Peggy’s Faux Bolero Dress

It was the day after that terrible, unexplained explosion at the Isodyne Energy Facility.  She was fighting through so much internally and externally – confusion, loss, blame, and a gut suspicion of a truth that she cannot prove.  At least she was the only one who had the humanity to get to know the missing scientist, no matter what his skin color.  Although she did not have the time to establish the connection she was inherently hoping for, she did understand him enough to mourn that he was only another senseless innocent in the long list of persons she seems to be the cause of their destruction.  Rightly or wrongly, those are her feelings.  Yet, the rest of the world around her only wanted the ‘facts’ about last night tied up in a nice little package, so that the truth for them was what they expected to hear.  SHE was the one needed by those in power to sign off for their lies – willingly or not was the threat.  What might our heroine wear for such a scene?  How can her fashion translate her strength showing through her weakness, her conviction to stand for veracity as the sole woman among a sea of lying, well-connected men?

Luckily, Peggy did have some true friends to turn to in such an hour.  Fortunately, also, the wonderful costume designer Gigi Melton has already come up with the perfect, amazing, and striking answer to a scene such as this, as well as other incidents just as powerful.

The heroine, Peggy Carter of the “Strategic Scientific Reserve”, dons the signature color of her female adversary – purple.  As someone who perennially wears blues, reds, and browns, she combines it with a new-to-her tone from the other end of the spectrum…green.  A professional looking faux two-piece outfit becomes a convenient one-piece dress.  Bold but sensible courage is manifested in Peggy’s fashion as well as character. Now, with my sewing capabilities, some fabric remnants, and an old pattern, I have my very own copy of Marvel’s Agent Carter’s dress for the above described scenes from Episode 3 of Season Two, “Better Angels”.

I love how Peggy’s words perpetually cut through the crud around her and are searingly direct, like a hot knife in hard butter, especially for this scene.  Truthfulness with others is what she is best at, and those scenes in which this memorable dress is worn, she oozes an assertive yet feminine, complex yet simple, and full on 40’s look!   “Better Angels” episode helps demonstrate why I have such respect for her and why I admire her character – an everyday superhero capability is tinged with a very relatable humanity and touching empathy.

April 9 is the anniversary of Peggy’s birthday, and it’s annually a day to celebrate a character that has brought so much into our lives by taking part in the “International Agent Carter Day”.  This is one of my favorite days of the year!  For such a day this year, I will post one of my very favorite Agent Carter outfit “copies” I have done.  It also happens to get the most compliments everywhere I go wearing it!  All this was made in one yard of deep eggplant purple gabardine and a few scraps of bright China silk leftover from a past project.  I adapted a true vintage 1946 pattern to both keep to the era and find the real historical version – thus I’m not just copying a Hollywood garment.

Of course, anyone who knows me knows I love a great pair of shoes, especially one that perfectly matches a color in my outfit.  Thus, I set out to find some true vintage shoes which would parallel the olive green B.A.I.T brand heels in the show.  There are some more modern decades, such as the 60’s or 70’s, which mimic 1940’s shoe styles, with slightly different heel shapes.  They are frequently much more wearable because of their not-so-fragile-as true-40’s footwear, however.  So, after much searching, I found a pair of lovely suede and polished leather, woven front, peep-toe heels in my size, in the exact matching green as my center bodice!  These are so comfy and really complete the outfit, yet they sadly blend in too well with the grass to be seen when I’m in a yard!

THE FACTS:

FABRIC:  a rayon/cotton blend gabardine, combined with china silk (leftover from lining this 40’s jacket-style blouse) for the contrast, and full lining in the bodice with all cotton broadcloth.

PATTERN:  McCall #6377, year 1946

NOTIONS:  I had all the thread I needed, and I used interfacing scraps and a zipper from on hand

TIME TO COMPLETE:  This dress was finished on September 10, 2018, in about 10 hours.

THE INSIDES:  cleanly bias bound

TOTAL COST:  The one yard of purple gabardine was a remnant found for about $5 at Wal-Mart, the silk was scraps (I don’t count the cost of such small pieces), and the “American Classics” cotton was yet another remnant, this time found at JoAnn for a few dollars.  This dress cost under $10!!!

