Shopping at the Old Arcade

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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A Fancy Feed Sack 1935 Dress Set

Something as commonplace as a vintage feed sack print gets an upscale upgrade when it came to planning and making my Easter outfit of the year 2014. I had made a number of 30’s era garments earlier than my 2014 Easter outfit, but an authentic and all-out-beautiful classic of the mid-1930s (one of my favorite fashion era years) was in order sooner or later in my plans. Here is my post about a sheer, flowing, silk chiffon afternoon tea dress with a under slip which has Art Deco lines. This 1930s silk set was quite time consuming to finish perfectly, but very fulfilling to make and even more lovely to wear.

100_2792a-compMy Easter dress for the year before this one was a design from the 1920’s (my 1929 hankie-hem dress made in 2013; posted here). For 2014, I merely went up a decade to the 30’s, to have some continuity of progression through the upcoming years.

THE FACTS:100_2800-comp

FABRIC:  The sheer feed sack printed over dress is an “Anna Sui Vintage Floral Silk Chiffon” (close-up at right) from Mood Fabrics. The under slip was made using a “Kiwi Color Solid Silk Chiffon”, also ordered from Mood.

NOTIONS:  I bought most of the notions that went into making my 1930’s Easter set. I had to buy several spools of thread, a package of stay tape, the buttons, and a skein of embroidery floss. I did have on hand the few snaps which were required. The belt buckle is a very old Art deco piece that I also had on hand, bought a while back from a vintage shop. PastPatterns#2303 SummerPartyDress ca1935

PATTERN:  My outer dress is a pattern from Past Patterns, #2303, “Summer Party Dress: Circa 1935”. The under slip pattern comes from the book “Vintage Lingerie” by Jill Salen, pages 46 to 49, the “1930’s Silk Slip”.

TIME TO COMPLETE:  The outer sheer dress came together quite quickly considering, about 20 hours stretched out over 4 or 5 days. It would have been even less if I hadn’t caused more work for myself when it came to the sleeves (I’ll explain this down lower). The slip took…oh, my, very much time! It took long enough to get the slip wearable with the dress in time for Easter (April 20th), but much longer to do the final fitting, seam finishes, and embroidery details. I worked on the fine finishing details on and off for the next few months until it was finally done in August of 2014 (for a total of maybe 30 hours).

100_3408a-compTHE INSIDES:  All the inside seams for the sheer over dress are done in French seams, except for the bottom skirt flounce inserts, which were lapped on, and the skinny ¼ inch hems. My under slip had the bodice panels lapped on, similar to a flat felled seam. All the other seams to the slip were made in clean finished seams covered with a strip of stay tape for sturdiness (see left picture).

TOTAL COST:  I ordered 3 yards of the Anna Sui Feed Sack Silk Chiffon, at a sum of $38.40. Now the Kiwi Solid Chiffon was $39 for my cut yardage of 3 ½ yards, but I only used a yard and a half for the slip ($19.50). My total cost for the outfit fabric comes to $58, but…I didn’t have to pay for it! It was free as part of $100 gift credit, my prize for winning the “Butterick to the Big Screen Contest” in June of 2013. All I really paid for then was the notions, which might have been $10 or less! Score!

This was my very first time sewing with silk this fine and expensive. Boy, was I intimidated! I was so afraid of messing things up or having something in some way going wrong. But I knew I just needed to dive in and start learning and progressing. I did use my hubby’s Grandmother’s old Brother sewing machine because it has a smooth run, predictable stitches (besides, my favorite tried and true work horse machine was needing repair). I also started out with brand new “sharps” needles, and replaced one or two more needles on my machine throughout the outfit’s construction to eliminate any possibility of getting runs in the silk chiffon. Besides these basic steps, and just plain old being careful, thinking clearly, and taking my time, sewing with these silk was a truly a wonderful dream.

100_5771a-compI am still amazed at how easy the Anna Sui silk chiffon was to sew…much, much easier than polyester chiffon, with less runs and fraying than a poly imitation, too. Now I did find the thicker solid Kiwi Chiffon to be a bit more of a problem, but I think maybe it was just because I “wrestled” with making the slip work for so long, I may have a bit of prejudice towards it. At first, I also experimented with some scraps to do the method recommended on a few tutorials and blogs – keeping a layer of wax paper between the feed dogs and the chiffon. It was not working for me nor worth the trouble. All I did was stitch slowly and evenly, feeling out the bias of the fabric and being extremely careful to not stretch it in the least.

100_5786a-compUsing stay tape really helped add some body and help the feed dogs grip the fabric better, as well as stabilizing the seams for wearing. Stay tape was even sewn into every dart, and on top of the slip seams, because I didn’t want to rip or tear anything from the movement of wearing the dress. Look carefully in the picture at left of the dress’ insides and you can see the stay tape netting strips.  This was the best idea for my dress – the stay tape holds and helps all the seams, does not itch against the skin, and is just as perfectly soft and flowing as the silk. Thank you to the wonderful employee at my Hancock Fabric store for giving me the idea.

