“No Chance! No Way! I Won’t Say It…”

…I won’t say – out load – I’m in love…with 1990s fashion, that is!  (Congrats to the person who can already recognize the song reference!)

Such news is a bit awkward to admit for me but it is a wholehearted truth now, especially after making this post’s project.  The dive of renewed interest in the classic Disney princesses last year via sewing my “Pandemic Princess” series of course necessitated acknowledging the fashion of the 90’s.  This ‘confession’ in my fashion taste comes only a few years after I reluctantly acknowledged I had fallen for the 80’s back when I made this Givenchy suit (posted here).  Then, my 1996 Emanuel Ungaro suit anchored my positive views of that era.  Previous to a year ago, I have not sewn anything from the 90’s since I was a teenager.  Ah, what am I turning into!?  This time, I can be completely justified in blaming my change of heart on the intensely independent, highly charismatic, acutely cynical, and generally unrecognized princess Megara of the 1997 animated film “Hercules”.  

Meg inspired me to make a flowing, Grecian-inspired maxi dress which highlights her trademark colors of purple and golden yellow, using both a soft polyester print and a sewing pattern from the era of the 90’s.  My dress – like Meg’s – has an empire waist, skinny shoulder straps, long and curving princess seaming, and an ankle skimming length.  Yet, true to the gunge fad of the era from which the movie was released, I am not content with it to be just a sundress.  I’m wearing this as a jumper layered over a slouchy, dated, thrifted turtleneck.  Practically speaking, this dress is too pretty to keep for just the warm weather anyways! 

However, the real inspiration which helped me channel my Meg dress was the character Phoebe (portrayed by actress Lisa Kudrow) from the television show “Friends”.  A sundress over a knit top is 100% Phoebe’s style!  Fashion aside, I believe Phoebe to be Meg’s 90’s twin in traits and personality.  (Seriously, though, I could see them liking the same assorted, haphazard fashion, too).  They both have a sarcastic, dry humor because they see the world free of rosy tinted glasses after having become very street-wise.  They both are admirably, boldly unafraid to speak what is on their quick-witted minds.  Nevertheless, behind the jaded outlook, both women are still soft-hearted, innocent, and sentimental.  Phoebe is my favorite character out of “Friends” and Megara is the Disney ‘anti-princess’ who has more recently earned my high esteem for being “a big tough girl” who can “take care of herself”.  This outfit of mine compliments the strong and soft sides which I share in common with both spunky screen ladies.

Funny enough, the statue behind me in the garden is Juno, the Roman equivalent of Hera, queen of the gods in Greek mythology.  In the myth and not the Disney version, Hercules was the son of Jupiter, the supreme god of Olympus, and Alcmene, a mortal married woman.  Juno, the wife of Jupiter, hated Hercules because he was the most famous and successful of Jupiter’s numerous illegitimate progeny.  I could only image what a first meeting with Hercules’s family might be like for Megara.  Nevertheless, I imagine Meg could hold her own very well with the militaristic Juno.  Even though my background setting isn’t as classical as I would have liked, I do enjoy the subtle nod to the Hercules by including Juno.  That not all, however!  At the same Botanical Garden, we also found a fountain of Persephone, the wife of Hades and the Queen of the Underworld.  After the foul way Hades used Meg when he had her under a soul bondage, the myths seem to show he had learned how to (somewhat) respect a woman by the time he married Persephone.

I want to give a shout out to the seamstress Eszter (on IG here @em_originals) for encouraging me through the power of a good review to use the dress pattern I did.  Don’t you just love it when someone else has – and makes something of – the same vintage sewing pattern as one you have on hand?  It always feels so remarkably serendipitous.  She thoroughly and kindly answered my questions about what fabric she used and how her version came together.  Go take a look at how lovely her dress looks on her (see it here)!  Good things happen when sewists unite! 

THE FACTS:

FABRIC:  a 90’s era polyester leftover from lining my 1996 Ungaro suit; fully lined in a beige polyester cut out of some microfiber bed sheets

PATTERN:  New Look #6306, year 1994

NOTIONS NEEDED:  I needed lots of thread and two zippers (I’ll explain why further down)

TIME TO COMPLETE:  This dress took me about 20 hours’ worth of time and it was finished on November 4, 2020.

THE INSIDES:  The inner raw edges are left raw but there is a full body, floating lining which covers up the mess.

TOTAL COST:  practically free!!! Read on…

How I acquired the base materials for my Meg dress is a bit of an odd story.  Firstly, the printed fabric was practically free, being donated to a $1 a pound rummage sale.  The lining was a dirt cheap find of some gently used bed sheets.  Then, the pattern for this was actually picked out of the alley’s dumpster behind our house.  I couldn’t just leave a perfectly fine sewing supply behind when it was just an arm’s reach away…for free!  At first I was overly curious to find out who nearby sews like me (so I could meet them) and then I was struck by the fact that this single pattern was thrown away.  The fashion of the 90’s wasn’t always great but also wasn’t 100% trash.