Faux boleros on a one-piece garment or even just color-blocking – like this dress – seemed to have been a ‘thing’ starting in the late 1930s through 1940s, from what I have found so far through extant garments and similar sewing pattern designs.  This collage is only a small portion of what inspiration I have come across.  These are all a very smart – perfect for using small cuts of fabric, but nevertheless make the most fun out of fashion as well as the most streamlined outfit ever!  The bottom right extant late 1930s dress is the one that I specifically channeled here with my tweak to add a bit of Agent Carter my vintage pattern.  That inspiration garment had the arched, faux cummerbund mid-section as well as the shiny silk contrast bodice panels which worked perfectly with my need to fit every pattern piece on small remnants.  The more concise the pieces, the better to fit onto scraps!

Getting my bodice to look like a faux bolero required me to retrace it out onto paper, cut out that copy, and re-draft it into a few extra pieces.  Yet, to keep all of those pieces together nicely – besides validating the accuracy of my re-drafting and provide a clean interior – the bodice lining is the one-piece design of the original pattern.   I was so happy to be using my lovely leftover silk in a project which would highlight it.  As I had only used it for interior lining in the project before, this silk literally now has its opportunity to shine.  Yet, the silk is so much lighter compared to the substantial thickness of the gabardine, it sometimes appears quite wrinkled.  China silk is not the best at holding its own on a fashion design.  There’s exceptions to the rule as you can see here, but it really is best as a lining.  I wouldn’t trust the China silk to not rip or tear apart on its own if I hadn’t lined the bodice.

The best part of sewing a two-tone dress (total irony here) is having to switch between colors with the spools and bobbins of thread in my sewing machine.  It is a real pain!  This is why I did the side zipper and several other sections by hand.  Not to brag, but I can use whatever color of thread on whatever color of fabric and make the thread invisible!  Such a technique is a very useful skill, just sharing a heads up!  I kept the machine top-stitching to the purple portion of the bodice only because gabardine doesn’t look as terrible showing thread as silk would.  Silk is such a fine fabric, I feel like it deserves better (most of the time) than machine stitching!  I know, silly me!

There’s something to be said about dressing in character.  When you try to copy someone else’s wardrobe, no matter how much you like it on that other individual, you are not dressing for yourself until you own it and make it yours, whether through a tweak to the garment or a change of mental outlook for example.  I – and many other wonderful women who call Peggy Carter their heroine, like me – find that Captain America’s “Best Girl” only raises us up and makes us stronger and more confident in ourselves when taking on her persona through wearing her wardrobe.  Agent Carter is such a special character to emulate.  She is so relatable and inspiring in so many ways that to imitate her is like manifesting a braver and bolder version of yourself, which needed Peggy’s help to show itself.  Let’s all “know our value” today and every day!

One Shot

When you finally have the chance you’ve been waiting for…when you have the opportunity to be what you aspire to be…when you have one try to get something right…that ‘one shot’, or trial attempt, out into the dark of the unknown can mean failure or success.  If you have to wait for an answer, not knowing which of the two will be the result of your effort is agonizing.  However, being bold enough to follow your heart and do what is right for you is an answer enough…whether or not the truth shines through.  The worth that was already there is in its full glory so own it.  I’ll just sit back and completely own this me-made Agent Carter suit with a maker’s pride, and be a second Peggy for a time!

April 9 is International Peggy Carter day, her “birthday” per se (which in fan fiction is in 1921), and a day to celebrate in our own individual ways a character from Marvel Comics that has brought so much into our lives.  I celebrate by dressing like Peggy, even if it’s just adding some little detail like red lipstick.  Most importantly, though, it is seen as a day of confidence, empowerment, and compassion.  Believe in yourself today, and have confidence that you are beautiful inside and out – worthwhile in every way.  Have empathy for others and treat them like an equal human being, and feel the courage to say or do what needs to be done today or in the future.