The Past Pattern for the over dress seemed to be close to my size, just a tad larger all over than what I needed. Knowing that, from my experience, many 1930’s patterns run small, I cut it out as is and it turned out just perfect. The one single change I made to the construction was to make single darts on each right and left side (a total of two) for the waist back instead of making them in pairs on each side (for a total of four) as the pattern instructs. Everything else for the pattern was made unaltered.100_5784a-comp

Believe it or not, there are only 4 easy pieces to make the afternoon dress. All the pieces fit and matched together perfectly. The sleeves and the skirt flounce inserts are cut on the 100_5776a-compbias and all other pieces (the front and back dress panels) are cut on straight grain. As you can see, I did choose the square neck option (over the V-neck). I love the gentle fit of the tiny double bust darts on each side of the front panel. What the pattern calls “cape sleeves” also have a tiny dart along the top of the shoulder coming from the neckline for a small touch of added shaping. There is a small opening a few inches in for a snap closure at the right neckline of the raglan seam of the sleeve, so the dress goes over the head easily.

I decided to add the sleeve hem ruffles, and it took several hours to do their hemming, gathering, and stitching down. After, the ruffles were on, I just could not like them. So…off they came after some serious time spent unpicking. My hubby generously did a good amount of the unpicking while I worked on the waist belt. I did end up having the trim a bit off the edge of the sleeves after the ruffles were out, just because the silk is too fine to not get affected by sewing and unpicking, so they are a tad shorter than intended. The belt 100_2805-compcame out wonderfully, but I wish it was a little longer. It was supposed to be my size but only hangs out a handful of inches past my old amazing Art Deco buckle. Oh well – as long as it makes it around my waist. The belt is lined in the same fabric as the under slip, making the belt pretty much reversible and similar in color tone as the rest of the dress.

The side closure is a simple button and loop style. I used the same “President braid” trim leftover from making my scalloped collar “The Artist” movie dress for the loops, and sandwiched them under some more stay tape for support along the one opening edge. On the other side of the side closure edge are tiny light pink heart shaped buttons to go with the feminine theme and pastel colors of my dress set.100_5773a-comp

Jill Salen book coverMy under slip pattern, coming from the book, had to be enlarged 200% in order to become full sized and usable. I had a local print shop do this step for me instead of my doing the re-grading by hand and ruler. I did my best at measuring the proportions of the slip to find out what size it might be. The patterns from the book were not made from other patterns, but from old vintage pieces themselves (I suppose whatever the author had access to or owned herself) so each piece in the book is a random mysterious size. Every time I use a pattern from this book “Vintage Lingerie”, it’s like taking a gamble. From what I could tell, the slip would be close to my size, so I added on seam allowances (5/8 inch) and cut it out as is. The entire slip is apparently and early 30’s design and meant to be worn under a bias dress, that is why it has such long lines and all straight grain pieces. The only bias to the slip is on the curved shaped edge of the upper bodice panels.

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My little dachshund is that dark thing on the floor at my feet!

Once it was finished, the slip was tried on and, yes it did fit but – wow – it was tight! My hips are about 35”, with my waist about 8 inches smaller than that, so I’m assuming this slip would comfortably fit someone smaller than me. My closest size estimate is that, unaltered, this 30’s slip is for a size 30” – 32” bust, 25” waist, and 33” hips. I was hoping to make the slip go on and off without needing a side closure so I needed to make extra room somehow. After some brainstorming with hubby, we came up with the idea of cutting out another two center front panel pieces from the slip pattern and adding it into the side seams. The center front panel is skinny with a slightly wider taper at hem end giving just the little bit of extra room I needed much like a godet. Adding in the side panels did add more seams for me to finish off, but so it had to be. I do wish the slip was a bit longer on me, and I think I’ll write a note to adjust the pattern, but I‘ve done enough work on it so I can’t complain.

100_5789a-compIn our pictures of me wearing just the slip, it actually fits tighter than originally when it was newly finished. This is because I didn’t wash the silk first before I assembled and wore it for Easter. It was washed later and now has a snug and complimentary body forming fit, but this was not intended. From the feel it, I am supposing the silk might act similarly to denim blue jeans: the fit is tighter once newly dried and out of the wash, loosens up again as I wear it, until the next time it gets cleaned when it shrinks up again. On the opposite side of things, the outer sheer overdress was not washed before the pictures were taken and it didn’t shrink much at all from washing it. The chiffon did change its finish, though, going from smooth and flat to looking like a seersucker after it was washed. The seersucker look is not a bad thing to have, and I like it enough to not iron it out…it was just unexpected. I normally wash every fabric before using, but now I know to make no exceptions (not even for silk, wool or linen) if I don’t want surprises.

