“Cross My Heart” Agent Carter Dress Re-fashion

The Marvel Comics heroine Peggy Carter deserved to have more luck in love than heartbreaks, but either way the people she cared for were a major driving force behind her life.  Perhaps no other dress so blatantly shows Peggy’s ups and downs in love with such a fashionable, classy, yet visible way as Season Two’s “Better Angels” (episode 3) frock that I recreated for myself.  I know this is sort of weird to feature such subjects of grief intertwined with affection now that the holiday of love and friendship is here.  However, matters of the heart are powerful things and I can’t think of a stronger (if imaginary) woman than Peggy Carter.  My dress does have a rich, bright red and is elegantly perfect for a night out.  So, happy heart day to all of you and those who are part of your life!

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A quite plain and slightly ill-fitting knit dress had been in my wardrobe hanging unworn for the last few years.  Slackers gathering dust and taking up space are not to be tolerated – we do not have the room for useless items!  It was high time for it to give me a reason for it to stay, and I figured it was basic enough for a re-fashion as it was still in good condition.  I realized it was in a lovely rich navy, one of the colors Peggy wears the most frequently, especially paired with red for a patriotic nod to her dearest Captain America.  The original dress also happened to remind me of a silhouette which would be something I could picture on Agent Carter – body hugging with a lovely bias flared skirt.  Thus, it occurred to me to attempt to make one her bolder garments I’ve long admired, as I had a short cut to easily make something I wasn’t willing to take the time to make from scratch!  Besides…I found a better fit and lovely re-use for something that I wasn’t wearing and enjoying otherwise!  I feel like this one of my best, easiest, and most fun of all my re-fashions so far.

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THE FACTS:

FABRIC:  a 100% cotton knit “Land’s End” dress bought about 10 years back with the added bright end panels and contrast being a 100% polyester interlock bought at JoAnn’s Fabric Store

PATTERN:  None!  All personal drafting  

NOTIONS:  All I needed was thread, and I had that…

TIME TO COMPLETE:  This was so quick to make it felt almost too good to believe!  It was made in two evenings for a total time of 8 hours.  I was finished on November 17, 2016.

THE INSIDES:  The original dress had overlocked seams, which I kept, but the rest of the new seams did not unravel so I left them raw.dsc_0611a-compw

TOTAL COST:  maybe $10 at the most

On a night out together, a girl friend of mine helped me pick the contrast fabric for my re-fashion.  She couldn’t have chosen better!  My navy dress is a matte finish cotton, so together we figured I needed a knit (of course) which had a lovely satin shine for a smartly contrasting perk.  Both of us decided the bright red (which I would never ever wear alone) was the right tone over the deeper shades.  I bought way more than I ended up needing in the end, so I plan on convincing hubby he would wear a shirt I might make for him out of this interlock.  We’ll see what I end up really doing with the leftover red knit.

First of all, the original dress’ fitting problems were the odd placements of both the waistline and the sleeve hems.  The waist was too low to be an empire, yet too high for a natural middle placement, while the sleeves were like a slightly short bracelet length with a bulky, fake button placket keeping them unnaturally below my elbow.  The sleeve fix was easy – I shortened them above the button placket to hem them so they fall above my elbow.  My re-fashion plans also fixed the waistline problem perfectly and immediately by adding in the belt-like panel.  It brought the skirt to fall at the natural waistline and connected perfectly with the weird empire seam of the bodice.  The new red arched front belt-like panel is double fabric layered for stability and top-stitched onto the blue dress.  There is one center back seam to the belt as I designed it.

1940s-dress-w-green-panel-side-pin-fm-augusta-auctions-junior-house-cotton-40s-skirtThe skirt portion was the best part.  Drawing the curve of the red swirl panels was so fun!  I might have gotten just a bit carried away and added more of an arch to the panels than Peggy’s original dress.  My dress panels go from the front right side’s off-center over to the left side seam, while Peggy’s dress has panels that go a straighter down with a slight curve to one side.  I believe my dress panels’ sharp angles are the main reason for the slightly weird wrinkling going on with the red parts, combined with the fact I cut the insert sections on the bias and sewed them in as a double layers of fabric.  However the “faults”, I so love the red swirls on the skirt portion!  They make my dress have such movement when I walk I feel so elegant – static pictures do not do this dress justice.  I have been able to find only a few extant original vintage garments which have a similar bias, color contrast, swirled panels.  The ones I have found have been from the 1940’s but, to me (going with my gut), this dress appears to have a strong late 30’s influence, especially with my 30’s re-make Aerosoles strap heels.  Needless to say I’m a big fan of this fashion detail.dsc_0086a-compw

The toughest parts to this re-fashion was adding on the red interest strips that give the continuous crossed-heart all the way around the bodice.  The fabric is so silky it was hard to pin into a defined, consistent band.  Bias strips of the interlock resisted being ironed into a single fold shape, and I couldn’t use a hot iron, either.  I just had to pin like crazy and do a butt-load of eye-balling in between measuring to check the placement.  The dress was hung up at this step and I would look and look at the bands ‘til I was cross-eyed and I knew I just had to stitch them down soon or I’d never wear it.  I’m still not sure the bands are as precise as I’d like but – hey, if only I would notice any ‘imperfections’ that’s totally good enough!