Speaking of having guts, this post’s outfit required all the dedication and enthusiasm I could muster because this was my first attempt at full-fledged, proper suit tailoring…and I couldn’t be happier with the result!  My patience was tested and proven by this seriously complex, two-piece project made from a true vintage pattern.  The fabric and design I chose was directly inspired by Peggy’s fashion on the pilot episode of “Agent Carter” called “One Shot”, a short story (fifteen minute) release to American audiences in September 2013 on the Iron Man 3 DVD.  (Please, go watch it for yourself here.)  It was Marvel’s successful test run of an idea on the heels of Captain America: Winter Soldier, showing them there was (and still is) overwhelming interest in Peggy receiving her own screen-aired storyline.  As she was shown competently taking upon herself a solo mission in the face of extreme sexism and underestimation, I cannot think of a more appropriate example for me to channel on International Peggy Carter Day.

THE FACTS:

FABRIC:  a cotton flannel plaid, underlined in a cotton broadcloth, stabilized in loose cotton canvas (light interfacing weight) for the main body of the jacket, lined in poly cling-free lining (on hand); the skirt is an all-cotton heavyweight twill (almost a denim), with the jacket detailing being the same material

PATTERN:  McCall #6638, a Junior’s Two-Piece Suit, year 1946

NOTIONS:  I needed lots and lots of thread (which I had), a zipper and waistband hook for the skirt, iron-on interfacing, and a set of vintage plastic but carved-horn look-alike buttons from my husband’s Grandmother’s collection of notions.

TIME TO COMPLETE:  Not counting the patterning, the skirt took only 2 hours to make on was finished on February 4, 2018, while the jacket took me 40 plus hours to sew and was finished on March 14, 2018.

TOTAL COST:  The skirt total cost me about $15, the jacket total about $45 ($30 for plaid flannel from “GSM Designs” on Etsy, $15 for the extra padded layers) so the overall price is $60.  Not at all a bad price for a suit set like this, much less a customized fitting, vintage-style one!

There are several cool coincidences when it comes to this outfit – I revel in things falling into place just so!  This always tells me that I’m on to something good that is meant to be.  First of all, the “One Shot” episode takes place in the year 1946…the same as the date on the pattern I used to make my look-alike suit!  This pattern was something I already had in my stash so it was super convenient, practically the only Agent Carter outfit I have needed to hunt down a design for specifically.  Also, the skirt half for this is so very versatile and an easy choice.  It is made of exactly the same wonderful favorite fabric as my two pairs of 1950s skinny jeans (red one here, pink one here) and it is super reasonably priced so I kind of knew it would be a workhorse of a piece, but I didn’t expect it would become something I now wonder how I lived without.  This basic, brown, slight A-line, skinny, straight skirt completes a true vintage early 1950s blazer that I have, many of my blouses, as well as a post-WWII peplum blouse I have recently sewn (yet to be posted)!

The only reason I dove into this long admired Agent Carter set was because I happened to come across a small lot of the perfect matching plaid online.  Well, yes, this plaid does have an undertone of olive green (which I love) that is actually not on the original Hollywood costume, buy hey…I do need to make my project my very own.  So – I had the perfect opportunity in my hands…with no extra fabric in case I didn’t make this project perfectly.  My “one shot” at this luckily turned out nearly perfect…but I blame it on a great pattern and following in the steps of something amazing in the first place.

It was tough just reaching the point where I had a usable pattern to start with because this suit was for junior’s sizing – it was for young women very petite with tiny proportions.  I had to retrace AND resize every freaking pattern piece…and there were so many!  This was the ‘make or break’ step that might ruin my efforts or make them worthwhile.  It was a bit stressful to realize that.  I did the patterning step a few months before even beginning to make my suit set.  I wanted the pattern fresh in my mind yet needed a break first, too.  I did try a loose pattern tissue fit and after a tweak here and there I had to leave it well enough alone or I would overthink it forever and never actually start sewing.  Post-project, the only fault I see to my grading was making my jacket sleeves ½ too long…but that’s not bad, is it?! 

The skirt came first in my ‘battle plan’.  Ha – this is a reference to my favorite joke!  “How do you make a jacket last?  You sew the bottom half first.”  Yeah, sorry about that.  Anyway, it was an easy make that gave me preliminary confidence that my grading might just be right on.  I left the skirt on the longer side for a 1946 design but I liked this better on myself and I wanted to make it clearer that it is a post-wartime set.  The skirt is pretty simple, but it has great shaping and I love the pointed tab closure!  Making the skirt first also left me free to know that I had enough to use for some details on the jacket.