100_3522a-compThe original blue slip shown in the book had more fine details, such as fagoting, drawn threads, and eyelet embroidery, than my own version. Making the slip was hard enough the way it was. However, I’m not really complaining, just happy the extra effort I put in comes to such a unique and special finished garment, even if (besides counting myself) it only gets seen on my blog! I don’t know if the front panel detailing was meant to be a monogram, and I was tempted to design my own, but it had a nice Art Deco design to it so I hand-stitched it exactly as the original in the book.

Afternoon Tea dresses have a style and beauty all their own. Soft flowing fabrics created a free-flowing, feminine, and comfortable garment – for summer it would be rayon, sheer cotton, and silk (if you had money in the 30’s), and for winter, wool crepes, rayon, and satins be in order. The swinging silhouette of mid 30’s afternoon dresses was achieved with flared bias panels and simplicity in design, like my own dress set, compared to day dresses which often had pleats and details like embellishments. Day dresses’ necklines had a utilitarian style, such as collars or front zippers and buttons, while afternoon dresses had simple, beautifully shaped necklines. Day or afternoon dresses were both quite decent as far as covering, but the “day” style was more utilitarian (for shopping or working at a job) while the “afternoon” style was for out of the home leisure, eating out, and other nice occasions. (Info from here.) A slim and sleek silhouette with wide but softly shaped shoulders is period appropriate for the decade of my dress with a belt necessary to define the waist, since the early 30’s drop waist look (of the 20’s) was definitely gone by 1935. My Easter dress set is indeed the perfect “tea” length which is mid-shin, iconic of the 1930’s…an odd length really, but quite complimentary once worn (so I think).

100_2787-compAfternoon dresses came from a time when there was a garment for different times of the day and occasions of life – day wear, afternoon “tea” outfits, house dresses, evening elegance, leisure gowns, negligée sets and nightwear. This did not last much longer past the 1940’s, but it sure provides an interesting variety of styles and garments to suit any person’s taste, body type, and need. History provides such a variety of vintage fashions. This variety enables “vintage” to be easily re-made (whether from a pattern – reprints and originals – or an old original piece) and worn in our modern times than many people realize. Try something new, and you might just find a new favorite!

Leaf Piling in Plaid

Leaves can be the curse or the joy of the season of fall.  So also, plaid prints can be the bane or the delight of those who sew and work with fabric.  Either way, if you want to move on to other things, both have to dealt with at some point.  So why not enjoy leaves and plaid at the same time?

I chose a simple shaped year 1928 Past Patterns reprint to make an earth-toned plaid dress perfect for fall’s transitional weather.  The straight lines and simple shaping of a late 20’s dress was also perfect to take the stress out of plaid matching.  A giant sycamore tree supplied the leaves to enjoy and an old Art Deco vitrolite decorated building provided the time-rewind backdrop.

100_4117THE FACTS:

FABRIC:  My plaid dress fabric is an incredibly lightweight, semi-sheer 100% cotton.  The plaid pattern is woven as part of the fabric, which I suppose, combined with the natural cotton content, technically makes it a textile and therefore quite historical.  Then, I go and ruin the historical bragging rights of my dress by lining my plaid fabric in a modern 100% cotton broadcloth (although broadcloth isn’t too UN-historical).  As you can see, the brown cotton broadcloth also went towards making the side godet/gusset inserts and the necktie.  Both fabrics were bought from Hancock Fabrics store.  100_4129

NOTIONS:  I only needed thread, but later on, when I also needed a zipper, that was in my stash too.

PATTERN:  A Past Patterns reprint #2792, Ladies’ and Misses Dress with Kimono Sleeves: Circa 1928-1929″.  Simplicity 4365, year 2005, was used for the godets added into the side seams.

TIME TO COMPLETE:  My dress was completed on October 13, 2014.  I spent maybe 15 hours to finish this project, not too fast but not over long of a time either.

TOTAL COST:  The plaid cotton was super cheap on their ‘spot the bolt’ discount – I got everything on the bolt (only 1 yard and 28 inches) at only $2.00 a yard.  The brown broadcloth was on sale for $1.99 a yard.  Altogether, my total for everything comes to about $10 or less.

The sizing for this pattern showed measurement which were way too large for my size.  Naturally, I thought, “o.k, it needs to be graded down”.  I was technically right, but boy was I wrong.  However, this dress is another happy case of a mistake turning into a ‘design opportunity’, making my project even better than originally imagined.

100_4125     It seems that 20’s patterns have their own funny way of fitting…like, not at all!  No, really, they are based on straight rectangles, with no accounting for the reality of womanly bust/waist curves.  This fitting coincides with the ideal shape for the 20’s: a flattened bust and an elongated waist-less silhouette which focuses only on the hips.  Fitting was tailored in a unusual, unique, and subtle way that I myself have a hard time attaining in my 20’s projects, especially for my tango knickers.  From my experience, a 20’s pattern technically needs to be a size or two too large for you to fit…I am not joking.  I have a few late 20’s original McCall patterns, and they fit the same way – if you make sure the bust fits, then the rest of the dress (outfit) won’t fit, and it’s not just because of my hips.  Women are naturally hip dominant.  That being said, 1920’s patterns run tight in the hips, large in the bust, so you naturally have to go up in the era’s sizing.  Then, it might just lay on the body the way it should for the era, as long as you provide the proper 20’s shape underneath.  For example, the bust of my finished dress originally did not fit (it was too tight) when worn with a modern brassiere.  You have to wear something that flattens or at least offers low support to get the proper 20’s look and fit when you’re lacking period authentic foundation garments.