The bodice bands are continuous around but pieced to apply. I started at the center back above the red waistband and went all the way to the opposite shoulder for each side.  Then, the back neckline band is another continuous piece from shoulder to shoulder.  I probably could have done better had I done hand stitching to the bands, but this re-fashion was not meant to take too long in time so I merely did machine stitching (which was another frustration in itself).

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By time the bands were sewn on, the dress became a bit of a challenge to wiggle into for dressing.  With all the top stitching visible and the looser cotton knit, my dress needed to look dressy as well as keep its shape so I used small straight stitching.  The ease of dressing was something I was willing to give in on for the nice stitching and assurance of stability for many wearings (and washings) to come.  Adding in a zipper was not an option here.  After all, most vintage garments are a circus trick to get into anyway…I’m used to it by now, just so long as I don’t pop any seams.

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I know my dress is not a carbon copy and I want it that way.  The original dress as designed by Gigi Melton is (I believe) wool crepe, with petal sleeves, low V-neckline as well as a bottom hem red band to differentiate itself from my own version.  I greatly respect the ingenuity of Gigi Melton to find so many lovely 30’s and 40’s inspired ways for Peggy to wear her classic colors of red and navy!

There are other bloggers who have done a symbolical low-down of my specific Agent Carter inspiration dress, so I’ll defer to “Hard Boiled Meggs” if you want more of that, and please do visit if you’ve seen Season Two.  Here’s a link to Megg’s specific post about Episode 3 (the one in which my inspiration dress can be seen), but her post on Episode 2 and Episode 9 further explain the crossing over her heart.  Here’s an official photo gallery to see more from the source of some of the screen shots I shared.

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My photo backdrop is meant to mirror the sumptuous, curious, and spacious setting of the Stark mansion where Season Two saw much of Agent Carter’s time.  We went on a visit to the Samuel Cupples Mansion on the grounds of Saint Louis University.  This historic home is the epitome of luxuriousness which its remarkable amount of fireplaces – 22 spread out over a total of 42 rooms and three floors!  This place now serves as a gallery for SLU’s collection of fine and decorative art dating from before 1919.  The ample space inside made it challenging to have the right light so the colors look a bit different in each of our photos.

This dress reminds me of so much.  Firstly, it reminds me of how one can be vintage without going hard-core by taking a mere feeling, an inspiration, or even a silhouette and blending it with what’s out there today for a mainstream form of the past that is beautifully unique.  On a more personal level, by jogging to mind Peggy Carter, this dress further reminds me to enjoy and appreciate every minute of the time spent with the people in my life.  Taking time for someone is a priceless gift that goes both ways, and Valentine’s Day isn’t the only day for doing sweet things.  Cross my heart – take my word for it.

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Bloody Blitzkrieg Dress

“We have to move on – all of us.”  – Peggy Carter, in Season 1, episode “Valediction”

Starting off a whole new year always can be a basketful of emotion – including forethought and contemplative hindsight…and new, calculating, resolutions which may or may not result from the previous two.  Whether you are upbeat or downbeat, I’m letting some of Peggy (of Marvel’s “Agent Carter” fame) inspire me with a dress she had on while uttering her best, most inspirational quotes.  I’m including one especially in my mottos to remember for the New Year as I wear a sewn “Agent Carter” look-alike 1940s burgundy wool dress with Peggy’s trademark floral pearl earrings (also self-made).

Just busy doing filing work at the S.S.R. office…

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“I know my value…” is perhaps the best line Peggy is known by from Season one.  This is a short, to the point one-liner which needs some potent self-confidence to pronounce properly.  Knowing one’s own self-worth and humbly but proudly believing in it is invaluable.  Hmmm…sewing for oneself also provides a healthy dose of self-assurance (from both the creative “high” and the new dress excitement).  Thus, here’s a newly made, awesome Peggy Carter dress to help me not just “step in her shoes” but step into wearing her clothes!  It’s like understanding a character on the inside by starting on the outside.

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She needed to be authoritative to hold her own in the 40’s when it was primarily a man’s world, so for her undercover mission to “rescue” Steve’s (I mean, Captain America’s) blood in Season 1’s episode “The Blitzkrieg Button” she went with a strong rich sanguine colored dress.  The center of her chest is tightly held together yet pulled open, like her emotions, while the rest of the dress is simple and subdued with the vintage pearl buckle and earrings giving just enough class.  I adhered very closely to the inspiration dress designed by Gigi Melton, even using wool crepe, while still basing it off a mid-1940’s vintage pattern (with significant re-drafting and re-sizing).