It’s semi-explainable (especially when it comes to the 1920’s to 40’s) how certain eras of original sewing patterns have expanded in popularity and pricing in just the past 10 years yet it’s also odd how other eras remained static.  The 90’s and 2000 era patterns are clearly still underappreciated, largely disliked, and yes – often very recognizably stereotypical in styling.  Yet, now that my 1993 vehicle can officially register for “antique” license plates, it has made me think past the wry laugh and personal offense that news caused me.  I do see 90’s styles creeping into the RTW offerings and oddly being picked up by the younger generations who know nothing of the era like those of us who lived through it.  1990s logos, shows, and trends are as vintage to my 9 year old son as the 1960s were to me as a child.  My view of what constitutes “vintage” has been slowly changing along with my growing fascination for 1990s fashion.  I am understanding more than what meets the eye, and growing beyond my set prejudices towards how I regard the fashion of a decade within my lifetime.  I am not the only one, though.   

Colleen Hill is curator of costume and accessories at the prestigious Museum at FIT in New York.  Her upcoming, critically acclaimed special exhibition is entitled “Reinvention and Restlessness: Fashion in the Nineties”.  I recently received my order of the companion book to the exhibit and have since poured over the rich content.  It portrays a restless decade where the last 10 years before the turn of the century were “modern to retro, from glitz to glamour, from puritan to pretty, from military to minimal, only to max out at the finale with an opulent flourish of beading and a rash of irony.”  (Quote from Harper’s Bazaar writer Marion Hume’s December 1999 editorial.)  What I found the most interesting was the chapter on “Retro Revivals”. 

“Fashion historians often distinguish between the terms: ‘retro’ is generally used to describe clothing that was worn within living memory, and ‘historical’ encompasses influences from the more distant past” the book says.  Sadly, it doesn’t distinguish where “vintage” falls.  The book goes on to quote art historian Elizabeth Guffey, “Retro considers the recent past with an unsentimental nostalgia.”  So does this make the 90’s vintage to me and not retro, as I am nostalgic about growing up in that era while my son views 30 years ago in a curious but unsentimental way?  The quote continues, “It is unconcerned with the sanctity of tradition; indeed, (Retro) often insinuates a form of subversion while sidestepping historical accuracy.”  Ah, yes I do take a more accurate sewing outlook on my 50’s era and older things I make, but what if I do the same for my 90’s projects?  This post’s dress is sewn with a fabric and pattern truly from the era.  “1990s fashions were at once looking back and planted firmly.  Were creators scared of the future or simply celebrating the past?  It appears to be both” said the 90’s design critic Herbert Muschamp

No wonder I appreciate the 90’s!  It is a decade peppered with the influences of the past 20th century’s fashions, all of which I already sew, wear, and love.  I already frequently find a way to put a vintage spin on the modern clothing I make.  Furthermore, it is relieving to now embrace the styles and the modes of dressing from the 90’s that I admired on others and wanted to sport, but was too awkward or not in the right place to do so.  I also enjoy appreciating the last great era for USA made clothing and a recognizable continuity for long-standing design houses, as well as the beginning of an individualistic approach to fashion.  Thus, to me, based on where I am in life and the way I approach 90’s fashion, I am calling it vintage.  This might not be your view and that is fine.  After reading the FIT museum book, I believe that placing this era is up to each person’s interpretation.  If you haven’t noticed the subtle changes to my site happening in the last few months, I would like to point out there is now a decade page for my 1990’s creations added to the header bar of my blog.  I’m so happy to see it there and might add some of my teen years’ makes (which I still wear) on that page in the future.

That being said, I could not get away from a soft demonstration of one of the decade’s earliest and most memorable trends – grunge.  I never had and have not yet found the courage for a full blown embrace of the trend because I never liked the music scene tied to it, but deep down I’ve always still liked elements of it.  Grunge is about practicality over image, economic sense with second-hand items, and comfort pieces.  I wore a loose fitting, rayon knit turtle neck I picked out at a thrift shop back in early 2000s, so it’s possibly from the 90’s.  My little ballet flats have been with me many years, too, and I love the low-key toughness of the multiple buckles.  I am not above loving what I have on hand for many years.  My earrings (from this local shop) were the only new purchase for this outfit – they have Herc’s dad Zeus’s logo lightning bolt coming out of the cloud of Mount Olympus.

Grunge was a very anti-establishment movement, and designer Mark Jacobs (for Perry Ellis), actress Winona Ryder, and “Sonic Youth” band bassist Kim Gordon all were prominent influencers in the trend.  Part of Grunge for women was the wearing of pretty floral dresses from decades before in such a way that you pair them over a tank and pants with chunky black boots, a denim jacket, and a chunky sweater.  The Gunne Sax and Laura Ashley dresses of the 80’s were part of this, as well as the floaty vintage frocks of the 30’s, or the printed tees of the 60’s era.   The height of the Grunge aesthetic was short lived, though.  My FIT museum book “Fashion in the Nineties” says that Vogue editor Anna Wintour expressed relief in a 1994 letter to the editor, by saying Grunge was drifting out of fashion.  The way I interpreted my Megara dress hits all the right notes of 1994 fashion.  Granted this is a date 3 years earlier than the “Hercules” film, but as I associated my inspiration with Phoebe from “Friends”, which began in 1994, that year seemed like a good date to go with.  The year 1994 has so very many designs which are so similar to the point of redundancy – empire-waisted maxi dresses with princess seams.