100_4019     Even though it was not completely the right move, I am proud at how well I figured the down grading of this 20’s pattern.  I divided the amount to take out in two (actually four) increments vertically between the aches of the dropped waist.  My picture shows grading for one of the bodice pieces.  Look how perfectly rectangular the piece is shaped, like I mentioned above.  Actually, grading down gave me just enough room to squeeze in all four pattern pieces into my small cut of plaid fabric.  Remember…I was only working with 1 yard and 28 inches of a 45 inch width fabric – yikes!  I folded the selvedge edges into the center and was thus able to place all four pieces (a front and back bodice, a front and back skirt) on a fold edge.  I would never have thought something like my finished dress could be made from so little fabric.

Here is a pattern which practically had no thorough assembly clarification as do modern instruction sheets.  There is merely a short paragraph and a picture or two to guide you, even less than the little that was given for my last Past Pattern, my 1931 dress.  As long as you know sewing and construction methods comfortably well, Past Patterns’ 1928 dress pattern should be rather self-explanatory coming together.  My method was to prepare both the skirt front and skirt back, as well as the bodice front and bodice back.  Next the bodice front was lapped seamed on the skirt front, and the same for the back sections.  Next the full front and full back were joined at the shoulder seams so I could do the neckline facing slash and necktie.  Finally the side seams were completed last…this was when I tried the dress on myself and realized (oh no) it was way too snug of a fit to be a proper 20’s silhouette.

100_4122100_3997     Ah ha!  No sweat – I had the ideal happy solution for the snug fit in my head!  Many skirts and dresses between the years 1910 to 1930 used godet inserts, a triangular piece of fabric usually set vertically into the hem of a garment to add fullness.  Their use faded somewhat in the 40’s and 50’s, and were mostly forgotten thereafter.  See the 1910 ladies walking skirt, this “Stylish Woman of 1928 in Day Dress”, or Eva Dress’ 1930 Dinner Gown, and also my own “The Artist” movie look-alike dress to see uses of godets through the 1910’s to 1930’s.  Thus, a godet was the perfect solution in more ways than one to fix the fitting issues of this 1928 dress of mine.  The use of the side godets being in the contrast on my dress also lends my dress a sort of “tabard” appearance, another fashion style used intermittently all the way from the Middle Ages into the 50’s and 60’s.  (See this 20’s style tabard dress and this 1963 dress for two examples)  Beyond all my historical proof, I love the way the brown godets were the model fix for a perfect fit, giving me a graded amount of extra room.  I personally think my dress looks better with the contrast godets than if it was without.  Between you and I, however, I did opt to add a zipper in the left side for ease of dressing.  The zipper is pretty invisible (I think) sandwiched in between the dress and the godet fabric under my arm.

I want to make a point that I found the dress length to be very, very long.  I had to make a 5 inch hem to bring it up to a decent 20’s style length.  The arched hip/skirt seam seems to fall in the right spot on my body so I really don’t think the dress needs to be shortened from out of the bodice area, just from out of the skirt section itself.  There is a blind hem done at the bottom of the skirt to make the large 5 inch turn up invisible.

100_4109     Using plaid for this Past Pattern makes sewing the dress extremely fun and easy.  Folding in the box pleats was merely a matter of matching up lines of the plaid.  This minimized the necessity of full chalk markings, which, in the end, saved some time.  Now you can see how the dress was quite easy and not too challenging to make, but a tad time consuming at the same time. 1926 vertical jabot dress pattern ad-cropped

My plaid 1928 dress is ridiculously fun and extremely comfy to wear – totally an easy play, shop, work, and general do-it-all in vintage style type of garment.  The only thing that stumps me is the decision to tie or not to tie the long neckband.  It looks so cute both ways!  According to this vintage 1926 magazine ad for a pattern, it looks like ladies wore it both ways.  Which way do you like?

There are plenty more pictures, especially some extra detail shots, on my Flickr Seam Racer page.  Also, if you’re interested (like me) in some amazing history tidbits, pop on over to ‘History Orb.com’ (link here) to get some ‘wow’ moments as you run through the info.

A ‘Double-Duty’ 1931 Day Dress

This “new” vintage dress which I have recently made is an all-around transitional piece, in more ways than one.  It offers a print and fabric and colors all perfect for the varying temperatures of both fall and spring.  At the same time, as a vintage/historical garment, my dress is a mix of styles and fashion ideals which were used through three decades: the 20’s, the 30’s, and the 40’s.  Wow…that’s a lot to go into something to wear!  It might be unusual, and certainly different – but a neat different.