THE FACTS:simplicity-1016-yr-1944-wiki-pic

FABRIC:   2 yards of 100% wool crepe with burgundy Kona 100% cotton to line the dress bodice

PATTERN:  Simplicity #1016, year 1944.  My copy is actually a Juniors’ half-size 12 pattern that I bought for cheap because of its size and because it was missing pieces.

NOTIONS:  I had everything I needed on hand already from awhile back, all I needed halfway through was an extra spool of thread and a zipper.  The buckle is vintage carved shell.  The flower backs that are put between my ear and the pearl of my earring are simply buttons (LaMode style #46455).

dsc_0998pa-compw-peggyTIME TO COMPLETE:  This dress took me at least 20 hours (I stopped counting after that) over the course of a week and a half (much longer than my ‘normal’ time spent on a dress).  It was finally finished on January 11, 2016.

THE INSIDES:  I started off with good intentions, so all the skirt seams are French.  Then, I realized this project was involved, so I went to bias bound seams for all the main edges (side seams).  The armholes are left raw…just wanted it done enough to wear when the end was in sight!

TOTAL COST:  The wool was bought on clearance for dirt cheap when there was a Hancock Fabrics store closing in 2015.  I believe the fabric was two or three dollars a yard – insane, right!!!  This is why I got about 5 yards…enough for a dress and a vintage coat (to be made yet).  The lining for the bodice was a remnant bought at Jo Ann’s Fabric for only 4 dollars.  So I suppose my dress came to a total of about $10 with everything, notions included.

First off, making this dress was a beastly affair, one that I wrestled with insensibly for being such a basic shape.  This was a hard way for me to start off my new year of sewing.  The pins keeping it together scratched me mercilessly, the seams of the lined portions were too thick, the dress kept falling off my machine into a dusty corner of the basement, and almost every dart had to be adjusted and taken in many times post-completion.  This isn’t counting the unpicking (which I absolutely hate doing) plus the few times each day (between working on it) that the dress needed to be tried on just to see if my adjustments did the trick.  In all, it gave me trouble in every which way…all except for the neckline, which was the trickiest part as well as being the self-drafted part, and it turned out great.  It figures.  You know, I can take a difficult project, or even a challenging one, but one that refuses to co-operate no matter what I do is almost more than I can handle.  No kidding, sometimes fabric can seem to have its own mind.  Weird, huh?

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The wool crepe itself was great to work with, wonderfully smooth, free of itchiness, and flowing.  I know, bad me – a 40’s dress out of such a fine fabric would probably not be seen in the real WWII times unless you had a stash or saved up bunches from rationing in other departments of life.  However, it was the perfect color match to Agent Carter’s original dress, besides being something I both had plenty of on hand and never sewn with before.  All this is aside of the practical fact it is both soft and warm, perfect for the near freezing winter we’ve been having so far.

It was very serendipitous for me to have found several points of reference to go on helping me draft, make, and base my dress on authentic history.  Even finding these attributes were part of the reason I decided to go ahead and make this dress (which had been on the “back burner” of my mind since Season 1 in 2015).  I figured I had enough help and ideas to go on and another Agent Carter dress is always a good thing for me to have – so why not?!  Please visit my Pinterest board of inspiration for this dress to see the patterns and pictures that motivated me.

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Hey, Peggy’s dress and my own even wrinkle the same way…

This dress might not be “up there” as one of my awesome creations, but to me it has all the best that the 1940s has to offer for modern wearing.  It has simplicity of style enough (especially the back view) to be classic and not too obviously vintage, like some 30’s or 20’s fashions.  It also has practicality with the sneaky low-key pockets, ease of movement front pleats, basic short sleeves, and high neck for both warmth and demureness.  Yet, there is a subtle alluring factor keeping the dress so feminine – the low slashed front opening with interesting pleating.  I think the floral of the earrings and the pearl of them and the buckle breaks things up (besides dressing things up) just enough, with the rich deep color and different finish of the fabric lending a richness.  Not meaning to toot my own horn here too much, but, hey – I guess it shows how much I really like this dress!  All that effort was worth it for me to end up with something like this.

dsc_0991a-compwAs the base for my dress, I was looking for a very basic mid-WWII pattern with a high neck that had a tie.  I found it in Simplicity #1016 and my first step was to trace out a copy on sheer medical paper then hack, resize and adapt it.  Being a teen size, I added a swath of horizontal 2 inches above the bust, under the chest, right at the level of the bottom of the armhole to bring the bust, waist, and hips down to the right proportions.  This sort of adjustment has always worked before when I’ve re-sized Juniors’ patterns from the 60’s and 70’s, and it worked this time for the 40’s too!  Then I added in an overall 4 inches to be on the safe side since it was for a tiny size.  As I was working with a copy, I had leeway to add in the inches properly, vertically across in increments and not just on the center or on the side seams.  I believe my problems with fitting came merely from the pattern running large and me not completely accounting for the extra room coming from the front details.  The junior-to-adult change was right on.

