dream Is a Wish Your Heart Makes”

Something that is in high demand in the world today can be in high supply since it stems from an infinitely renewable source.  I am speaking of kindness – a gift that can be so hard to share but costs nothing to give.  It is a universal language of communal understanding.  A plentitude of kindness is sorely indispensable.  Even if I fail all too often, I do try my best to fill the need, even though the effort is often disheartening.  “Be the change you wish to see in the world” is a cliché phrase but kindness is infectious and the key to someone’s good day can really begin with just one person.  Being kind in heart is a very beautiful, strong, and attractive personal quality to find in people, too.  This is why I would like to pick up (a year later) where I left off posting my “Pandemic Princess” blog series by featuring the most famous fairytale princess – Cinderella.  

Cinderella is the fictional rags-to-riches princess who practices indiscriminate benevolence, patience, perseverance, and understanding.  Her story is ancient enough to span many centuries, ethnicities, and interpretations but in all of them her honest beauty, radiating from the heart within, saves the day so goodness can prevail.  I love with a passion the Disney interpretation of 1950 (the animated film) as well as the live action retelling from 2015.  However, I am a sucker for a creative spoof on the story – my especial favorites are Ella Enchanted from 2004 and Ever After from 1998.  The catchy songs and the strong sewing references to the original 1950 animated film have me hopelessly hooked, nevertheless, and the live action interpretation from 2015 is a glorious treat for me.  “Have courage and be kind. For where there is kindness there is goodness and where there is goodness there is magic.” These are the best words ever to summarize Cinderella’s story and can be found in the 2015 live action film. 

1950 cover for a child’s book

I never fully finished sharing all of my Princess inspired vintage creations after launching my “Pandemic Princess” blog series at the beginning of 2021.  I would like to revisit it to wrap up the last remaining themed projects within the next few months.  As I said in that post which launched the series, I mostly interpreted my Disney princess inspired sewing in relation to the year that their original animated movies were released, and my Cinderella dress follows suit as the early 1950s fashion works perfectly for a full, swishy skirted dress, headbanded updo for my hair, and a pretty pastel blue tone.  Yes, I was inspired by the fairy godmothers magic dress for Cinderella since my Snow White interpretation was a similar looking work dress

Promotional image of actress Lily James for the live action 2015 Cinderella

I wanted something wearable and not a costume though, so this merely carries the spirit of and references to the associated heroine. I did not make these princess dresses because I had someplace to wear them – each was truly a splurge project in the truest sense.  Disney bounding, as is the frequent term for an adult whose assembles an outfit loosely inspired by a fictional character, doesn’t have to revolve around whether or not one is capable of actually showing up at a theme park.  It relies on the ability to dream, have a bit of fun, and appreciate a bit of fantasy…all from right where you are.  Cinderella says that “A Dream Is a Wish Your Heart Makes” in her first song for the 1950 animated film.  This post’s sweet and calming floral blue dress reminds me that it is important to keep one’s dreams alive, hold onto hope, and stay kind like Cinderella.  Sewing helps me make some of my dreams a reality, and keeps me creative enough to continue making magic with fabric and thread.

THE FACTS:

FABRIC:  100% cotton for both the solid blue, the print, as well as the lining layer underneath

PATTERN:  McCall’s 8898, year 1952, original pattern from my personal stash

NOTIONS NEEDED:  This was a fussy project that needed lots of thread, one zipper, 10 covered button blank sets, yards of binding, and a good amount of interfacing.

TIME TO COMPLETE:  This dress took 15 to 20 hours to finish in July 2019

THE INSIDES:  cleanly bias bound

TOTAL COST:  The printed fabric was $12 for two yards ordered through “Simply Fabric” of Oakland, California on Etsy.  The solid blue cotton was from my local JoAnn Fabric shop, again two yards for about $12.  Then I had to buy a solid white cotton muslin for lining the whole dress – 6 yards for about $18.  All the notions added up, especially the buttons.  The total for this dress is about $50.

This was my first princess inspired dress even before I thought of making a slew of them and turning it into a theme.  Less than month later, I whipped up my 1992 Beauty and the Beast animated film inspired dress (posted here) as a treat to myself for my birthday.  It was then I realized I wanted to keep going with this good thing I had started.  The blue is for Cinderella’s ball dress, while the climbing floral print is for both her sweetness to nature and the garden plants that were magically turned into everything needed to take her to the ball.  My embroidered headband further calls to mind Cinderella’s ball outfit, but mine has sparkly crystals to add just a touch of finery.  A jeweled butterfly brooch from my Grandmother refers to all the butterflies which rested on Cinderella’s gown in the 2015 live action movie.