It was dizzying to even figure out how many times I needed to cut the same pattern pieces out from different fabrics.  That is the whole idea of a proper suit jacket – structure comes from layering, layering works with pad-stitching, which pulls it all together.  One layer of the plaid flannel was laid over the stiff, canvas-like cotton, then the panels sewn together and all seam allowances opened up and ironed down.  Then the same body was sewn out of the tight cotton broadcloth and this was ironed the same way and layered wrong sides facing over the stiffened flannel body.  The whole darn thing was pad stitched together, not sewing through the flannel to the right side, only catching the loftiness of the underside.  All eight of the curvy, princess seamed body panels blend almost seamlessly together (boy were they tough to match up in a one way plaid, by the way!).

Pad-stitching is defined as a running stitch…your basic stitch anyone who hand sews starts with, right?  The stitching stays in and is permanently part of the coat and all of the layers combined between became one, substantial, new fabric, completely dictated by the direction and density of what is applied.  Usually, the best benefits of pad-stitching is a nicely rolled collar or study lapels (which I needed with my suit because the collar was on the bias).  It is an age-old technique, mostly for menswear, one that modern tailors leave out, mostly because of the dedicated hand work it requires, although there are machines which can remotely do such a thing.  Something as loose and soft as flannel needed a major structure change to become a suit, anyway, so I pad stitched a layer of light cotton canvas to all but the sleeves of my jacket.

I would have preferred to work with wool to begin with, but you gotta make do with what you have!  I chose the ‘wrong’ textured side of the flannel to be the “good” right side because it was less fuzzy.  Even still, this particular flannel was twice as thick as any that I have seen, so it had hope…obviously, as you can see!  Over the course of a week, for a few hours a day, I did some pad stitching segments.  My stitching was wide, loose and not as structured as it should have been, but I did see that I became much more regular with all the practice!  I know just how to do even better next time.  I only took one or two in-process photos and was almost sad all that handiwork was covered up by the lining (hand sewn in place, I might add).  The jacket needed the lining, nevertheless, as it did also need those giant ¾ inch shoulder pads I added (oh-so-very 1940s)!  Both helped all that bulk glide over my under blouse and convey it with its last touch of gentle, secret structuring.

When it came to frilly little extras on the jacket, I kept them low-key by being complimentary or just plain leaving some out.  I did help myself out in the only way I could with the jacket by leaving out the pleated panels to the back “peplum” of the original pattern.  That looked way too complex and mind blowing to add with something already that level for me…and Peggy’s suit did not have such a feature.  I adapted the pockets to be more Peggy-like and also snazzier in exchange.  Peggy’s suit had rectangular slot pocket flaps (just like on my pattern) but with a rounded drop down spot for the button.  They were in the same fabric as the skirt, which both matches yet contrasts to add a depth to the plaid.  I felt the rounded shape of the Peggy pockets did not match all the other lines to my suit so I pointed the drop down bottom of the flap.  It matches with the sharp, notched sleeve cuffs, also in the same fabric as the skirt.

Making bound buttonholes are always quite a project in themselves, but I also stitched on regular buttonholes for the inside self-facing half of the front, as well.  I was merely following directions, here – they told me to make two different types of buttonholes and was really doubtful about how it would look and turn out.  I was terrified the two lines of buttonholes would not match together or line up when I folded the front in…but they look fantastic and give a very sturdy closing, I must say.  It’s a good thing my buttons are heavy duty, too.

My efforts have given me a suit that is everything I adore about true vintage suits.  Now I know a bit more about what once was an absolute mystery…but there is so much yet I desire to learn in this field.  During construction, though, I was quite terrified to see if it would finish awesome, mediocre, or disappointing.  I mean, I could tell along the way it should be just how I hoped, and the skirt was by far the faster of the two to make, but there are so many layers hidden inside the jacket that I couldn’t fully tell the result until the end.  This one of the reasons I took my time like no other project, slowed down my expectations, and reveled in every detail.  However, you know how you want a sewing project done, or need visible progress, else you grow tired of it?  I expected that to happen with this, but no – I found a real reason for an extremely slow fashion project without even hunting for it.  Once I enjoyed the realization of the depth of what I was learning along the way and that this is all just the tip of a bigger “iceberg” of couture tailoring techniques…well, time kind of disappeared as I would do my hand stitching or patterning.  I found my work so very peaceful, calming, and worthwhile.