dsc_0960a-compwFinally, I re-drafted to add in the pleats.  The inspiration dress had ties pulling the chest opening open, sort of like ties on curtains, but I wanted something sewn in place to give the same immovable illusion so I drafted slanted, sun-ray-style, open pleats underneath.  I had done similar pleats when I made my 1940s dance dress, Simplicity #1587 (posted here), in a different direction but I just studied how it was drafted and turned it around (like figuring out a puzzle piece) to see how it would work in a different angle.  Then I chose how wide I wanted the darts, how far apart, and how long then slashed and taped accordingly.  Looking at the envelope backs of my inspiration patterns also helped justify that I was on the right track.  When it finally came to stitching the front bodice together, it was an awesome moment when I realized that not only did my drafting work but sewing is like working on a flat plane yet seeing through it to create in 3-D.  Sewing is really so insanely awe-inspiring…some times more than others make me perceive so much.

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The neckline ties were still sewn on as the pattern originally planned, except I folded them in, tacked them down, then brought them back out from inside to form the band that seems to ‘pull back’ the pleats along the chest opening.  It was almost more hand sewing than I could handle invisibly stitching the tie strips in place arching upwards along the neckline.  The tie strips wrap around to end lapped over one another at the back neckline.

Agent Carter’s original dress has a full back zipper as the method of closure – seen in adsc_0995a-compw fleeting screen shot when she hangs up her coat in the S.S.R. office (on the episode “Blitzkrieg Button”).  Now, I hate to criticize full back zippers in 40’s dresses because I’ll confess to having sewn them in some of my own garments, besides the fact that the original dress by Gigi Melton is too lovely to find fault with.  However, with all the fine details to my dress (much hand sewing, wool crepe fabric, etc.), I wanted to go all out authentic 40’s and have only the side zipper in conjunction with a working front closure in the neckline details.  Ugh, was it tough to figure but there is a hidden hook-and-eye where the neckline meets.

Now, besides the front neckline, I also changed up the pattern a bit more by eliminating all the small gathers and sewing darts in the same place instead, both above and below at the waist in the skirt and in the bodice.  This smoothes out the silhouette and makes it simple and unfussy, like Agent Carter’s dress.  This was not a problem anywhere else but in the skirt front.  I made darts at first, but after the rest of the dress was done, I went and made two knife pleats in the front instead.  These type of pleats in the front of skirts and dresses were used more in the early 40’s before rationing started being enforced, but these are only two in number and not very deep so these are a plausible effect to a 1944 design – the pleats also compliment the neckline!

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At first, I considered leaving out the pockets, but they are discreetly unnoticeable on this dress and always so handy!  They were sewn as if in a really basic welt pocket method and yet sort of like a facing – right sides together, sewn in a small loop, slashed and turned in to the wrong side.  Then half of the entire pocket was sewn to itself and turned towards the middle.  Easy!  I’ve never seen pockets like this yet.  They’re not hidden by some clever trick or made to look like part of the design, just basic and practical.  I love the 1940s!

What I don’t love about the 40s is the harsh facts of the bloodier side to the decade, like the Blitz that the dress I made is remotely associated with.  England endured the Blitz admirably.  Germany, late in the Blitz, began to start dropping some its very successful heavy high explosive bombs, showing their aptitude for forward thinking inventions.  Both sides came after each other hard with the best of what they had – and sadly many people suffered in between.  Peggy’s dress and my blog title is not trying to be flippant about the blitz or England.  On the contrary – just as what happens in Peggy’s ‘life’ when she wears this dress, much of history is sad, powerful, and full of emotion but good nevertheless to learn of and re-visit at times.  Fashion is intertwined with history…the combo of a dress just as strong as the woman who wears it can do big things.

dsc_0972a-compwEvery woman could do with a little bit o’ Peggy in their life – it’s lovely.  I’m going to miss not having a Season 3 of “Agent Carter” this 2017.  She might not be relevant for this year but her message and persona is always appropriate.  We need non-super-power, down to earth, heroes like Peggy, onescreen-shot-close-up-in-bedroom-comp who can help you with her own attitude and outlook not just someone up on a pedestal, unattainable.

“I know my value…anyone else’s opinion really doesn’t matter.”  It was an attitude like this that got Britain through the awful Blitzkrieg.  It is always important and supremely empowering to believe with Peggy you do not need the world’s support to see yourself as awesome and capable.  Thank you, Agent Carter, for the reminder.

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“Hollywood Ending” – Peggy’s Cut-Out Neckline Dress

The last scene of the last season of Marvel’s television show “Agent Carter” could not have went out with more of a bang when she wears a stunning mid-40’s dress of contrasting colors and pie-sliced neckline cut-outs.  Here is my version!  Where else but in the decade of the 1940’s will you find such unusual features, in a dress which is a mix of both fancy and casual, like this!

