“Under the Sea”

Let’s ‘dive’ back into the 1980s decade with yet another installment to my ongoing “Pandemic Princess” series!  My title gives away the royal fairy “tale” subject ahead of time here.  This is inspired by Ariel, from Disney’s original “The Little Mermaid”, with an outfit dated to the year of the animated movie came out – 1989.  My Pandemic Princess series was something I worked on throughout last year (2020) during the pandemic, and this outfit was one planned out at the end of the year for a wintertime visit to the new downtown Aquarium.  Thus, this becomes a conservative, bifurcated version of Ariel’s mermaid look with a purple blouse and greenish trousers made for an 80’s interpretation.  This is my only Disney Princess inspired outfit, too, which will not be a dress.

I wove so much symbolism, high quality, and love into all the details of what I’m wearing…Ariel was my first big deal, mega favorite Disney Princess, after all!  Proof in point – my parents were somehow able to get me (as in bring it home to keep) the oversized window display which was at our local Disney store for the release of the movie.  I remember dressing in a little purple bikini top and a sparkly mermaid tail to stand inside the 3-D display after they had set it up for me in the living room.  I was part of Ariel’s world that day!  So, please don’t mind if a grown up me obsesses over every little aspect to crafting her very ocean princess outfit, he he. 

Be prepared for a “part two” follow-up to this post, also dating to 1989 and with more matching pieces to make this outfit a complete set.  As big a fan as I am, one Disney’s “Little Mermaid” inspired outfit is not enough!  I might also do a third Ariel inspired garment – a dress – in the future, but I know I need to curb myself in at the moment.  For now, I felt it was important to channel the underwater princess as a woman with legs because, after all, her main longing was to walk, run, and dance on land!  I also enjoy the juxtaposition between her wearing only seashells as her top becoming a very fun but conservative long sleeve blouse in my hands.  All the blouse buttons are carved abalone shells instead!

THE FACTS:

FABRIC:  Pants – a 100% wool twill, marked on the selvedge “Alta Moda – Enrico Coveri”; Blouse – a soft but tightly woven cotton blend broadcloth

PATTERN:  McCall’s “NY NY The Collection” #4537 pattern, year 1989, from my personal stash

NOTIONS NEEDED:  Lots of thread, interfacing, several hook-n-eyes, vintage rayon tape for hems, and vintage buttons from the collection of my husband’s Grandmother

TIME TO COMPLETE:  Both pieces received much hand stitching, but the pants more than the blouse.  Even still, the blouse took me 30 hours and the pants about 40 hours (not counting the pattern re-tracing I needed to do on paper to re-grade the sizing).  Both pieces were finished by January 15, 2021.

This is a tank with both the “Leafy Sea Dragon” and the “Weedy Sea Dragon”

THE INSIDES:  Most seams are covered by vintage rayon seam tapes, but the long pants seams are zig-zagged over along the raw edges.

TOTAL COST:  This set cost me next to nothing – just a few dollars – as I bought everything except the notions (which were on hand already) at a garage rummage sale. 

This set might have been practically free but don’t be deceived – it is not lacking in quality.  The blouse fabric is very nice cotton, to be sure, but it just so happened to be the same purple as Ariel’s brassiere shells. What seemed like the perfect find was not even 2 yards in length (at 45” width) so I was able to just barely make this blouse work out with its long sleeves and peplum.  Even still, my blouse’s cotton is a pretty basic score compared to the amazing find that was the fine woolen used for my pants.  It is a very greenish turquoise perfect to complement the purple, but also a mermaid appropriate tone. It was a soft, supple, and fabulously textured cozy wool.  Yes, there were 6 yards of the material in total. 

However, those 6 yards were perhaps the most moth chewed piece of fabric I have ever seen…quite a freaky mess!  There was barely a solid swath which didn’t have a hole in it from which to cut my pants.  With that fabulous selvedge marking, though, there was no way I was going to pass up the chance to try and salvage what I could from off of it.  Whenever you see a stitched on ‘label’ on the selvedge of material, that’s a clear giveaway that it’s something high-end, especially when it says “Alta Moda”!