Beyond any princess reference to my outfit, I had been aching to try out a dress that contrasts its print with large panels of matching solid color, anyways.  It is almost like color-blocking, but with half of the contrast being a complimentary toned fabric print.  Add in the fact that the front closure is asymmetric, which I am a complete sucker for, and this dress becomes the best way for me to dive into this style.  For a few years beforehand, I had kept a whole folder of similar 1950s dresses to encourage what I felt may have been a crazy idea.  It is interesting how mixing up prints with solids in paneled dresses has become a popular trend in both the sewing realm and also the sphere of true vintage sellers since last year.  I was ahead of things in 2019, apparently! 

Besides the interesting way I took advantage of the paneling in the dress, there is another neat detail that was added to this pattern.  There are V-notches cut into the sides of the neckline, the hem to both sleeves, and the center back neck.  These spots were tricky but fun to sew and require nothing more than firm interfacing, precise stitching, and the clipping of the seam allowances.  This small V notching along hem edges of a bodice is a feature I love to see because it is unmistakably tied to early 1950s designs.  See Butterick 5739 from 1951, Butterick 6091 from ‘52, Butterick 6960 from ‘54, and McCall’s 3235 from 1955 for some examples from sewing patterns.  Now you can understand why I attributed this vintage Martha Manning suit in my wardrobe, with its notched neckline, (see it here on my Instagram) to be from the exact same time frame, as well.  Asymmetry was likewise a popular element on dresses and bodices of the early 1950s, as well, so this dress pattern combines both into one fantastic design, similar to what both Vintage Vogue 1043 from 1953 (see my version here) as well as Vogue 9105 from 1954 have going for them.  This post’s dress pattern is from 1952, and has more little V notches along the edges than any pattern I have seen elsewhere…I love it!

Was this ever a complex project and a fabric hog, though!  The asymmetry meant I needed to pay attention to the right side of the front pattern pieces and cut them single layer.  The cottons – both printed and solid – being slightly sheer meant I needed to cut every pattern piece twice to interline individually.  There is 10 yards in total fabric here!  So much fabric means it is a heavy dress for summer, even though that is the season it is for being in a bright white print.  Making 10 fabric covered buttons became overwhelming pretty quickly, too. 

The fit was really funky making it as-is and turned out to be an ill-fitting dress that needed all sorts of adjustments.  Even the length before hemming was down to the ankles on me!  To counter all this bother, I cheated with the asymmetric front and installed a side seam zipper.  The entire button front is for looks only at this point and not a working closure.  After everything the dress put me through to reach a point where it was wearable, there was no way I had enough energy to sew in and cut open 10 buttonholes.  Even with sewing down the asymmetric front, the neckline is rather fussy to keep closed.  I am so glad I opted for ‘cheating’ on the front closing.  Even still, I had to add some tiny hook and eyes to keep the perfect V of the neckline over my chest. 

I am not as naturally gifted as Cinderella, and so the birds you see in some of my pictures are actually vintage plastic bird models that I and my dad built when I was kid.  Search up Bachmann’s “Birds of the World” and you’ll see what they are.  The scarlet tanager was a model my dad did as a kid himself (in the early 1960s) but the barn swallow in my hands for the first picture was one I made as a teen.  The birds were packaged in pieces like a plane or a car model and needed to be painted and glued together.  When they were finished, the scale was the same as the real life birds they were portraying.  I came face to face with a hummingbird once when she thought I was a flower, and I did some bird banding with the local Conservation Department as a teen, but otherwise these models are as close as I will get to my favorite songbirds.  I just had to include the models in my pictures because Disney-bounding Cinderella is about having a sense of fantasy…so why not pretend I do have feathered friend?!  After all, “be kind to every kind, not just mankind” as the phrase goes.

The print struck me as perfect for channeling her in a Disney-bounding dress for a very good reason.  It was similar to a cotton floral I picked out as a young teen to make myself a wearable Cinderella skirt for my birthday.  Looking back, I am proud at how I made exactly what I had hoped for but repulsed by the fact I actually wore that.  It was a long full skirt in a sheer floral cotton, lined in blue for a soft tint, and draped with swagged bows just like Cinderella’s first ball dress (the one the sewing mice made and her stepsisters destroyed).  A two yard cut on its own is not enough for a full skirted 1950s dress but I really had to make this fabric work for my idea.  Besides, I felt that the floral was too quaint and overall busy looking on its own without a solid tone to calm it down.  Cinderella only wore solid colors, so incorporating a large swath of blue to the print was merely properly following the call of crazy creativity.   I have properly reinvented something I wanted to do as a teen, and done it in a much better manner. 