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Cut outs seem to be all the rage everywhere I look this year so far, and I’d like to think this is due to the last dress we see Captain America’s girl wearing in her own series.  So why not (as I thought) just go along with things courtesy of that awesome, indomitable Peggy Carter – a woman ahead of her time in many ways.  Now I can not only be fashionable in modern day but also back in 1946!

a-hollywood-ending-wiki-gallery-1cropThis is the one of the more difficult vintage patterns I have come across, and also I think one of the most dramatic and highly detailed of the ones that I own.  Leave it to me to only make this more difficult in an effort to be more like Peggy Carter.  I made all the contrast bias tape for the belt, sleeves, neckline and cut-outs, with way too much unpicking to get the top-stitching right.  Whatever!  This dress deserved all the attention it received at my sewing table to even get close to a “Hollywood Ending”.

THE FACTS:

FABRIC:  Two different colors of the all American-made 100% cotton sold at JoAnn’s Fabric.  The one is a deep navy which has a hint of turquoise (so I think) and the other is a baby blue color leftover from making my other Agent Carter project, a hybrid 1940’s style blouse.

PATTERN:  McCall #6728, year 1946mccall-6728-year-1946-envelope-front-comp-w

NOTIONS:  Well, I did need to go out and buy a special ¼ inch bias tape Dritz notion to make my own tiny single fold custom binding from the blue fabric.  Other than that I had all the thread, seam tape, bias tape, shoulder pads, and the zipper I needed. 

TIME TO COMPLETE:  My dress was done on August 8, 2016, after maybe 25 plus hours spent on it.

THE INSIDES:  All cleanly finished off in either French seams or bias tape.

TOTAL COST:  Not much for what I think it looks…less than $15.

Gigi Melton, the designer of the original “Agent Carter” wardrobe as seen on the show, now commands my great respect after making my own attempt to both replicate Peggy’s dress and stay historically authentic by using an old pattern.  She also deserves the credit for my inspiration.  Sewing this baby up was hard!  I have not come across many sewing project which so completely challenge me, even drain me, like this dress did.  Therefore, I am so very proud of this project, and I feel like a million in it!  Gigi Melton did indeed make a seriously complex, yet lovely version of a post-war dress for Peggy (actress Hayley Atwell) – it very much deserves to be part of the current FIDM exhibit of “The Outstanding Art of Television Costume Design”!

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I know my version is slightly different when you get down to nitty gritty details, such as the sleeves and skirt front.  I could have made an exact copy, and considered it, too, but Gigi Melton deserves to keep the privilege of having her original stay one-of-a-kind…and besides I personally adore the details of the old original pattern I used.  Originally, I fully intended on making my version in a different color scheme, with blue contrast but brown overall.  When I found the exact blue-slightly turquoise deep navy cotton in my face at the fabric store, I couldn’t resist going with the same color scheme.

What I find interesting is that season two of Agent Carter is supposed to have taken place in 1947, but my dress is dated to 1946, as are many other similar neckline cut-out dresses from the 40’s that I’ve seen.  See my Pinterest board here for other related vintage cut-out neckline ladies’ garment patterns that I have come across.  Burda Style has recently released a few patterns which have features which are so reminiscent of this 1946 Agent Carter dress, such as the “Cutout dress, No. 112, 06/2016”, or “Open-Back Jumpsuit, No. 112 A, 04/2016”, the “Fancy Pocket Dress, No. 104 B, 10/2016”, and even “Long Sleeve Jumpsuit, No. 107, 10/2016“.

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Cut-outs are such a demure but appealing touch which instantly glams up a garment and turns it into something eye-catching and unique.  It’s also like getting to wear a high neckline without really having one…cut-outs keep skin in eye sight.  Outlining the cut-outs is a very bold touch that I would never on my own have thought could have worked so well, at least visually.  I can almost picture how the original dress has its contrast applied, but then I can’t imagine my attempt turning out that professionally.  My method was to have the neckline cut-out facing to be in the light baby blue with the tiny bias tape top-stitched along the very, very edge.  Many times I either gave myself a crick in the neck for leaning into the stitching (intense sewing sucks me in) or I would fall off the furthest edge (like walking a balance beam) while top-stitching the tiny bias tape.  Am I nuts or what?  I’ll do what I takes to be happy with something I sew, and that is frequently a hard order!

dsc_0155a-compwNow the pattern was technically not hard, just finely detailed work, in my opinion.  I also think its instructions are both well laid out and the method it is made ingeniously designed.  The top edges of the neckline cutouts get matched up with corresponding notches in the tiny bias strip which becomes the contrast neckline.  This way I knew how wide the tops of the opening needed to be.  However, the skirt front with its shirring and wing pockets is mostly the part of the design that I enjoy the way it gets made.  The skirt details were what mystified me about the pattern from the first I saw of it – how do the gather stay so nice and the pockets drape out?  The secret is an inner panel that fills in over the belly between the pockets.  By bringing together the pockets from inside, all the details of the skirt front are kept unstretched, the shirring gets a layer to anchor to, and the oversized pocket edges (stiffened with seam tape) then flare out.