Many people may not recognize designer material, so I’ll decipher why the selvedge marking here is so important.  “Alta Moda” is an Italian noun for the world of Italian high fashion, Italian fashion designers collectively, and Italian couture.  It is their equivalent to “haute couture” in French.  “Traditionally, Alta Moda or Haute Couture is the creation of unique tailor-made garments made mainly by hand using high quality fabrics, decorations, applications and embroideries with extreme attention to details” says The Accedemia Costume & Moda in Rome.  Dolce & Gabbana is most often associated with the term “Alta Moda” nowadays, but as a designation for the industry, the words mark the difference between Milan and Rome – the former is more known for everday wearable clothes (pret-a-porter) where the latter is known for extravagant high fashion (says “Dave’s Travel Corner”).  This is significant because there is the name of Florence based fashion designer Enrico Coveri behind the “Alta Moda” designation.  

Enrico Coveri 1988

Enrico Coveri was born in 1952 and studied at the Accadema delle Belle Arti in Florence.  In 1973, he began working as freelance designer, creating knitwear and sportswear lines, while making his mark by being one of the first designers to use soft pastel shades.  He moved to Paris in 1978 to work at the “Espace Cardin”, the vast design institute set up by Pierre Cardin, and the year after he debuted with his first women’s collection in Paris. Shortly after that, he returned to Italy to establish his own company in 1979.  “You Young” is the name of one of the several seasonal Enrico Coveri collections. It is also perhaps the best description for his bold, unpretentious, and fun-loving fashion: strong, vibrant colors and striking, witty designs that have always been clear and intelligible, with zany prints and knits often incorporating Pop Art designs and cartoon characters. Although he excelled at casual clothing, even his eveningwear exuded a young, sporty, wearable feel. Coveri enjoyed shocking and going out on a limb with design. 

It is noted that in Coveri’s styling, attention was always given to the particularity of the materials and fabrics.  His favorite fabrics included stretch satin, superfine linen, silk, cotton poplin, and sequin-covered knits.  Journalist Hebe Dorsey to dub Coveri the “Italian Kenzo” in the Herald Tribune.  Coveri died in 1990, at the young age of 38.  (This and the above paragraph’s information is from The Fashion Model Directory, Made-In-Italy.com, and Encyclopedia.com.)  Please hop on over to my Pinterest page (here) for his work and check out how full of life Coveri’s designs were in his too-short career.

This line of NY NY “The Collection” McCall’s patterns are supposed to be designer drafted, after all, so using a fabric most probably leftover from Coveri’s work and then channeling his style to interpret my version seems so appropriate.  Now, I’m not intimating this was his pattern, but after reading up on his life, it suits his exuberance and love for details.  It also means this wool is from before 1990…bingo.  I couldn’t have chosen a better designer to incorporate into my Disney “Little Mermaid” outfit!  How this vintage Italian Coveri fabric got here in the Midwest of America and why it became so moth chewed is another mystery I won’t even entertain unravelling.  I feel he would appreciate the animated character influence here, as well as welcome the color tonality, but I would hope Coveri would especially like the unexpected details to the blouse and the pants of my chosen pattern.

The most obvious special detail is the front waist of the pants which have a strong mermaid-reminiscent shaping.  With the dipped center and the flared, pointed sides, it calls to my mind the common way to portray the joining of the human body to the fish tail at the waist of a mermaid or merman.  It’s not just all design lines with no utilitarian purpose, however – these pants are a unique “fall front” opening!  This is scarce on so many counts.  Not only is this style of pants closing something relegated to menswear, but besides maritime military uniforms having a buttoned fall front closing, it is primarily a historical fashion point.  The “fall front” means there is a panel (sort of like a bib) which is flapped up (after stepping into the legs of the pants) and either hooked, tied, or buttoned down to cover both an inner waistband underneath and the exposed lower groin. 

This style of pants is most widely seen today on the handsome gentleman and their roguish compatriots of popular Jane Austen novels and early 1800 era stories in television and screen adaptations.  The end of the Regency and Napoleonic eras were the last of the fall front’s common usage in trousers, excepting certain military uniforms (as I mentioned) or ladies Victorian “split” skirts for riding. Brann mac Finnchad has an excellent terminology post here on his blog “Matsukaze Workshops” as he explores drafting and sewing his own regency fall-front trousers.  Modern pants are a basic form of the “French fly” closure style, also called “split-fall”, and this has been dominant on men’s trousers and denims for about 170 years now.  It wasn’t until the 1930s that the “French fly” was utilizing zippers, as we use today, rather than only buttons.  