After all of my rambling on about the era and provenance of it, this dress was actually very simple to sew.  It was a bit time consuming because of all the long seams, the full lining (which was merely a second copy of the dress), and the tiny hemming required.  Even still, I can’t believe I made a completely bone-headed mistake in the midst of construction.  I forgot to combine the back bodice pieces with the back skirt before sewing in a near perfect hand-picked zipper. 

Not every day is my best day, and some days I am just lucky to have the family’s basic necessities taken care of…but I was still devastated by my oopsie.  I powered on in the most non-impactful way by merely adding in a 5 inch separating zipper to the back bodice segment of this dress, above the lower 22 inch zipper.  Yes, I do end up with two zippers up the back.  Yes, I feel terrible about this.  There were tears involved.

Nevertheless, I am proud I made the best of it, resisting the urge to throw it across the room and give up, because I love this dress.  I don’t think the dual zippers are even noticeable, after all.  The fit to the pattern was spot on and I think the hem flaring looks spectacular.  My dress makes me feel very tall, elegant, and curvy.  I garner so many compliments when I wear this!  I can’t wait to continue to wear it as a sundress this summer.  Copying Meg’s manner of styling gives me the best excuse to also brush on my favorite purple eye shadow colors and draw my best winged eyeliner, too. 

The 1997 animated film “Hercules” was very much a product of its time – it references the “Buns of Steel” exercise videos as well as Nike’s famous Air Jordan sneakers,  the muses are merely a jazzy version of the group En Vogue, and then – for goodness sakes – Michael Bolton sings the theme song!  There was no way an ancient interpretation was going to be as wearable as a 90’s manner of looking at Megara, the human princess of Mount Olympus.  The fresh new write-up for the film was not remotely mythological accurate, after all, but still a fun kind of different for Disney’s Renaissance period.  This dress (jumper, depending on the weather) similarly has to be one of my most enjoyable and out-of-the-ordinary kind of ‘practical royalty’ make for my “Pandemic Princess” series.  Here’s a toast to the sassiest Disney princess of them all!

London Logo Plaid

As this is a follow-up to my Disney-inspired Pocahontas outfit, made for my “Pandemic Princess” series, it is aptly tied to the songs from the 1998 sequel “Journey to a New World”. To Pocahontas in the sequel, that new world is Britain, specifically London – “What a Day in London” song.  With her visit (following her marriage to John Rolfe in real life), her history became even more deeply linked to both Britain and America – “Between Two Worlds” song. I couldn’t think of a more glaringly ironic match (in many ways I will address later on in this post) than for me to make a trench-style coat made of cheap but iconic English Burberry plaid fleece.  Yet, the logo plaid must not have been out of place in the forest as a wild deer was photo bombing me throughout, totally edging in on my spotlight – “Things Are Not What They Appear” song.  Beyond adding a watermark, these are real, unaltered pictures!  How can I brag about my coat when the deer has an even prettier, more useful one on her back?!?

This was yet another one of my many remnant stash-busting projects.  I only had one yard of Burberry plaid fleece, half a yard of black fleece, and leftovers from other projects to help me finish this one off.  Yay for a smart use of fleece, the fabric I love to hate, in a print I very much enjoy!  This coat is a very versatile and a breathable weight of warmth.  It was a quick undertaking which ended up looking much better than I imaged it might.  My projects which use up scraps really make me inventive in a way for which I am proud.  In conjunction with that incentive, my “Pandemic Princess” series is also inspiring me push my Disney dreams farther than just one outfit per leading lady.  Oh, what have I started!

THE FACTS:

FABRIC: the exterior black and Burberry plaid fabrics are polyester fleece, the inside lining is burgundy polyester crepe (leftover from sewing this 1930s lounging robe), the inner layer is pre-quilted cotton covered batting, and the under collar together with the front facings are cotton sateen

PATTERN:  Simplicity #1320, year 2014

NOTIONS:  I had everything I needed on hand already – interfacing, a few buttons (ornate brass ones, leftover from this historical skirt), and lots upon lots of thread.

TIME TO COMPLETE:  This coat took me about 25 hours to make.  It was finished on February 19, 2021.

THE INSIDES:  any raw edges inside are cleanly concealed by the full lining.

TOTAL COST:  As I have had the two fleece remnants on hand for the last 10 years, and the all other supplies were leftover from past projects, I’m counting this coat as free!!!