This dress is the first time I’ve come across several different features, most of which I’ve already mentioned except for the sleeves.  I know they are out there, but this is the first kimono style with a full sleeve that I’ve seen in the decade of the 40’s.  I usually have a hard time keeping the inner curve of my kimono sleeves from wrinkling and bunching, even with precautions like snipping and such, but these sleeves turned out great.  Tacked inside are giant ½ inch thick shoulder pads to help define the shoulders, sculpt the silhouette, and give the impression of a defined sleeve seam.  I find it so curious that such bulky shoulder pads work so well and look so good with 40’s styles – maybe it’s just that I have the body type that (I think) can handle over-exaggeration of the shoulders which the 40’s does best.

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Now my belt was entirely self-drafted, and it merely two strips of fabric with a layer of “Stitch Witchery” bonding web ironed in between for a stable, one-piece of material.  Then the bias binding was sewn over the edge and the closure added.  Now, Peggy’s original dress as designed by Gigi Melton had as its closure a black buckle in what looks like leather.  I was inclined to use Vogue #9222, view B, since it looks like a carbon copy of Gigi Melton’s design (lacking the lacing over the edges, of course).  However, again, I went with my taste but still stayed a bit true to the original by having no buckle.  My belt has a ½ inch bias strip sewn to the inner center of one rounded edge, then about ¾ inch space away the other rounded end of the belt latches onto a sliding, waistband-style hook-and-eye.

I usually love making my own bias tape (no irony, really I do), but tiny ¼ inch single fold bias tape was living hell.  My hands received some very painful injuries from the steam of the iron and every seam line only made the folding even harder.  It wasn’t the tool – the Dritz tool worked great.  It’s just that the smaller the scale the more difficulty.  So my lesson was learned never do this scale bias tape again…until my next “very good reason” to suck up and make it again!  The finished look of some custom made bias tape is so worth whatever extra bother goes along.dsc_0118a-compw

Check out my shoes – they are so “mathy-matchy” I am a little embarrassed at myself and proud at the same time.  They are “Kimmy” ankle strap pumps by “Chase and Chloe” in light blue to match the contrast color in my dress.  These shoes are not leather and not that comfy for long periods of wear, but they were on sale for so cheap, have a vintage flair, and they have the same triangular cut-outs as my dress!  They are not what Peggy wore with her outfit, but hey, this outfit is for me to wear.  How could I resist the call of the perfect pair of shoes?  I rarely can…

Our background settings for these pictures are two of the historical theatres in our town.  season-two-hollywood-endingThis was meant to match with the “Hollywood Ending” in Agent Carter’s television show.  Jarvis drops Peggy off in front of the SSR’s “cover” shop front of a theatrical agency, catty-corner to an old movie theatre.  If you notice, our one picture of me has the dual masks of comedy and tragedy over behind me – a subtle hint to Peggy Carter’s nemesis Whitney Frost, a.k.a. “Madame Mask”.  The theatre with the masks on the front entrance box office box is the “Tivoli” theatre, built in 1924.  Here we were not able to take pictures anywhere other than outside.

However, the theatre in most of our pictures is from 1922, the “Hi-Pointe” theatre, the oldest and the only one built for showing movie films – not vaudeville acts like the Tivoli’s use – and done so continuously since its opening.   The Hi-Pointe theatre technically has won awards as having the best urinals in town (not that I would know), but – no really – I love the simplistic Art Deco Look of the front ticket office box with its streamlined metal sheeting.  The head employee so kind and helpful to let us explore inside and even pull the curtains and turn on the spotlights so I could have the picture perfect “Hollywood Ending” shot!  That’s all, folks!  Cue the happy finale…

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Hey! I’m featured over on “PopWrapped” for my “Agent Carter”fashion

In honor of the final episode of the Marvel television series “Agent Carter”, the site “PopWrapped” gave the show and it’s staunch followers some of the parting fanfare it so well deserves, called “Agent Carter’s Closet: The Fans And The Power Of Peggy Carter”.  I was happily featured on the “Fan Tribute” as well as over 40 others.  I’m tickled!  Go see the page for yourself here (follow this link) and be prepared to be amazed by the stories and the people.

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Peggy and her friends on the show have inspired others to sew, to find themselves in vintage fashion, to feel empathy with the characters to help them in their real lives, or even to find a way to stand tall.  Here some extra pictures from our photo shoot of my classic Peggy blue suit set.

DSC_0037a-compDSC_0044a-compHere I’m wearing my 1944 “Hollywood” scalloped blouse, an old store bought straight skirt, and a modern jacket which I refashioned into a convincing 40’s style.  The hat and my shoes are both from Target.  Not perfectly accurate, but the outfit feels comfy yet on point with Peggy’s headliner style.

One major question I would like to throw out for everyone is why does she wear so many A-line and pencil skirt styles for the series?  The 40’s did have such skirt styles (A-line and straight), they were just less common. The way Peggy wears them so much you’d think they were typical..not meaning to nit pick, just giving a ‘historical standpoint’ view.