I have not yet seen a decorative fall front pants, much less in modern times, and especially for ladies.  These are THE coolest pants I now have.  They are not trying to be historical, yet are a fresh take on a style long dead…not dated at all for coming out of the 1980s!  Most importantly, though – the fall front incorporates deep pockets that reach down to my thighs.  This is modern ingenuity combined with practicality for you.  Even still, style aside, I love the way they are very comfy and easy to move in, besides being quite complimentary to my hourglass figure!  Now I just need to make sure troublesome fabric pests do not find my pants…

My fall front trousers utilizes one snap set and a few hook-n-eyes.  A 1 inch heavy-duty snap closes the inner waistband, as Brann calls the “binder”, and large hook-n-eyes to close the sides of the fall front flap.  The original instructions called for me to use buttons and work buttonholes at all these closure spots, yet I wanted the smooth front appearance of invisible-from-the-outside closures.  The amazing seam lines of these pants needed to take center stage without big buttons to distract!  After all, I did not trust two buttons to alone hold the weight and the pull of the fall front.  I want these amazing pants to last me many years.  Not having set button holes will hopefully aid that by giving the versatility of being able to adjust the spacing of a hook or snap.  Depending on how the fabric loosens or what my body is dealing with at the moment, “fit” is something fluid and not static and I sew all my clothes with some option of tailoring at a future date.

Once I graded up the paper pattern according to the given size chart, these pants turned out close fitting yet exactly my size, luckily, so I could focus on perfecting every feature as it was out of the envelope with no alteration.  The pants’ legs are tapered slimmer at the leg hems, the waist is high above the natural line, and the hips are roomy across…all in a nicely subtle 80’s way.  They are dart fitted across the back, unlike Regency trousers which were laced to fit.  The inner waist facings were in many different pieces across the back to accommodate the curving fit.  I kept the pants unlined so they would be more lightweight and therefore versatile for a mild spring or fall season.  The wool is so fine it is not really itchy.  I did finish the hem in a bright, cheerful lime green vintage rayon hem tape.  Only I really see or know it is there, but sometimes it’s those hidden fine details that make all the difference, right?!

Now compared to the pants, the blouse takes second sitting, yet it is still packed with unusual, special details, too.  It is more of a 1980’s classic, though.  As the envelope summary stated, the blouse was designed to be very over-sized, except for the close-fitting hips and wrists.  Combining these features with the dropped shoulder line and lowered armscye, as well as knowing my tiny wrists, I presumed correctly that the only place where I needed to size up was from the waist down.  The size of my pattern was two sizes too small for me according to the envelope chart and yet the main body finished up fitting well yet with a comfy amount of room to spare – just the way I figured it.  Sizing up was challenging as it is a darted one-piece in the front and a separate peplum with defined waist seam only in the back.  I merely slashed and spread the front blouse panel open to the necessary increment starting from the hem.  Then, I came back to retrace in the original pleats again.  When a pattern says “generous fit”, believe it only so far and measure at the pattern stage (as I did here) to see just what is going on ahead of time for a perfect fit in the end!

The pattern calls the back bottom portion a peplum, but I see it as a clever way to keep a poufy blouse tucked in and looking neat.  This blouse is onto something smart – don’t you hate it when you tuck a blouse into pants or a skirt which fits snug over the hips and the top just gets all bunched up and obvious under your bottoms?!  I am glad for the longer, lower hip length of the hem because it not only stays tucked in nicely but also looks great worn untucked, on its own.  80’s oversized blouses can overwhelm a smaller frame like my own, so the slim fit for the waist and hips makes this style work for me, I think.

An unusual part to the blouse is for sure the sleeves, the way they are so deep set and super gathered at the center top ‘shoulder’ seam.  I have not done a tapered sleeve like this before either, nor does one often encounter a smooth transition (no tucks, pleats or gathers) into the fitted, rounded cuff.  I love it!  Even still, one little detail of two carrier tabs at both the back collar and front button placket makes all the difference here.  It keeps a contrast scarf in place (the way I am wearing it), but the pattern calls for an ascot to be made (included in the envelope, too) and worn in a way similar to a man’s necktie.  No wonder the pants had such a masculine influence!  The whole ensemble owes its design to guy’s clothes, even if the details are inherently feminine.  The collar otherwise is pretty much the same as the cuffs, with curved ends, yet was sewn down with a man’s shirt-style collar stand. 