The prestigious Burberry Company began in 1856, but found its home in London by 1891 when Thomas Burberry opened a shop in London’s West End.  Thomas Burberry is credited invented and patenting gabardine in 1888 – the breathable, weatherproof and hard-wearing fabric revolutionizing rainwear – which up until then had typically been heavy and uncomfortable to wear.  Then, its fine, waterproof outerwear happened to make the term “trench coat” an anchor in fashion history by having an adapted version of his “Tielocken coat” the standard issue for officers during World War I.  The recognizable Burberry logo plaid was then introduced in the 1920s.  Afterwards, in the 70’s and 80’s, the brand’s tartan print suddenly was no longer solely worn inside their garments as a lining when it turned into a preppy U.K. elite symbol (aka, the “Sloane Rangers”).  It became a visible status symbol.  Yet by the next decade, it was also one of the most widely counterfeited brands of the turn into the 21st century.  Over the years, Burberry has evolved and today it’s much more of a lifestyle brand that you can see on catwalks and fashion shows – no longer just known for making a trench coat.

British soap opera star Daniella Westbrook in that infamous head-to-toe Burberry outfit of 2002

In the late Nineties, the Burberry print began a trendy revival courtesy of the “logo wave”, which was all about sporting Gucci belts to Chanel bags and Louis Vuitton wallets.  As a teen at that time, I was one of the biggest fans of the tacky, over-the-top usage of the knocked-off Burberry tartan on anything under the sun.  (Oh, what was I thinking!?!)  Now, I am much more restrained but still enamored by the fashion plaid print.  All I ever bought of the Burberry brand as a teen was an expensive Pashmina Burberry neck scarf at a fine retailer and the brand’s classic eau de toilette.  Now, I am breaking out of that shell by making of this coat.  I’m returning back to my teenage fascination and half reliving something I never got to do growing up…only half because this is not a true, trademarked Burberry material.    

I am not one for brand flourishing myself – of course not, when I sew my own clothes.  Yet, a Burberry plaid is my long restrained weakness.  At the same time, however, it is so gaudy in my mind that I never knew what to do with it or how to pair together with a pattern.  I figured to tone it down with a darker contrast remnant on hand and – even though both cuts are only cheap fleece – treat them like a finer coat fabric to hopefully end up with something which might not be tacky.  At least the coat turned out better than I expected while being nicely tailored and cozy warm!  This was a successful experiment and yet also a weird one to see finalized after all these years.

I sort of blended the lines between a trench and an over coat, just for practical purposes. A trench coat is designed to protect you against rain while an overcoat is designed to protect you against the cold. A trench coat is lightweight while an overcoat is heavyweight.  For my coat, the fleece outside is fluffy polyester, so it really doesn’t get wet easily even though it is not waterproof.  I tested this truth out later the night of our pictures when I played in our son’s snow fort, which was beginning to melt.  I stayed warm and dry and most of the wet snow either rolled off or could be brushed off of me.  Usually one has to layer up to be warm in a trench coat because it is merely supposed to be waterproof appropriate gear for all seasons.  Yet, I am a person sensitive to the cold so I upped the game on my version with the cozy quilted cotton layer between the exterior fleece and polyester lining.  It is a coat which is in between lightweight and heavyweight, as all materials are pretty lofty load individually. 

This is still double-breasted like a proper trench coat, with a large stormproof collar that can be turned up enough to completely protect most of my face from the elements, if I so need.  However, my coat’s collar is wonderfully modern in the way it is asymmetric and the tailored princess seams and color blocking reflects the new fitting and color options which the new Burberry line has to offer.  The length of a trench coat is traditionally to just below the knee. However, nowadays one can find trench coats in various lengths: full, knee, three-quarters and short.  So I suppose I can call this a very personalized, updated version of a 90’s Burberry inspired trench coat.

Amazingly, this was a very easy coat to make, even with complicating the construction by fully lining and layering it.   There are no darts, no chalk markings to make, and every seam is straightforward with first rate shaping drawn into the seam lines.  The fit was spot on, too.  I went up one whole size because I was planning on adding extra layers into the coat and that was to right move.  I have full and unrestrained freedom of movement.  More or less, I cut out 3 whole coats – fleece, quilted cotton inner layer, and lining poly – so I was happy the two pieces for the front (doubled into four) and two pieces for the back (double cut sides with one center on the fold) were simple.  The facings and the under collar had sew-in interfacing to back them up as they were a thinner material in key areas which got double-breasted and needed structural support. 

I did sew each layer to the coat separately, but hand tacked the quilted cotton inners to the eternal fleece plaid along their matching seam lines “in the ditch” to eliminate shifting of the layers.  It was important remember to shorten the sleeves and the bottom hem of the quilted inner layer by cutting off 1 ½ inches.  It is very difficult and bulky to hem quilted cotton and thus I wanted to account for the turn-under hemming to the fleece and lining only.  I also had to make the seam allowances ¾ inch to the quilted cotton and poly lining so the inner layer fits inside as slightly smaller than the eternal coat layer.  I found out some these tricks of how to work with pre-quilted cotton material (as well as how breathable but pleasantly warm it can be) as I made this 1940s jerkin vest for our trip to Denver, Colorado back in 2019.  I also knew from making this 60’s cocoon coat how shifty fleece could be when you try to sew it into something structured.  So, I combined both of what I learned from two separate winter past projects into this newest, latest, dare I say, just about the best coat I have finished so far.   