McCall 6278, year 1946, envelope front-comp By the way did anyone else happen to be in some sort of Season Two - cropped pic of Peggy's 'trio of triangular cut outs' dress“dress envy” with me at Peggy’s last outfit before the show ended?  It was such a statement dress and looked so smoking awesome.  Peggy’s dress just so happens to be so very, very similar to an old pattern in my collection, McCall #6278 from year 1946.  I already had a different idea of how I was going to make a dress from this pattern, but now I’m thoroughly tempted to make one just like Peggy’s dress from the show.  It would be easy, after all with such a similar pattern design…but I might stick to my own idea.

By the way, look for some look alike “Agent Carter” outfits coming to my blog in the next few months.  I’m most excited about recreating one specific dress from “Madame Mask”, aka Whitney Frost’s wardrobe.  This includes late 40’s and early 50’s goodness.  Do you like this period of fashion, or do you not know much about it?

My “Agent Carter” Pinstriped Shirtdress

This project is my 1940’s “power dress” – a vintage classic that manifests the taking on of men’s roles which women assumed during World War II. This dress is also directly inspired from an outfit worn by Peggy during the Marvel television series “Agent Carter”, “The Iron Ceiling”, Season 1, Episode 5, aired on February 3, 2015. It is also part two to my previous post, part one, about the matching rayon under slip, also worn with the same inspiration dress in the same airing episode.Peggys pinstripe shirtdress-combo pic

However business-like this 1940’s “power dress” is, it’s also extremely comfortable in pure cotton shirting and plenty ease of movement, yet classy with fine tailored details. I love such tastefully beautiful garments which really have it all going for them! Do you have a favorite garment which you enjoyed sewing and absolutely love wearing, like me with this dress?

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THE FACTS:

FABRIC:  My dress is made from a 100% cotton shirting fabric. The fabric is not the over-wrinkly…it has a nice soft crispness that takes to an ironing really well and yet feel wonderful on the skin and gets softer after each wash. It is in a pastel baby blue color with thin double pinstripes in white.

NOTIONS:  I had the thread and interfacing I needed on hand already, but I bought the zipper for the side. The three front buttons came from hubby’s Grandmother’s stash of vintage buttons. I’m not sure how vintage the buttons are, but they seem quite old. The buttons are in a different, very lightweight material, in kind of a marbled dusty blue and grey color, with a raised square in the middle.

PATTERN:  Simplicity 1526, an unprinted pattern from the year 1945

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TIME TO COMPLETE:  My dress was finished on April 21, 2015, after maybe 15 to 20 hours of sewing pleasure.100_5046-comp

THE INSIDES:  Just how I like them! I took the extra time to make fine finishes and this dress is worth it. All seams, except the hems of course, are bias bound with a few French seams. The rest of the seams all around the collar and back shoulder panel are covered by an extra panel I added to stabilize and enclose those seams.

TOTAL COST:  Well, I got lucky here. The regular price of the fabric was (I believe) about $10 a yard, but I bought it on sale for only $2.25 a yard. I bought about 2 ½ yards of 45 inch width fabric so, with the added zipper, I suppose I spent a total of just under $7.00. Nice!

My outer envelope to my pattern has some significant water damage, musty smells, and silverfish bug chews, but this time around there was more than just pattern pieces…there was a treasure inside this unassuming package. The previous user or perhaps the previous owner (maybe both were in one) left her personal measurements on the back of a very old blank check. The front of the check has a finely detailed line drawing of the Commercial National Bank of Charlotte, North Carolina in the background (the exact building is now torn down). The measurements are so much larger than the size of the pattern, if the woman who had those proportions made this copy (and I can tell it was used at some point), it would have taken some impressive grading to make a garment to fit her.

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There is and address at the bottom list of the measurements, “1234 Pinecrest Avenue, Charlotte”. According to what I see on Google Maps this is a real address, and Zillow says the home there was built in year 1939. Public records show the home was sold in 2002, and in 2012, and this is significant because I bought this pattern in 2012/2013 from an online shop when I was just getting into vintage sewing. I’m supposing 2012 was when the woman that owned this pattern is the same one who wrote the note inside; then in 2012 had her sewing collection sold, sending this pattern my way so I can rediscover it again. Somehow this makes me feel a wonderful connection to seamstresses through the past decades, in different parts of the world. The internet helps us connect across the world nowadays 🙂

I was dealing with some serious fabric shortage in yardage available – I bought the end of the bolt and was lucky to get what I did. However, I took several hours, spread out over two days, to layout the pattern pieces on the fabric, think about how to squeeze everything in while matching stripes, then notice a discrepancy only to re-arrange everything again and think some more. “Think twice, cut once” was my motto here, except I know thought much more than twice.