There is an art to tailoring that is its own world of sewing – it is a world of enjoying every moment in a time honored craft of creating something beautifully customized with lasting quality.  It is a world of building sculpted “body makeup” which gives the body an idealized definition that becomes your own.  It is all something I cannot wait to do all over again because it’s downright amazing.  I’ve planned out my next suit jacket already – it is going to be a knock-off of the classic 1947 Dior “Bar Suit”, all in silk shantung, just like the one worn by Peggy’s arch-nemesis Whitney Frost.

Peggy dons this cherry red and dusty brown suit set on two very memorable occasions that are a turn of fortune for her.  In “One Shot” she dons her red suit when she is victorious, proven, and validated, with her chin up…and then in episode 3 of the Season One television show “Time and Tide” (at left) she again wears the same suit when she is at a loss, with the guilt of a fellow Agent’s murder heavy on her, and now a wanted woman entrenched with a friend’s secret.  I always appreciate it when garments are shown on a Hollywood character more than on one scene.  It makes them so relatable to me, like they themselves truly have a wardrobe of favorite pieces and are not just for show at the hands of the costume department.  It is interesting that in the Season on episode the whole outfit does not fit her quite the same in “One Shot”, but with a white blouse underneath she makes it work.  To similarly style my set, I chose a RTW favorite of mine – an Irish linen blouse with decorative stitching.  Did anyone notice my S.S.R. (S.H.I.E.L.D.) lapel pins before this mention of them?  An old late 30’s Art Deco police station was the very suitable and fun photo shoot location.

Any of us can “be Peggy”, and not just on April 9, and not just because of what we happen to have on ourselves.  It is what is inside that counts.  She was an imperfect superhero with no powers beyond a conviction, perseverance, and strength that is human.  She is not afraid of a bit of hard work and she is intelligent to know her value does not rely on other peoples’ estimations.  Fictional character or not, together with her killer vintage style she is my kind of gal.  I don’t think I’ll ever stop channeling her with my wardrobe, off the silver screens or not, so – yes, there’s definitely more Agent Carter fashion still to come here on my blog!

Being a Spectator

“Being is always a two-way street: as soon as you are aware that you can see, you will also know that you can be seen – and judged.” (From “Why is Caring About Fashion Considered So Unserious?” by Madison Moore.)  Now this is a rather harsh way of looking at a basic human reaction, and it does make us sound rather vain and self-conscious, but it’s unavoidable.  All the way back to Adam and Eve in the Bible story, who covered themselves because they were afraid of being seen by God, clothing ourselves is intertwined with self-awareness, personality (hidden or manifested), inner or outward expectations, and scrutiny under the sight of others.  This is all the more prevalent today, in our world of Instagram and Pinterest, which feeds off of and provides a seeming endless sea of images.  There’s no harm in such digital age resources, in my opinion, provided one gets out to see and experience real people in real life more than one spends the time to observe remotely via a computer or phone screen.

Public events happen to be the best places for bystander watching.  This sounds bad, but let’s face it – we’re a curious race.  It’s where people come to be entertained by the main attraction of the moment as well as find amusement in turn watching those who are present.  Everyone’s a spectator.  This makes me think – is there a style for being a spectator?  Why don’t many people even bother to dress our best anymore when going out in public, especially for fancy, special events?  How much do we dress for ourselves compared to how much we dress for others or for society?  Whatever does this have to do with my normal fashion-history-sewing blog postings, you may be wondering, too.

Well, there is a style of vintage garments and footwear which is labelled as “Spectator” fashion, and I have taken the Marvel’s Agent Carter interpretation!  In the very first episode of Season Two to the television show, “The Lady in the Lake”, she sets off the plot with a bang in a very striking, post WWII year 1947 rich red dress outfit.  She wears this fully accessorized set to the ultimate place and event for the sport of both being a spectator and watching them – horse racing!  To mirror her location, I had my own visit to a Clydesdale horse ranch.