100_3967a     Two different fabric types and the ability to snap on (or off) matching long sleeves make this 1931 dress a versatile winner in my wardrobe.  My dress has the appearance of a separate blouse and a skirt in one neat vintage project. I really love the way I can dress for cooler weather without wearing the “traditional” dark colors associated with it (see this post for another floral fall/winter dress of mine).  This is an all-around comfy, easy-care, nice but casual dress.

THE FACTS:

FABRIC:  The olive green bottom half is in a rayon poly blend linen-look fabric, while the top bodice and sleeves are in a peach floral Swiss dot cotton.  The lining for the bodice Swiss dot fabric is a orange-peach cotton broadcloth.  All of these fabrics were bought at Hancock Fabrics store.  My 1 1/2 yards of peach Swiss dot fabric was bought 7 to 10 years ago.  It’s been in my stash for a while, and I am very glad to find such a wonderful use for it – finally!  The linen-look fabric was bought spring of 2013 (last year) when I had originally hoped to get around to making the dress.  This year (2014), I bought the broadcloth for the bodice lining.

NOTIONS:  I had on hand an old 30’s buckle, the thread, interfacing, bias tapes, and snap tape that I needed.  Buttons for the long sleeve cuffs, extra snap tape, and a side zipper were the only notions I had to buy.

PATTERN:  a year 1931 McCall reprint from Past Patterns #6611, a “dress with waist yoke” in several sleeve and fabric combination options

100_3995TIME TO COMPLETE:  Well, 8 to 10 hours were all it took to finish the dress, and it was done on August 23, 2014.  The matching long sleeves took at least 10, maybe 12, hours to be finished on October 3, 2014. 

THE INSIDES:  All seams except the side seams and neckline are covered with bias tape.  The neckline is self-enclosed by the lining (I’ll explain later how this worked) and the side seams are left raw to eliminate extra bulk and to make it easy to do fitting adjustments.

TOTAL COST:   As the Swiss dot fabric was bought so long ago, I’ll count it as free.  As for the only expenses, the linen-look for bottom and the other notions I bought, the grand total probably comes to $12.00 or less.

The main body of the dress, without the sleeves, was very easy and quick in coming together.  As you can see in the pattern picture above at left, the assembly instructions were themselves very simplistic – just one page of layout breakdown with about 8 sentences of directions.  However, looking at the dress pattern pieces together with the ‘cover envelope’ picture rather makes construction self-explanatory.  The only construction detail that is entirely up in the air for you, the seamstress, to decide is how to put the dress together.  A basic, but semi-thorough, knowledge of different seams is needed to know (for instance) that the middle front and back panels of the dress are best when added to the skirt in a lapped method.  Bias tape was also wonderful to cover the curvy seams of both the inner edges of the middle section and the bottom hem to what is a half-circle skirt.

100_3972a     I love how these old patterns allow you to learn, expand, and use your sewing skills by providing such simple instructions.  I feel it gives seamstresses more respect than laying out some detailed, dreary, and possibly confusing directions.  Granted, I know complicated instructions are needed and quite useful sometimes.  It’s just that sewing in an advanced form used to be common knowledge years ago, thus old patterns were created for such a person.  Those of you that feel comfortable with your skills, will also enjoy making these old patterns with simple instructions.

There are only just a few points in constructing my 1931 dress where I deviated (just a bit) from the assembly diagram to personalize and accommodate my taste.  To start with, I sewed the front and back neckline first – yeah, first.  I wanted the neckline to be nicely self-enclosed in between the Swiss dot and lining cotton by sewing the seams right sides together, clipping the curves, turning out, then top stitching in place.  As I had raised up the scoop neck by about 1/2 inch, I had trouble fitting my head through, so I had to unpick several inches in from the neck to add a snap placket to the left shoulder seam (see picture below).  I hate sewing in snaps…this part of the job was tough.  The length of the skirt was also extremely long which necessitated a chop off of about 3 1/2 inches to reach the proper mid-calf length.

100_3993     Fitting is very important when it comes to making this pattern reprint.  The dress needs to be slightly roomy everywhere else except the hips. I saw on the front of the ‘cover envelope’ drawing that the pattern specifically pointed out that “this garment fits closely at hips”.  O.k., I thought to myself, I need to grade the pattern down to my size, so I’ll make sure to get close but maybe just a little big when it comes to the fit.  You can always take something in, but when something too small…well that’s a problem.  Just so as to make fitting this dress to my body easy, I did something different from the construction instructions – the entire front pieces and then the entire back pieces are sewn up in two separate, full dress length panels.  This method left the two side seams (with a zipper in the left hip/waist) the very last thing done to complete the dress.  With three sections composing the length of the dress, there would be no way to adjust the sides if done otherwise.  In the finished dress, my down grading sizing turned out fitting perfectly, but I finally realized (once it was on me) how important it is to fit snug on the hips.  The bottom skirt is rather heavy, and, without the tight hip fit, the whole dress gets weighed down, thus losing the proper “blousing out” of the upper bodice.  There is a delicate balance trying to find a good hip fit for this dress – tight enough to hold the dress where it should be but not too tight to rip seams or make the dress wrinkle up uncomfortably.  After a handful of trial and error attempts, I feel I have found the perfect hip fit (for now at least).