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In order to save on space layout and be more creative with the pattern, the back shoulder yoke was cut into two bias pieces so the stripes would chevron into the middle. In lieu of laying the piece on the fold like it should have been, I cut it out on the bias (as I said) in between everything else adding in a center seam allowance. Not mentioned in the instructions but needed in my opinion, I cut out an extra lining shoulder yoke to cover all the inside collar/shoulder yoke seams inside. The lining shoulder yoke is cut on the fold/straight grain so on a practical level it supports the fashion fabric, cut on the bias, from stretching out of shape. It’s a subtle touch that’s not obvious, but just noticeable enough so that it speaks of my extra time and thought. I don’t want my clothes to flag people down, just make (or inspire) them to want to put their own effort and interest in their own wardrobe by sewing too.

100_5032-compI learned how to do the slashed and gathered chest detail when I made my 1940 suit set (post here) but was determined to do better with a my cotton dress, a much lighter weight fabric. This is sure a neat but challenging technique to do…I like it! I sewed a small piece of cotton broadcloth down on top the right side and stitched down then slashed. The facing is turned inside and a loose gathering stitch is put “in the ditch” of the two fabrics only on the bottom half. The bottom is gathered evenly with the top, pulled in and lap stitched down.

OLYMPUS DIGITAL CAMERA Bound, or “window pane” buttonholes are in the trio of front closures. “Window pane” button holes are fun to make and much more striking when it comes to look but stable when it comes to support. It is a hard call, but every time I look at the buttons on this dress I want to say they are my favorite part. I love the way they are the perfect tint of blue without dominating the outfit, the way they have such details of design not found anymore, and especially the fact they come from the familial stash of notions.  Besides the family connections, there is the classic late WWII restriction amount of “no more than three buttons” as designated by the ration regulations, making this even more of a classic classy 40’s dress.

OLYMPUS DIGITAL CAMERAGoing with the menswear theme with this dress, I further altered the pattern by pleating the sleeve fullness into the cuffs rather than simply gathering it. I wasn’t really too precise with my pleating – they start roughly one inch away from the edge, and there are three dramatic ½ inch pleats on the cuff side facing up (where they can be seen better) and two small ¼ pleats on cuff’s underneath side. The smooth way the pleating at the cuffs extend up the rest of the sleeve in controlled gathers makes me determined to do this to more shirts and shirt dresses. Menswear is going so have the only market on pleated sleeve cuff goodness.

Actually this pattern had a few non-dire pieces missing easily replaceable, but the previous owner already took care of some of that for me. The belt was replaced with a different printed piece, the short sleeve was gone, and cuff piece was missing. I “made-do” by using another cuff piece from this blouse and added in the pointed end like the pattern shows. My cuffs are made for cuff links, as is the norm for my garments, but here I made a slight boo-boo which adds some humorous personality. There are two buttonholes on one side of one cuff! I simply miss-measured, putting the button hole too close to the edge, so I made a new one instead of unpicking a tightly made buttonhole. Un-picking stitching is one of my least favorite things to do, and when unpicking tight stitches like on a buttonhole you run the risk of leaving holes behind in your fabric. Yup…no matter how nicely my dress is made, you can tell a home seamstress made it when you look at the one cuff. I smile at it…and like it there.

Stitching down the box pleats fold edges helps immensely towards a crisp looking skirt that doesn’t need constant attention from the iron to be in place like it should. The front has two box pleats, but the back is plainer, in the classic 1940’s triple paneled style.

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I did end up adding in some thin shoulder pads to define the shoulders and fill in the bodice. They are modern newly bought shoulder pads and not as authentically accurate, but I really don’t want to look like a football player even though this dress is supposed to be a “power suit”.

My favorite way to wear my dress is with a belt which closely resembles how Peggy in Agent Carter wore the inspiration outfit. The wide, chunky utility style of my and Peggy’s belt is not as popular of an authentic 1940’s ‘look’, but the decade did love interesting, curiously designed waist cinchers. (See this pattern from my stash for belt designs to make yourself from 1945, as an example.) A tougher themed belt goes with Agent Carter’s personal situation and the mood I wanted with my dress. A woman in a man’s world in the 1940’s had to be strong, confident, self-assured of one’s own worth in order to stand shoulder-to-shoulder with the men who had the assumed supremacy of the culture.

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Blue has currently the designation of being a man’s color, but it was not always so…in fact, it used to be the exact opposite. There is a Mental Floss article which expounds the historical facts as to when pink started becoming a “girl” color. I love how a June 1918 article from the trade publication Earnshaw’s Infants’ Department said, “The generally accepted rule is pink for the boys, and blue for the girls. The reason is that pink, being a more decided and stronger color (derived from red), is more suitable for the boy, while blue, which is more delicate and dainty, is prettier for the girl”, taken directly from the Smithsonian.com. It wasn’t until World War II times that the gender specific colors of blue and pink changed applications, as also did the previous practical practice of gender neutral dressing for children under 7 (see this NPR article). Thus, I love the fact that my dress incorporates a little of all of the color/gender history of azure and rosy hues by it being a masculine styled, shapely woman’s suit dress in a cool, powerful, and assertive blue colored 1940’s garment.