I like the unusual and slightly easier route of making handmade chain stitched thread loops along the right front closing edge in lieu of buttonholes.  The fact it is black on black color along the front is the only way I like this feature, otherwise I think thread loops would be too weirdly obvious.  The instructions called for fabric loops.  However, I know how those sort of things are fussy to add in a seam and more often than not pull out of a seam anyway if not anchored to a base of some sort (seam tape, bias strip, etc.) along the seam allowance.  I used heavy upholstery thread for making my coat’s thread loops and attached the loop bases to the interfacing inside the coat edge, so these closures are definitely stable. 

For some weird reason, my last Pocahontas inspired outfit finally gave me a decent idea as to what to do with long hoarded, one yard remnant of Burberry looking fleece.  Luckily, I was able to sew it together quickly enough to take advantage of the same photo shoot against the breathtaking backdrop of my favorite creek after the most recent snowstorm.  This coat’s earthy colors pair nicely with my Pocahontas separates (in the previous post), but also work well as an item from the era of the release dates to the Disney films.  All the elements I desired for this project were fulfilled, only Pocahontas’ Disney story is the opposite of everything this logo plaid stands for.  At the same time, it suits her aesthetic so well at the same time.  Let me explain.

I like using irony to drive home a point.  Pairing an overworked fashion print with the raw, pure beauty of nature is amusingly contrary enough.  Yet, modern fashion is synonymous with the throwaway culture severely detrimental to our world of today, threatening the very existence of living things, and fleece is one of worst offenders being a petroleum-based product which will not break down.  Thus, I only use fleece when I do because it is already on hand in my stash from before I became more conscious of the environmental impact of what we wear.  For many years now, fleece is something I will not buy and love to generally hate (ugh, plastics).  However, I am a firm believer in making use of what one has, and doing that effort well enough so that item lasts.  I believe this is the most sensible thing to do with questionable products such as fleece.

Hopefully what I have done here would be Pocahontas approved if she knew where I was coming from with my reasoning.  It does have colors I believe she would like – after all, a deer I met out in the wild didn’t seem to mind one bit!!

“For whether we are white or copper skinned
We need to sing with all the voices of the mountains…

You can own the Earth and still
All you’ll own is Earth until
You can paint with all the colors of the wind”

Wearing the Colors of the Wind

Of all the Disney princesses, Pocahontas is perhaps the most underestimated and impressive, in my opinion.  She is the real deal, straight out of American history!  Not that an animated children’s movie did the best possible job at transferring a real life impression of her true story.  However, it is still a visually appealing treat and well-crafted interest point from which to find an incentive for reading up on the factual tale of Pocahontas.  She is portrayed as resilient, compassionate, understanding, beautiful in her selflessness, and remarkable in the way her life had a notable impact.  Yet, she is relatable royalty, and quite down-to-earth for a princess, er…daughter of the Chieftain.  For all of this, Pocahontas is coming sooner than later as part of my ongoing “Pandemic Princess” blog series.    

As a girl who has grown up with a deep love for getting out into the local wilderness to enjoy the wonders of nature, the 1995 Disney version of Pocahontas is my sister spirit.  I for one certainly know the ‘river is not steady, but always changing’ after exploring the same waterside haunts all my life.  I never know what surprise will be waiting for me each time I go.  The creek never looks the same for each visit.  There is always different animal activity.  Yet, for as much as I relate to, and enjoy the song “Just Around the Riverbend”, this outfit is more inspired by the theme of the movie, “Colors of the Wind”.  My top has a Pocahontas-worthy magical breeze of leaves sweeping across it, complete with a sneaky silhouette of both Flit the hummingbird and Meeko the raccoon.  My skirt is a rich color akin to the natural ‘gold’ of the earth the Native Americans prized so highly – ‘Indian corn’, also known as maize.  My earrings are vintage turquoise cabochons from my own grandmother, a hint towards the necklace Pocahontas wears which was her mother’s.

Yet, because the sequel in 1998 “Pocahontas II: Journey to a New World” is my favorite over the original, we took our pictures in a winter setting.  As much as I feel ‘at home’ visiting our local waterways, I especially love the hushed, majestic beauty of a wintertime creek.  This way I could wear cozy boots and also take full advantage of the combo of prevalent snow and mud to do some critter tacking!  Being inspired by the ‘post-John Smith’ part of Pocahontas’ tale prompted me to make some related outerwear to go along with this outfit.  This outerwear will be in a follow up post.  Hint – it will be London inspired!

THE FACTS:

FABRIC:  top – a custom printed Spoonflower polyester crepe de chine; skirt – a golden mustard color slubbed linen-look polyester

PATTERN:  The blouse was made using a “Quick and Easy” Butterick #7490, year 1955, and the skirt pattern was Simplicity #3626, year 1961.

NOTIONS NEEDED:  one long separating ‘sports’ zipper, a waistband sliding hook n’ eye, a vintage metal 7 inch zipper, bias tapes, and lots of thread

TIME TO COMPLETE:  Both pieces were quick to make – the blouse took me 4 hours and was finished on January 25, 2021.  The skirt was made in 5 hours and done on November 5, 2020.