100_3986a     Having a belt, especially when you can use an old 30’s buckle like I did, also helps to hold the dress up in place and balance out the harmony between the two fabrics.  I finally did an experiment with the belt I made to match my dress, one which has been in the creative “back-burner” of my mind.  Before I sealed off one end, I slipped in a venetian plastic window blind slat in to the long belt tube.  Of course the blind slat is stitched in place at the ends, but at least this way I have a bendable but sturdy belt on which there is no top stitching or interfacing.  It sounds strange, I know, but it works, and I like my idea…although I probably will not do it again.

I really find the silhouette of this dress even more dramatically interesting with long sleeves.    This dress does nothing for the bust or the shoulders (a very 1920s characteristic) while the long vertical emphasis of both the fit and the design of the main dress body stresses the hips (also of the 20’s) and lengthens the body (late 20’s).  With the long sleeves on the dress, they further the vertical emphasis, but widen it slightly, by beautifully drawing attention to the hips in a very unique manner.  I can’t figure out the reason for the three horizontal pin tucks – I can only think that they balance out the vertical lines of the dress.  The little bias flare of the bottom gives it a slight 30’s touch and the blouse top with its kimono sleeve style and U-neckline is definitely very 40’s (see my version of this blouse).  Besides all the styling, the use of Swiss dot fabric is very authentic for the era.  See this post by Marianne at Fintage for a classic example of the 30’s beautiful use of Swiss dot fabric.

100_3757     When it came to making the sleeves, there are absolutely no instructions whatsoever.  As long as you know how to make sleeve cuffs, this is not a problem – how to achieve the look of the cover drawing was the cause of consternation.  The pattern pieces do not clarify how many pieces to cut out of the cuff and the sleeve band.  Thus I ended up cutting out four of each cuff and sleeve band (two for each sleeve) and one each of interfacing.  According to the cover drawing, the cuffs looked like they are supposed to be in a turned back style, so I was going to face the cuff and sleeve band pieces with interfacing inside to achieve that look (see the left picture).  I believe my method to be the correct way to have done the sleeve cuffs, and, although I can’t guarantee this, the way they turned out is truly lovely with the way they curve.  The stable sleeve cuffs make for a nice finish for the poufy “bat wing” style sleeves above them.  At first I was concerned that the sleeves hang too low on my arms by the way the seam ends an inch or so below my elbow.  Looking at the cover envelope drawing again confirmed for me that they are supposed to fit that way.  The sleeves take a bit to get used to once they are on just because I’ve never had anything like them, but it doesn’t take long to love wearing them!

Tiny 1/4 inch coral pink buttons close up the inner cuff of my sleeve band.  Since I didn’t included a closure method when the cuffs were made, I got inventive to make something work.  Braided thread loops are great but are time-consuming.  Time was something I wanted to cut down on at this point.  So, I threaded a tapestry needle with 1/8 inch light pink satin ribbon and wound it through the cuff seams making three loops.  It looks dressy and it was easy at the same time.

100_3991     My idea for snap on and snap off long sleeves came from seeing this feature on an old 1920’s pattern.  How ingenious and versatile, I thought!  Nothing extraordinary was needed to do – the short sleeves were hemmed like a normal sleeve, and the long sleeves had a small band sewn on to both finish the edge and give room for the snap tape.  Sewing on the snap tape to the sleeves and getting both sides to match snaps was a long, time consuming, hand sewing torture that was made better by getting it done in the car.  Nothing like getting the most out of my passenger time to get my hand sewing done!  It really made all that hand sewing fun to do it in the car.  I want to do more sewing during car trips!  I’m wondering if a 1931 lady would have been able do sew as a passenger in their cars.

This project was unknown territory for me. It certainly brought me out of my comfort zone which is a good thing.  I thrive on a challenge and it helps me hone in on my skills.  My 1931 dress is one that is a surprise to me.  Every time I wear it out and about, I get a bit unsure and self-conscious thinking that it is too-vintage or unusual, but then I always seem to receive a positive compliment.  All I know is I think I’ve re-discovered a piece of history long over looked and forgotten.  I’m a lucky girl to get to make and wear such a piece.  Anyone care to join me and sew up their own version?