Most people know the shoe version of Spectators – what we also call “Two-Tones”.  Perhaps the most well-known spectator style footwear might be saddle shoes or the quintessential “Lindy Hop” lace up flats of the Rockabilly 1940s and 50’s youth.  But Spectator styles were for fashion too, mostly in the form of a nice, collared dress, which was comfortable yet tailored and easily fancied up or down as needed.  I cannot find anything more definite than these consistent trait details, besides the fact they seem to have been quite popular in 1950 (here’s one example), petering out by circa 1954 (see this pattern), and are seen mostly in solid colors or low-key prints such as tiny polka-dots, for one example.  I need to do more research digging to be more specific on Spectator fashion, but it was certainly “a thing”.

Each piece to my whole outfit is very much a red and white, two-toned spectator-style item.  My only real variance from my inspiration was gladly changing the details to a more authentic and personally pleasing hat and shoe style.  Yes, I could have done a mirror-image “copy”, but opted not to follow exactly the Agent Carter outfit as seen in the program.  As with the rest of my Agent Carter “copies”, I ride a fine line between adhering to the movie inspiration and being true to history, but being authentic to my own taste for the 1940s always wins out for me.  I work so hard to find true vintage patterns that are strikingly similar, capturing a recognizable essence of my inspiration, and luckily the costumes are generally so good at being authentic themselves I really don’t have to sacrifice much at all to have the best of both worlds!

My Spectator dress is completed by one of my favorite millinery hat making projects.  A dingy, stained, and unwanted true vintage late 30’s or 1940s hat was rescued, refashioned, and spruced up into a new, bright life as a dramatic late 40’s/early 50’s style to match my outfit.  Hats, after all, are something not to be without when it comes to showing up at the horse races I know, such as Churchill Downs in Louisville, Kentucky.

My shoes are – of course – spectator style in red and white.  The ones seen on Peggy (of Chelsea Crew brand) are more of a 1920’s style spectator with the T-strap and pointed toes and quite expensive to buy everywhere they are found.  I personally prefer the likes of a true 1940’s heel on my feet, so for myself and for the outfit’s sake I went with a platform, peep-toe, and sling back heel from B.A.I.T brand footwear.  I think these are much more of a power shoe to bring this outfit up to the commanding and flashy woman that Peggy Carter needed to be for the occasion of her visit to the races.

This is my second entry to the “Sewing the Scene” sewing challenge sponsored by the “Unfinished Seamstress” blogger.  After all my efforts to mimic my inspiration outfit, this is still more than just a Hollywood copy for me, and not cosplay either.  This outfit will gladly be worn as part of my vintage-inspired wardrobe because Agent Carter is something which is part of my everyday life.  In fact…I wore this dress to get my official driver license picture for my renewal!  How’s that for bringing my inner Agent Carter into my ordinary duties!?

THE FACTS:

FABRIC:  a polyester suiting fabric from JoAnn’s Fabric store for the dress and a poly felt for the hat

PATTERN:  a “1st Place Prize” mail order pattern No. 1993, which I can date with confidence to year circa 1947

NOTIONS:  I used two zippers I had on hand, a true vintage metal one for the back neck opening and a modern matching red one for the side closure.  I had on hand the interfacing that I needed and plenty of thread otherwise.  The piping I made myself of leftover satin blanket binding and macramé cording!  The satin blanket binding went towards the hat as well as me-made bias tape of dress fabric leftovers.

TIME TO COMPLETE:  Ugh!  After way to much hand-stitching to remotely tolerate, about 40 (probably more) hours, this dress was finally finished on July 12, 2018.  The hat was refashioned in one afternoon/evening soon after, in about 5 hours.

THE INSIDES:  All clean in either French seams or bias bound seams

TOTAL COST:  about $35 was spent of the dress fabric, about $5 for the hat felt, and $20 to buy the vintage hat.  If I count the $10 deal I got on the shoes and the cost for my other accessories, the total outfit cost is about $100.