I felt that true shell buttons were the only thing appropriate here to keep “The Little Mermaid” reference strong but subtle.  Abalone shell buttons, if the underside is unglazed and raw, can fall apart easily.  However, I was able to find ones stable and uncracked for my blouse in the amount I needed (a total of 11) out of a good number more (about 18) in the vintage notions stash of hubby’s Grandmother.  Shells are intertwined with every mermaid legend it seems, but I figured abalone shells would be Ariel’s preference the way they have an iridescent shine in her classic colors of turquoise, purple, and pink.

The way Enrico Coveri was obsessed with matching, curated accessories, I followed suit with this outfit.  Where do I start?  My shoes are perhaps my favorite compliment to my outfit, but then again I do greatly enjoy matchy-matchy footwear!  My facemask reminds me of the interesting and slightly alien texture of coral and was made by me of the lovely shiny turquoise rosette fabric leftover from this vintage inspired Whitney Frost dress copy (posted here).  My purse might be the most obvious accessory – it is a “Unique Vintage” brand cosmetic case that I added pearl straps to so I can use it as a purse.  My bracelet is really a necklace, but it is long enough to wear around my wrist when wrapped three times.  It has a sterling silver mermaid swimming across it!

My earrings are genuine shell carved in the shape of a starfish. I have had these earrings since I first got my ears pierced as a little girl. I know there is a story to where they came from which I cannot remember yet, so but nevertheless I hold them as special for the reasons I already mentioned!  I could have flaunted off so many of my old original charms, pins, or pendants which I have from when I was little and the movie first came out…but it looked too gaudy.  I wanted to go all out with this princess out, just to let you know, but I kept it tame…I really don’t want to cause any more attention (at times) than my vintage way of dressing already does!  

So, regarding our shooting location, if you ever find yourself in St. Louis, Missouri I do recommend a visit to the Union Station Aquarium.  This is something worth seeing (from a land locked Mid-Westerner’s point of view) plus it makes for the best pictures!  I couldn’t have asked for a better outfit to wear, though…the anticipation of the visit helped spur me to finish sewing it.  My Ariel inspired set totally put in the frame of mind to appreciate the underwater realm in an immersive state of mind…which was easy to do as some of the expansive tanks wrapped around and over between rooms!  Although I will not say “it’s better down where it’s wetter” as Sebastian sings, watching the fish and their counterparts do their ‘thing’ (“just keep swimming”, right?) was incredibly relaxing for us, compared to our working hours up on land.  At least it was fun to pretend to be a grounded mermaid princess for a day! 

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!

“For the First Time in Forever…”

“…There’ll be actual, real, live people.  It’ll be totally strange, but wow, am I so ready for this change!”

– words of the character Anna from the 2013 Disney Animated movie “Frozen”. Watch the movie’s sing-along song video here!

I’ll be singing her song too (hopefully soon) this year when fully coming out of isolation with my family!  For us, it has been too long of a time away from many “formerly normal” happenings such as vacations, hugs with friends and family, or exciting live but crowded concerts.  Now, I found the perfect dress to sew for a materialization of such feelings – an ‘Anna dress’ from the song sequence “For the First Time in Forever”! 

Now this particular introductory entry in my “Pandemic Princess” collection ended up the most expensive out of all the rest, as well as the most recognizable compared to its film inspiration.  I also just finished sewing it the week before the end of the 2020 year.  For these reasons, and the fact “Frozen” always seems to make strong Christmas appearance yearly, my Anna dress was what I wore for the few safe and social-distanced holiday occasions we had this year.   Wearing my tiara and Anna dress around to all the socially distanced outdoor lights displays was the perfect place to both be ‘Disney-fied’ and over-the-top fancy without turning any other heads besides those of the little girls. 

I tell you one thing – the smiles that lit up and the eye twinkles which appeared in the females 8 years and younger as we passed were the most amazing pay back for my sewn projects EVER!  Those little girls gave me this happy, expressive face letting me know they ‘got’ my dress, and 100% understood its reference.  It was our little instant secret together, no need for a spoken word.  To think – I had just made their moment special, and they made mine in return!  It was the most touching social result of all my outfits, even princess ones.  Sure, I got adult compliments too, but they did not seem to know the Disney reference when we spoke and seemed to appreciate the outfit for itself (which is fine and welcomed just the same).  Leave it to the innocent to give the most direct and truest means of communication – through facial emotions.  Luckily, I could read their faces as the younger set often are not required to wear Covid face masks!