THE INSIDES:  Both items have cleanly bias bound edges inside.

TOTAL COST:  The Spoonflower fabric was about $20 for one yard (with a sale discount), and the skirt fabric was a remnant cut from a rummage sale – thus practically free.  The long separating zipper for the blouse was a bit of a pricey buy, so my total for this outfit is about $27.

Just like the last time I sewed this same blouse pattern, my Pocahontas set is an outfit composed up of two different one yard cuts of fabric – so economical!  The skirt was easy-to-make.  These one yard pencil skirt patterns from the 50s and 60s always look nice, are so versatile, and are pretty simple to fit.  Yet, the pocket details alone took up most of the sewing time spent.    The blouse was comparatively fail proof as I knew what to tweak this second time around so it would fit me perfectly.  It’s happily comforting to have standby separates to sew, but they are even better when princess inspired!

I steered away from any ethnic references for this “Pandemic Princess” outfit (out of respect for the Native American culture).  Instead I stuck with pure aesthetic reasons.  To me, Disney’s Pocahontas inspired clothes should be earthy in tones and comfy to wear.  Here I have both needs fulfilled with a dash of vintage class through choosing two favorite styles of mid-century era patterns in my stash.  The added fact I was working with one yard cuts of fabric was also a great restriction.  It forced me to hone down my separate pieces into both a wiggle skirt and a simple, cut-on sleeve blouse.  However, I was not forced to scrimp enough to leave out the fantastic skirt pockets – yay!  I also made the most of the top’s border print, too.  When my arms are open, it seems as though I have a wave of wind going across me to send off as a goodwill blessing, just like in the end of the first Pocahontas movie.

There isn’t much I changed, eliminated, or added here – just the almost-unnoticeable small details.  First, I’ll talk about the blouse.  To accommodate the border print for the blouse layout I desired, I had to slash the underarms to make the pattern resemble a “T” shape.  I probably would have done this adaptation anyway, as this pattern needed reach room.  It’s no fun to pull out your tucked-in top just to move your arms up to take care of your hair.  Then, I took out 2 ½ inches vertically across the back to shorten the long waist. 

As I learned the hard way the first time I used this pattern, it has a very generous shoulder room which never works well when there is a center back zipper.  As my last version of this top had a back zipper that reaches only 1/3 of the way down from the neck, I chose to make this top stress-free to be dressed into.  No wiggling and struggling is necessary here because I adapted the back to have a center separating zipper.  Even the neckline finishing was simplified, too, with bias tape used in lieu of proper facings.  The fabric is so sheer that a wide inner facing would’ve been obvious from the right side and distracting from the border print.

The skirt did need some piecing of the pockets for me to keep them in my pencil skirt.  As I was so focused on just trying to squeeze a successful skirt out of leftover material, I half-heartedly ‘forgot’ to make the pockets deeper.  As of now, they are shallow pockets.  I should not complain because pockets of any size are useful and appreciated, but it’s handier to have them to be more akin to mini purses.  Out of a desire to make construction simpler and keep the tapered wiggle line shape to the skirt, I left out the back kick pleat.  The seam is all sewn up.  This doesn’t make the skirt harder to walk or move in – the hips and thighs are roomy enough.  I had to shorten the hem by about 3 inches due to lack of fabric, so the hem is a bit wider than originally intended anyway.  As you can see, it did not prevent me at all from exploring around my favorite creek haunts to capture these pictures.

I must have done this princess outfit right because the wildlife came to me as we were taking some of our pictures.  It’s too bad for picture taking (but good for them) that the wildlife is camouflaged with the environment well enough to not be noticeable behind me.  In the following post, you will more clearly see the one creature which amazingly came up to check me out!  My Pocahontas vibes must have been strong.  “Come roll in all the riches all around you, and for once never wonder what they’re worth”, so she sang in “Colors of the Wind”.  Spending time outside in appreciation of Mother Nature is priceless. 

Cold Shouldered

An ice queen wouldn’t really feel frigid temperatures, I would assume, so she can dress purely for beauty, aesthetics, and the power of her position, right?  Okay, we have that understood.  It wouldn’t be too assumptive either, would it, for the next step to be automatically suppose that character also has certain affectionless traits of a queen who has the capability to freeze water and produce snow?  Perhaps.  However, Disney’s animated “Frozen” movies both 1 and 2 (2013 and 2019, respectively) counter some of such widely set understandings of such a particular fantasy female character.  Ice queens are almost always given a villainess arc in other related stories and films, yet Disney’s version becomes (dare to say) thawed by love and warmed of heart yet still upholds her powers and magical capabilities.  It’s weird and kind of a disappointing change for me, but hey – Elsa does have some awesome cold-shouldered fashion in common with her fellow more malevolent ice queens, so I can definitely roll with that!