100_3978     Our photo shoot’s backdrop is a neighborhood apartment complex, which has the name “Crystal Tower” due to a superb use of decorative glass in the vitrolite tiles and blocks.  It is wonderful example of how everyday living had a touch of Art Deco glamour in the 1920’s, 30’s, and 40’s – the three decades included in my dress.  Perhaps, if you search in detail behind me in our pictures, you should see the “Crystal Tower” logo with its nautical cursive theme.  Even though the building was actually built in 1940, towards the end of the Deco style period, the building materials and design had been used similarly for a decade or two before, so our backdrop is authentic to my 1931 dress (historically speaking).  There is an excellent blog page at B.E.L.T. Stl which shows more details of the “Crystal Tower” apartments, if you’re interested.  For using such a homey, down-to-earth place for a photo shoot, I certainly think it neat to see such forethought and attention to detail in vintage construction.  Look forward to more of these Art Deco era living places in some upcoming blog posts.

As always, please check my Flickr site, Seam Racer, for more pictures.

‘Lady in Lace’ – an Early 1920’s Tea Dress

Flapper lace 20s dress at designerwallace     Amongst all the products in the world of fabric and textiles, there is nothing quite like lace which has stood through every century as an icon for everything about being feminine.  Lace especially meant more in the 20’s, as a sort of compliment by contrast, when the silhouette of the era was straight and boyish but the fabric and trim used was supremely beautiful.  This combination of the female “garconne” is most appealing to me in the flowing all lace “afternoon tea” dresses which were popular in the early 1920’s, such as the old original pictured at left.  Such early 20’s dresses hint at so much, they are irresistible – hinting at color by the under-dress while still staying muted, hinting at skin by being all lace but not really showing much, and hinting at freedom by wearing an unconfined and free form but still looking womanly.

Every year I make a special dress as a birthday “present” to myself, and year 2013 birthday dress was my special version of those early 1920’s all lace “afternoon tea” dress combinations.  My lace 20’s dress with contrast under dress was ridiculously easy to make and is incredible to wear.  Worn with my large summer woven linen hat, my dress sets the tone for the few years in the early 20’s when the fashions from the previous decade (Titanic-era) were clinging on before giving way to the full-fledged flapper of Prohibition times (circa 1922).  This has been my go-to dress for fancy summertime occasions – garden parties and tea rooms…here I come!

100_1780THE FACTS:

FABRIC:  The lace is a stretch polyester fabric, so inauthentic, I know, but it was on sale on top of being on clearance.  I bought what was left on the bolt, which was just enough to make into a tablecloth, with 2 yards to spare to make my lace 20’s dress.  As for my under dress, I used a 100% polyester interlock in a mint green color.  The interlock knit was a small 1 1/2 yard cut that had been floating around in my stash for what seems like forever.

NOTIONS:  I had everything I needed for this project, basically only thread.  I had a small 7 inch piece of cotton lace leftover from this Thanksgiving project, and that lace went across the front of my under dress so I could be able to tell it from the back 🙂  See picture below.
100_1295B5522

PATTERNS:  The dress was made using a modern pattern Butterick #5522, year 2010.  The under dress is more authentic, as I used a Past Pattern No. 501, “Ladies and Misses 1920’s Combination Undergarment”.  I used this Past Pattern No. 501 once before to make these tap pants.

TIME TO COMPLETE:  For both the lace dress and the dress underneath, it took me about 5 hours or less to complete.  Both were finished by August 13, 2013.

THE INSIDES:  The side seams of the lace dress are in French seams, and the neckline is bound in a bias faced lace band.  The under dress is also entirely in French seams (excepting hems, of course).

TOTAL COST:  My interlock knit for the under dress was in my stash for so long, let’s consider it free – and a relief at that to find a use for it, finally!  The lace was bought from Hancock Fabrics for about 80 cents a yard. (Yes, you read that price right…cheap, huh?)  So my total was $4.00.

At first, I had a very hard time deciding what color and length the under dress shouldFrench-chiffon&lace-dress-c_1923-from-the-Vintage-Textile-archives become to make the certain ‘look’ I wanted.  Originally, I was inspired to make this lace 20’s project because of ‘The Historical Fortnightly 2013’ challenge sponsored by Leimomi “The Dreamstress”.  She had a “White” challenge (#15) in the summer, and then she was having a “Green” challenge (#21) later on in October.  I did try out a long white under dress, which I made using the same pattern as for the lace dress, but it made me seem like I was in a bridal outfit.  For some reason, Leimomi’s two challenges appealed to me together, especially when she posted an inspiration “Green” garment like this one at right, dating to 1923.  The final inspiration which helped me decide on going with my mint green color was, ironically, an outfit from a Rose's lace and green day dress combodecade older – a costume dress worn by the character Rose in the 1997 movie “Titanic”.  Thus, my dress is long and skinny, sort of like the “hobble skirt” fashion of the 1910 era, while still having the straight, no-waist, sleeveless style of the early 20’s.  I get the best of both decades with my short 1920’s combination under dress and my coral colored accessories (vintage scarf as a belt and my over-sized hat), just like Rose from “Titanic”.