The red-brown headed Princess Anna is a character that’s sweet but quirky, optimistic, impulsive, ever ready to be helpful, and only 18 in age at the time of the original “Frozen” of 2013, Disney’s 53rd animated film.   The story is set in the mid 1800s in the fictitious Scandinavian fjord town of Arendelle.  Anna has a sister three years older (Elsa, who is crowned Queen) with magical abilities and both of them have been locked away in the castle for a decade through their childhood because of those powers.  There are situational and emotional complexities that arise when the lives of the two sisters are changed after their quarantine is lifted.  Rather than the classic Disney pattern of a romantic relationship tale, the film duo has given us a loving sister relationship they have to fight for at the forefront of their story – but that only comes manifest at the end of the first movie. 

The particular dress I chose to interpret for myself focuses on an earlier part of the storyline when Anna is excited and naive while Elsa is uneasy and afraid.  (Read a great critique of the meanings and moods behind each of the verses of “For the First Time in Forever” here.)  Their outfits are very ethnic inspired, with a nod to historical dress, for the special occasion of coronation day.  Anna’s dress is particularly abundant with traditional Norwegian rosemåling in the form of embroidery all over her skirt panels as well as her bodice neckline.  While I love the colors of, details on, and overall effect of the outfit, I felt this was the one I disliked the most out of all the costumes the girls wear in both “Frozen” movies.  That was hands down the one I had to reinvent for myself.  I had to figure out my own way to like that distinctive film dress for it to be redeemed in my mind. 

There was something about the movie version of Anna’s outfit from “For the First Time in Forever” which slightly bothered me.  Either she is missing a blouse as an under layer to it (such as Elsa her sister wears) or Anna’s top mimics a decorated corset.  Also, the fact it was solid black kind of overwhelmed the skirt too much in my mind and took away from her necklace.   Those ‘sleeve’ drapes across her shoulders needed to go away in my mind, as well, but I can still vaguely understand the idea of how Disney drew that detail looking at mid-1800s styles (see picture at right).  Next, the challenge was finding a more familiar historical reference for my own version.  Through all the vintage pattern scrolling I do on a regular basis, I had noticed a very similar style of gored and pleated skirt (according to design lines, I mean) had been on dresses circa 1949 to the late 50’s.  The popularity of the full skirts which needed floofy slips to keep a bell shape was for me a natural channel to begin interpreting Anna’s dress.  Sewing pattern Advance #8551 from the early 1950s is labelled as the ‘Pretty-As-A-Princess Dress’, interestingly enough.

I chose a vintage Burda Style pattern dating to June 1955, reprinted in July 2020 as #121, as my base because I saw the opportunity to make the blouse and the skirt more harmonious together.  The panels to the skirt as well as the neckline binding to the Burda pattern were just the exact width of the faux rosemåling embroidery light green panels.  The bottom half of the Burda design streamlined Anna’s long length, deeply pleated skirt by merely being a configuration of triangular godets and rectangular panels ending at knee length.  I did reduce the number of godets and panels to 10 of each instead of 14 each to end with a smooth, ungathered skirt.  However, beyond this slight adjustment I sewed the design up as it was from Burda, and I couldn’t be happier with both the fit and the final look!

The dress was really not that challenging to make, just very time consuming.  There were sooo very many straight seams to assemble the skirt, and the bodice had underarm gussets.  However, as long as I had every piece and matching point numbered it was all decently clear and not confusing.  The bodice ended up fitting on the slightly snug side while the waist turned out rather too generous when I chose to use my ‘normal’ size which I always use in Burda patterns.  My scarf belt hides and pulls in the loose fitting waist and the stretch in my fabric accommodates to the slightly snug bodice.  Overall, though, this vintage Burda reprint turned out practically the best out of all their reissues.  The greatest trial was sandwiching the zipper in between the left side underarm gusset and the skirt panels.  I love how the gussets give the bodice such a fine shape and ease in movement.  The skirt panels matched perfectly together into the waistline.  This was a joy of a project, if a bit overwhelming.