Because I am not really a frosty temperament nor am I tolerant of the cold weather, I am happy to have found a way to make an open shouldered gown warm to wear, vintage styled (of course), and practical all at once for a personal interpretation to an ice queen character.  Of course I needed the proper crown and jewelry to match the part, so I also crafted a crystal crown and ring for my set, too.  This is part two of my newest 2021 blog post series called the “Pandemic Princess”.  Part one can be found here – it is my remake of a dress worn by Anna, the sister of Elsa from “Frozen”, so this is kind of like a sequel post to that one. 

Yet, this princess post’s outfit is inherently different since I do not relate to Elsa (as I discussed at the end of my previous post).  Inspired as well by the old Hans Christian Anderson “Snow Queen” tale, I however, mainly incorporated strong references of my preferred ice queen, one who is just as enthralling as she is scary.  She jumps off alive from the pages of C.S. Lewis’ Chronicles of Narnia…the White Witch called Jadis.  She is a not a true queen of course (those who know the books understand) but she still reigns over her spell of an eternal winter with such an iron hand that there is no Christmas.  She is not a character to ‘like’ necessarily but I find her captivating as appalling in her mystery and importance to the story.  The seven Narnia Chronicles are just about my favorite books ever and the strong character of Jadis has formed my idea of a snow queen.  Disney did do a fantastic job at outfitting actress Tilda Swinton to become a great visual interpretation of the White Witch in the 2005 “Lion, the Witch and the Wardrobe” movie

One of the White Witch’s trademarks is her wearing of fur to symbolize her ruthless brutality to the creatures of Narnia.  A polar bear may be pulling her chariot one day then become a coat the next…ugh.  (See several examples here.)  After all, Jadis did wear as a collar the mane of the great Aslan the day after killing Him.  My outfit gave a further nod to the character of Jadis in a fair and humane way by wearing either my Grandmother’s vintage 50’s era fur coat collar or a cut of white polyester faux fur, leftover from a coat my mom made me as a child.  These added items were my refuge to keep such a dress with an open neckline warm to wear in the cold, anyway.  Such a style is called cold-shouldered for a reason, but it only becomes literal when the wearer is also frigid in personality.  I was doing my best at looking the part of a stern snow queen in many of these pictures, but it is really hard not to smile in an outfit this fantastic.

Both Elsa in “Frozen” as well as Narnia’s Jadis only wear open shoulder dresses.  The White Witch prefers dramatic, heavyweight dresses though while Elsa of “Frozen” sports lightweight, sparkling, elegant finery.  Both queens incorporate elements of the Hans Christian Anderson Snow Queen, who looked “as if (her dress) had been made from millions of star shaped flakes.  She was beautiful as she was graceful.”  (The classic Anderson Snow Queen also has a chariot and is portrayed in images wrapped in furs like the White Witch.)  All of these ladies gravitate to pastel blues, greys, and white tones (with exception of “Frozen Fever”).

Being worn with bare shoulders, I realized early on that my snow queen creation had to be a dress yet still be closer to a coat.  I wanted it out of a warm and sturdy material to channel Jadis, yet something soft and lovely in sheen to incorporate Elsa.  An all-cotton textured chenille which was found in the decorator’s fabric section on clearance at my local JoAnn store was just the ticket.  It has a white, frosty overtone to the dusty blue because of the fluffy nap (similar to a quality velvet).  Yet the substantial ‘hand’ to it, being a decorator material, is perfect to hold up a strapless dress.  You don’t see much of chenille anymore, both in stores and in fashion today, and that’s a shame.  It is lovely fabric that I remember liking a lot back in the 80’s and 90’s as I was growing up.  This flashback gave me an idea of what direction to look for choosing my pattern design.

Off shouldered vintage dresses are almost every time something super fancy, for evening wear, or not remotely utilitarian.  This was not something I wanted for my “Pandemic Princess” collection, as I said in my announcement post.  I need a “pretty princess” dress I can wear anywhere and everywhere, as often as I want!  I remembered how the 80’s and 90’s (cue the tip from the chenille) were so good at attractive avant-garde fashions which took unexpected creative spins on many ‘traditional styles’.  I found a “New York New York, The Collection” Designer pattern, a McCall’s #4442 from 1989, that hit all the right buttons for me.  It is part body fitting coat, part feminine dress, but altogether powerfully asymmetric enough to suit placing myself ‘in the shoes’ of an intense queen character.  Except for my shoulders, I could be covered up in the cold, too, in the ankle length and long sleeves – just like Elsa!

As weird as the pattern pieces for this looked on paper, the making of the dress turned out fantastic!  The fit was spot on, instructions were clear.  My dress is remarkably easy to move in, as well, and comfy.  It has raglan sleeves.  Pleated darts in the front from the neckline down which shape the bust yet open to give ease in the hips.  There are also pleated darts in the back which are sewn in from bottom to waist to give an amazing bloused back but fitted booty.  As proof, just freaking check out that silhouette the dress gives from behind!  There is a tapered skinny skirt and skinny long sleeves.  The front cover did a horrible job at portraying all of these fantastic details, and the back only gives tiny, limited line drawings.  Under the cover of the loosely sketched fashion illustration, it hides a gem inside.