I suppose I need to learn how to practice kindness towards myself, particularly when looking back on some dubious fashion choices of my past!  Being easy on yourself is especially hard to do, from a maker’s standpoint, and takes real effort and courage.  “I could have done this better” or “this is far from flawless” is frequent to think or say for sewists.  I know my perfectionism is too strong more often than not.  While it is admirable to set such high standards, such an attitude merely ends up with you being harsh on yourself and often setting unrealistic goals.  Cinderella’s kindness is often misunderstood as a doormat for others but if you look closer – as this article does – you can see how she was so busy being kind towards others she ‘forgets’ to be kind to herself.  Try to take one special step today to be understanding and gentle on yourself in the spirit of Cinderella, but especially in regards to whatever aspirations or dreams you cherish!

1943 “Polka-Stars” Satin Dress and Netted Tilt Hat

This post has been long in coming but is now ironic because McCall Company just re-issued the pattern I used (as McCall #7433), albeit with dramatic changes.  Hopefully this post will show the beauty of this specific dress design and how the re-issue has been altered from the original.  Now, if you buy the reprint, you know how to make it more authentic.

A yearly World War II re-enactment weekend that takes place in town always gives me an excuse to whip up a new 1940s dress for the dance evening.  Therefore, I cranked out this pink and black satin year 1943 dress, together with a self-drafted fancy tilt hat! (The hat is posted separately here!)

I confess, this was one of those stupid/silly sudden-last-minute decisions where a few days ‘til the re-enactment, I decided that the outfit from the year before just would not do.  Admittedly, the tiny stars in the fabric made me feel patriotic at the re-enactment dance, without being too obvious, while the black tempered the sweetness of the pink.  The touches of black made me feel quite dressed up without being too overwhelming (see this article from “Chronically Vintage”).  The tilt hat was directly inspired by the headgear spotted at the wedding of Prince William to Kate Middleton in 2011, as well as coming from my newest interest in millinery.

THE FACTS:

FABRIC:  A thin 100% polyester, buff-finish satin, in a rich but light pink with tiny black stars like polka-dots.  The contrast black satin is semi-thick, but also polyester, and was used for the hat as well.

PATTERN:  McCall #5295, year 1943 (this was a lucky find at only $3); the hat was self-drafted

NOTIONS:  I had on hand what I needed – the thread, bias tape, interfacing, and zipper for the dress; tarlatan, elastic, hair combs, and netting for the hat.  The buttons down the front of my dress came from the stash of Hubby’s Grandmother.

TIME TO COMPLETE:  I raced through sewing the dress in about 8 to 10 hours.  It was finished on April 24, 2015.  The hat was made in two hours on September 25, 2015.

THE INSIDES:  I had only a few days to make this dress so unfortunately the insides are all raw and terribly fraying.  I was also afraid adding on some sort of bias tape would stiffen the flowing fabric too much and didn’t have time for what I wanted…French seams. After the dance, I came back to clean up the insides, trimming the seams and covering them in fray check liquid. 

TOTAL COST:  This was bought on clearance at Hancock Fabrics as a store was closing so I bought this fabric at about $3 a yard, and this dress only used just under two yards.  The solid black satin was only a ½ yard cut, and went towards both hat and dress contrast, so this cost very little.  The black hat netting was originally expensive, but was a lucky find on clearance at 50 cents for each yard.  So, I suppose my outfit is about $8 in total. 

McCall #5295 was just challenging enough to be satisfying – it is ingeniously designed.  This is also the first vintage 40’s McCall pattern that seems to run very small.  The pattern size I had was technically a tad too big for me but it ended up fitting a bit snug (nothing that letting out the seam allowances couldn’t fix).  After making my 1943 dress I had enough leftovers to make these double layered tops, thanks in part to Wartime rationing which gives pattern pieces which are very economical on space.

The whole dress is lovely and interesting, but the bodice definitely takes center stage with the neckline.  The dress bodice is constructed in an unusual two-part creative manner for a dramatic style.  The lower front bodice comes first by facing the entire edge and making three rows of shirring from the shoulder to the end of the neckline notch.  Then the four back bodice waistline tucks are sewn and the shoulder is attached to the upper bodice front so this entire neckline can be faced and finished off as well.  Finally, the bodice’s upper front gets overlapped with the lower portion and both are top stitched together along a line of shirring next to the neckline notch.  I was tempted to not add the contrast insert underneath at this point, but I’ll save this idea for next version of the pattern (which will be a winter dress in long sleeves).  The new re-issued version of this pattern sadly leaves out the shirring next to the front neck notch as well as weirdly turning the back into a shirt-look, with its shoulder yoke and tucks.  I can’t wait to see if the new version also faces and constructs the neckline in the same manner.