Now, you are probably bothered with curiosity by now over the fact that my fabric print is just like the movie version.  The answer to that doubles as the reason why my Anna dress was expensive.  I had a movie look-alike design printed on 100% cotton sateen through the Spoonflower site.  It was a color scheme created by an existing account which specializes in Disney cosplay – not of my own making.  Nevertheless, Spoonflower services are not cheap, but when you have a great idea that has turned into more of a mission…well, I figured it was my Christmas treat.  The ‘embroidery’ look is achieved through a feathered sketching that mocks true rosemåling.  I actually used it to my advantage at the neckline to actually embroider over the faux print to keep the overlapping down in place.  This way decorative topstitching hides in plain sight the useful tacking! 

The fabric was printed in panels which alternate both decorative strips and solid green blocks so I could cut the respective pattern pieces I wanted out of each kind of section.  This printing layout was needed to fit the pattern pieces but required me to buy at least 4 yards of material…a pricey amount to need through a custom order.  I chose cotton sateen so my dress would have a crisp structure and a slight shine.  The Spoonflower sateen doesn’t take to ironing very well, and my fabric actually came with a printing flaw, so I regard their services as a necessary evil to be endured in times of particular creativity.  The sateen is soft and pretty, and seemed to be the perfect fabric choice for this dress anyway.  All is well that ends well, especially when it is something which ends up this pretty!

To complete the Anna ensemble, I chose a vintage 90’s cross-on-a-ribbon choker from my childhood, a cotton sateen sash belt, and finally Charlie Stone shoe company’s Hallstatt suede heels.  Charlie Stone came out with a “Frozen” inspired shoe collection last fall, 2020.  I chose the Hallstatt suede flat heels because they match perfectly with the shoes Anna wore in “For the First Time in Forever”.  Besides, they have a subtle nod to Elsa, Anna’s sister, with the cut out designs.  All of these accessories add the right touches of black for my taste, for the perfect remaking of Anna’s movie outfit.  My vintage 1950s earrings are from my Grandmother, laid out in a very Arendelle-style trefoil design which matches both my shoe cut-outs and the dress’ faux rosemåling on the light green panels. 

What princess would be complete without a crown, too?!  I chose the Anna crown from The Disney Store, [SPOILER ALERT] as it is a copy of the one she wore at her own coronation at the end of “Frozen 2”.  It is a very substantial metal enameled piece which is beautiful and surprisingly well made.  It also finalizes my outfit by completing in symbolism Anna’s journey from unnoticed, naïve princess to a capable queen.

For as much as I love this particular princess outfit, I do have a disclaimer.  The two “Frozen” movies are to be included in my blog post series for reasons far less personal or intentional than the rest of my “Pandemic Princess” outfits to come.  After all, Elsa and Anna are part of the Disney princess “club” which has been a popular franchise in the last few decades.  Yes, their movies are a feast for the eyes and ears, besides enjoyable to watch (if rather moody and emotive for kids).  The “Frozen” tales are also the most recent big deal in the Disney princess realm, as can be seen by the heavy marketing still existent in the kid’s section of any store online or in-person.  Yet, what truly wins me over are the fashions the two sisters wear.  If only just animation, I am enamored by the colors, the details, and everything about what is worn by the leading ladies of “Frozen”.   

All this being said, however, I really don’t like the movies.  Sorry to the fans who are offended by this, but I’m being honest on my own platform here (so don’t come at me, please).  They aren’t the kind of movies from the “Golden Age” of the 90’s Disney that I adore enough to know every single word to all the songs.  Nor can I relate to the “Frozen” characters enough, even though they are very adult in character and conflicts.  Compared to what the inspiration basis is for the “Frozen” movies, I think the original source provides a far more impressive, memorable, and teaching tale than the washed down, modernized Disney version.  Hans Christian Andersen penned The Snow Queen, or Sneedronningen in its original Danish, in December 1844 and it is almost unrelatable to Disney’s version, even if they did do an excellent job at reinventing the story in a compelling manner.  Here is an outstanding blog post that does a very good side-by-side of the original Anderson Snow Queen tale with the storyline of the first “Frozen” movie.  I suggest you go read it and make your own decision, too.

So – can you guess which princess (I mean Queen, hint, hint) is coming to my “Pandemic Princess” installment next?  My interpretation will be a merged association of several different yet related influences.  After all, the original Anderson Snow Queen tale inspired more than just “Frozen”.  It also most probably shaped another more villainous character with ice powers who is in a well-known and widely loved children’s’ story series written by a 20th century author.  As someone for which ‘the cold has always bothered me anyway’, stepping into this next character was a fun and challenging change of thought for me that turned out successful (if I do say so myself). 

Stay tuned and thank you for reading!