I made a few slight changes to the design.  An asymmetric closure ends in a pleat which opens up into a walking slit (which I moved from being a kick open style in the back).  After all, Elsa’s “Let It Go” song dress has that infamous thigh-high front slit and sensual fit!  As I didn’t want to deal with closing all those buttons nor try to stitch in buttonholes through the thick fabric, I sewed the buttons down permanently to have the front be a mock closing.  They are silver foiled mock crystal squares to nod to the ice queens who inspired me. Then, I added a left side seam closing invisible zipper to compensate for the faux buttons.  Due to a small lack of fabric (buying an end-of-the-bolt on clearance meant I was ½ yard too short for what I needed) the sleeves are indistinguishably two-pieced along the elbow.

As chenille frays like crazy, all seams are finished inside with a double zig-zagged stitch to imitate overlock stitching from a serger, while the bottom hem and sleeves has vintage rayon hem tape in turquoise.  The instructions impressively called for very fine finishing techniques similar to what I see in Vintage Vogue Special Design patterns or modern Vogue designer ones.  I felt the chenille just couldn’t handle French seams or an additional edge binding, though.  I can wear a slip in lieu of lining and the fabric is not scratchy.  It was important to keep such an odd but fantastic dress simple. 

Speaking of simple, when prepping my supplies for the making of this dress I was prepared to tolerate the possibility of adding in an internal structure (boning or horsehair trim) to either the body or neckline of this dress.  I honestly had no idea going into this if it would just end up a nightmare of a project.  Luckily, it was not – only remarkable easy.  This was so different a style, I didn’t know what to anticipate!  I soon found that as long as I properly interfaced the front placket and the wide neckline facing as the pattern recommended, as well as found a snug fit for the waist and below, the dress stays up and in place. 

The pattern called for little shoulder inserts if a full cold-shoulder is not wanted.  I actually cut out these pieces of a skin-toned power mesh and had them ready to sew in, only to try on the dress and love it as-is with a fully bare neck and shoulder line.  The pattern has a wide facing which stabilizes the ‘collar’.  It was a weirdly wonky piece that I cut out of a dark green cotton and ironed heavy interfacing to the wrong side.  As crazy as that piece looked flat on tissue paper, it did the trick.  I adore the way this neckline frames my face and is low-key drama.  Without being snug, the wide neck opening is also not sloppy on my body.  It stay perilously on the curved ends of my shoulders so perfectly.  This is a mysterious wonder of a design. Did I say enough times already that I love this dress?!? 

Unlike the White Witch in the Disney film, my dramatic up-do is ALL my own hair!!!

Mirroring the way ice forms into defined faceted, geometric shapes, I chose natural crystal quartz to make my own crown and ring set to match my outfit.  Sterling silver findings give it that cold shine.  Back when I was at my local craft and hobby store buying the crystals, I was walking around the section for findings when I saw an ad for wire wrapping.  I liked the appearance of that technique and figured it might be a way to attach the quartz stacks to become jewelry.  This was my first try and I know there is vast room for improvement but I am happy my crazy idea was a success. 

I wound the wire in and around one quartz column then wrapped the rest of the frame to become the ring.  The crown’s crystals were wrapped around the center of a necklace wire.  This way I have not only made a crown, but also something I can wear as around the neck to make the most of my time, money, and supplies.  There are screw off nobs at the ends so I can even slide off the crown’s quartz crystals and reuse the necklace if I ever want to.  I’m all about splurging on something as superfluous as crown, but at the same time I’m also incredibly practical, you see.  What carat is the rock I am wearing, I wonder?  To match, my earrings are vintage 1950’s faux diamond pieces from my Grandmother.  My dark beige boots from my White Witch inspired photos are of the 1980’s era from my mom.  

Hey, Olaf! “Do you wanna build a snowman”

All of the ice or snow queen characters are so inherently sad, so I hope my version of such a role is a much happier, brighter spirited one.  A kiss of the Snow Queen blinds the mind’s eye of the little boy Kai – another kiss from her would have killed him.  Jadis only shows a mock kindness to Edmund so that she can later kill him and his siblings.  Elsa finds herself alone internally due to her powers, even after the power of love allows her to physically touch her family and friends.  Most all of us now know the crippling deprivation of seclusion in some manner since the pandemic of 2020 hit. 

As frosty as these queens are, they have now become easier to empathize with through the bitter loss of social contact in today’s society.  This post’s pictures were taken around Christmastime decorations and after a long-awaited snowfall.  Thus, combined with my fantastic new outfit and the company of my immediate family, there was a lot of fun to be had behind the scenes.  This makes for a joyful, novel understanding of the snow queen persona I undertook by creating this outfit.  I hope this shines through to you as you read this post and enjoy the images.  Let’s not turn into snow queens ourselves, but work on finding ways to let love break through the icy solitude and cold seclusion of the world today.

“Even if there is no Narnia, I will continue to live as a Narnian!” -quote from The Silver Chair. We had fun playing out the parts from the stories with our son!