Now the contrast under the neckline is such a simple little piece to make such a difference…more or less an odd shaped rectangle folded over with interfacing inside.  The contrast piece only extends from the end of the back neckline to flush with the edge of the button front.  The new re-issue seems to have the contrast wrap all around the neckline and plummet to nothing before the edge of the button front.  Adding in the contrast does nicely support and shape the neckline as well as making it pop on account of both the extra top-stitching involved and the contrast color.

You will never guess what interesting little tidbit is lurking about this dress in regards to the top front buttonhole.  In order to be authentic, I used my late 30’s/early 40’s Kenmore sewing machine for some of the construction of the dress, especially the buttonholes.  I followed the instructions on the pattern where it said to put in the trio of buttonholes in the dress before adding on the contrast.  O.k., did that, but the end of the contrast piece also receives its own single buttonhole before getting sewn under.  You know what?  The double buttonholes align up perfectly together and work as good as a single buttonhole.  On a basic level, I’m supposing the instructions said to do it this way because 4 layers of fabric with interfacing is too thick and bulky, but think about it.  Having separate buttonholes for both the contrast piece and the dress a very smart move and so very “1940’s versatile”.  Depending on the color and print of the dress you could make more than one contrast piece or even leave it off to change up the appearance of your dress!  I’m telling you, vintage patterns do things right.  I hope the new re-issue sticks to this same ingenuity with the contrast piece but my hopes are not high.

The short sleeves were a bit of a surprise to me – what…no gathered, puffed top caps!?  No, the sleeve caps are instructed to be smoothly eased in without any gathers, darts, and such normally found on forties women’s fashion.  They are still quite easy to move in due in part (no doubt) to the fact I cut them on the bias grain just to be on the safe side.  The contrast piece for the sleeves is not a cuff, but something which gets placed under an already finished hem and top-stitched down, similar to the neckline.  The sleeve hem contrast is only offered to match with the short view in the old pattern, but if I was going to make the three-fourths version I was planning on adapting a piece for the end as well, and 100_5006M-compthe long sleeve plackets could be in contrast, too (though not removable).  The new reissue seems to offer similar short and long sleeves, only without the ¾ darted sleeve option.  The long sleeve cuffs on the original are not buttoned, only turned back and buttoned on the overlap, which I don’t see on the re-print, though they seem to have added basic notched cuffs, instead.

My dress’s skirt makes this so perfect for swing dancing.  I’m so glad I made it for the event (it has seen other wearings since then, too)!  In the original pattern, there is the “traditional 40’s” three paneled back to the skirt, but the front has two side panels with four skinny center panels which dramatically flare out. (See also McCall #5302 from ’43.)  This way, with just the fullness controlled in the front center of the skirt (from the hips down, mostly), the skirt still keeps that slender A-line silhouette, but has extra beauty, fun, and ease of movement.  I love it!  I believe the re-issue to have ‘miss-read’ the intent of those four flared front panels on the original and added in an all-around pleated skirt instead for some uber-fullness that is not as 40’s a silhouette.  Swing dancing in a skirt like what the re-print has might call for some tap panties.

Here is the reason of the distaste (more like a love/hate relationship) that I have for many modern reprints, especially Butterick and Simplicity.  If you please, let me vent.  They are re-issuing past patterns just well enough to make them tantalizing but at same action frustratingly altering them.  It is wonderful to make these old, hard-to-find, and not-easily-available patterns available to everyone again, yet they have to instead “taint” (in my mind) rather than preserve the past.  Modern is not the past, and modern will change as quickly as one can keep up with.  Thus, sticking to the past should be a bit of a better “tried-and-true” benchmark, I would think.  They could make sure patterns don’t disappear forever by faithfully re-printing them.  However, by changing them, these old patterns are partially “lost” to me.  Leave these vintage patterns  complete with all the individuality that makes a 40’s pattern from the forties, and so on for each decade, giving people a chance to learn and discover.  But they don’t, and so many will miss out on the awesome things that sewing true vintage will teach to one who makes it.  Shame on McCall’s Company…don’t mess with what’s already great.  A modern tweaking won’t make it better for me and many others, I am sure.

McCall’s, if you want the original of a pattern reach out better to us bloggers and sewists and collectors.  If you want to offer a modern version of vintage, don’t call it an archive pattern.  Vintage is awesome and authentic…leave it that way, that’s why we want it.  Let those of us that sew put our own tweaks, touches, and changes into our clothes if we so please, thank you…that’s what makes sewing beautifully individual.  Please join with me in the discussion – input and conversation is welcomed on this topic so I’m not just “getting on my high horse”.

In the next few days I will go into a short but further detailed post on the hat I made.  Stay tuned!  (Update – in case you missed the link at the beginning of the page, the separate post about making my hat can be found here!)