Just to clarify my use of the term tea gown, I would like to reference to two blog posts from Leimomi “The Dreamstress”.  According to her terminology post (link here) my gown should technically not be called a tea gown.  However, reading the characteristics of tea gowns makes it more of a perfect sense thing to apply that title to this lace creation of mine.  Except for the “wrapper-style” category, my dress outfit certainly has ‘gorgeous materials’, a ‘dress that gets worn over an under-dress’, and an ‘ease of entry’ dressing method.  The ‘slip-on’ feature, to be worn without a constricting corset, of a tea gown is what designates it for the afternoons.  Leimomi’s “Rate the Dress” post from here also mentions the extra fact of the pastel colors of many tea gowns.  If I can check off most all the boxes in the tea gown category, when it comes to my lace dress ensemble, I am confident in using it in my title.  I’ve made another new type of historical garment!

100_1789     I really loved making the under dress.  The first time I made this pattern #501 from Past 100_1794Patterns (when I made tap pants from it), I had the feeling I was going to love this pattern in general, and, boy was I right.  The sizing is perfect – what size seems to be your size will be your right size when it is made.  All the pieces that I have made from the pattern sew together quickly and easily.  It is much appreciated how my under dress turned out so decent, covering up my lingerie straps.  The only tiny alteration to the slip dress was to make two small tucks under the armpits at the top of the bodice.  Those tucks bring in the bodice to fit the bust just a bit better, only remember this would not be possible in a woven material.

Using up my small remnant of lace to mark the front really made my day, as well.  I love to be able to find a way to find a useful purpose for every small bit of what I have on hand!  The little bit of lace also seems to connect the under dress with the over dress, in a ‘themed’ sort-of-way.

For my lace over dress, I was actually experimenting with the fit of Butterick 5522.  Finding the perfect basic shift dress is a little challenging to find, and I wanted B5522 to be one of those “basics”.  Reading the finished garment measurements tipped me off to a perfect fit – this pattern runs very small.  I had to go up a size for everything.  I’ve only had to do this once before, for this dress, and then that was only because I was converting a stretch pattern to be made into a woven fabric.  Generally, I tend to make pattern sizes 8/10, but for B5522 I had to use a 12/14, otherwise it would have been a snug fit which is not the way the dress looks like on the envelope cover’s model.  Now that I know how the dress fits, I can’t wait to make the cover dress with those amazing sleeves.

100_1784     To make the most of my fabric, I folded the lace selvedges into the center of my 60″ lace fabric, so I could cut out the front and back out of only two yards.  The sleeve edges of the B5522 pattern were extended just a few inches so my dress would extend over my shoulders while still being sleeveless.  B5522 doesn’t call for a bias faced neckline – I added this feature because it is always such a clean and professional method of edge finishing.  Two long strips were cut out of my lace, so I could double up the neckline facing.  Lace is so thin and I needed a stable neckline to support the rest of my dress and create a shapely frame for my face.  However, I really didn’t like the open, oval neckline that I ended up with – it is a nice neckline but it did not look at all good on my lace dress.  I was tempted to create a square neckline, but, in the end, I stitched two rows of loose stitches down the center so as to pull the neck into a gathered V-neck (see picture).

In the close-up picture above, you can see in detail how my lace is a really interesting mix of shapes and designs, all put together in a sort of geometric crazy quilt method.  I know my lace isn’t authentic, but all those geometric shapes (mostly hexagons and parallelograms) are the base ideas behind the Art Deco movement of the 20’s and 30’s.  As if I didn’t have enough lace, I also wore my vintage crocheted lace gloves with my outfit…they have geometric shapes on them, too!

100_1785100_1788     I could see having my dress a long, ankle length, being a bit too much, so I wanted to find some way of adding interest and shortening the hem, if only temporarily.  My Hubby came up with the idea of a kind of tie that could pull up/gather the bottom of the dress hem.  I took his great idea just a bit further by making the hem ties out of small 12 inch cuts of random leftover lace trim pieces from my stash.  There are two hem ties: one at 15 inches above the hem, and another at 29 inches above the hem.  Both ties are on the left side.  In the pictures at left and above, you can see my dress gathered up from the lowest level lace tie.  You can almost see the center back seam in the left picture.  My preference would have been to eliminate that center back seam, but it is needed because the two back pieces are shaped nicely and cannot be put on the fold.

I truly feel very cool and comfy buy oh-so-pretty in this early 1920’s inspired ensemble.  It has a different style that is a slight departure from the classic “flapper” ideal, but still apparently vintage, while also being fresh and modern.  That’s a lot for a dress!  Whenever I wear this outfit, it always seems to garner compliments, then astonishment, when I briefly explain how it was easy, simple, and cheap.  More women need to make a dress like this for themselves…it is perfect for all skill levels and is absolutely wonderful to wear.  What could be more fail proof than that?!

100_1775     The luxurious public garden where we took these pictures couldn’t help but remind me of the backdrop of a work of art.  I felt like I was in a perfect dream world, or maybe just coming to life out of a painting by James Tissot, where there are plenty of details and interesting settings.  Please visit my Flickr page, at Seam Racer, for more close-ups and great pictures loaded soon of my lace 20’s outfit at the garden.

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