The outfit was quite a challenge to make – by far one of the hardest outfits to make, Peggy Carter related or not.  For the dress, I blame the crummy fabric I chose for a lot of my problems.  The fabric was the right color red to be sure, readily available in a local store, with a nice slightly textured finish, and a good multi season weight.  It was just too man-made in the way it acted, as if it was such an unnatural fiber that it was fighting being made into something worthwhile every step of the way.  I had to do meticulous hand-stitching for almost everything to get the dress to turn out halfway decent and not messy or cheap looking…I mean the fabric was rather pricey after all!  I was convinced into believing anew the need to go on a personal strike against polyester and other man-made materials.  For the hat, the main issue was dealing with something wonky and beat up and trying to revive it.  The man-made felt I used is again “man-made”, yet it worked out well for this refashion.  This hat could not be cleaned and it was the wrong colors but the right shape…when looking past all of its faults from the wear and tear of time.  Polyester felt was a weight which was thin enough to not make covering the existing hat too bulky, and I don’t think it is obviously an imitation of wool.  When making one’s dream outfit, sometimes price, budget, and available materials sure does make things more of a challenge than it need be!

The pattern itself presented its own challenges along the way.  From the very beginning, though, a big chunk of the extra time it took to be finished with this set was even before I could cut.  The sizing needed such a major change (it was for a tiny 30” bust).  I traced out the entire dress onto sheer medical paper so I both wouldn’t have to ruin the original and could gradually, in small segments, add in the 4 inches I needed widthwise.  Besides resizing, the only other design change I made was to the reshape the neckline.  I widened out the top angle of the neckline so that it would be more squared off and the two corners would land at the middle of my collarbones.  I raised the bottom drop of the key-hole neckline higher by just a few inches, so it would at least cover any cleavage (unlike Peggy’s dress, which shows way too much in my opinion).  Even still, it turned out quite low.  What would the original neckline have been like at this rate?! 

In order the finish the neckline edge, anchor down the piping, and accommodate the newly shaped neckline, I drafted my own facing accordingly.  This is really a dress about visible facing after all – that is the quickest, cleanest, and reasonably easiest way to do the neckline.  The whole of the dress is about the decorative chest, anyway. I made the new facing a replica of the neckline shape and made it an even 2 ¾ inches wide all the way around.  Then I made my own piping and stitched that along the outer facing edge.  Keeping the curves and corners to this step was so tricky but extremely necessary to the design.  Finally the facing was sewn onto the neckline, wrong side (dress inside) to the right side (visible facing).  This way the edges are finished (as I mentioned) and the piping is both covered and regulated in width away from the edge all in one step.

The finishing to this step was the hardest part because everything was invisibly tacked down with tons of hand-stitching which was tortuous to do.  So many pins were needed to keep everything in place in between the episodes of stitching, and my hands and arms became so scratched up and wounded.  The back neckline zipper was absolutely needed but only complicated things further with the piping ending there, too.  Sorry to complain!  In the end, though (after much steam ironing) I do believe the detailing turned out well, but not as perfect as I had hoped.  All those layers and the piping makes the neckline quite stiff, and it puckers slightly sometimes.  However, I do believe the proportions of the key-hole neckline are quite the same as Agent Carter’s dress, so I’m happy.  Yet, I feel now as if I can say I passed some sort of “trial by hand stitching”.  I definitely have a greater respect for the costume department of Agent Carter, now.

The criss-cross straps that finalize the drama of the neckline are shown to be more like a woven design right at the bottom of the key-hole according to the original pattern.  I merely repositioned them to match with Peggy’s dress.  The X over Peggy’s heart is a recurring theme throughout Season Two, as you can see in another copycat dress I made already here.  It is used when she is vulnerable – caught between needing to finish her hardest mission yet while being emotionally torn at the same time.  Love has come into her life again in a whole new way she didn’t see and didn’t expect. With Peggy however, it often seems that love is intertwined with heartbreak.  So – this dress is a strong statement of her both moving on to another chapter in life yet still staying the same strong woman as before she lost ‘her’ Captain America.  She still seems to receive more than her fair share of grief, in my opinion.  I suppose all it does is go to show just how strong and resilient she can be…though not tough enough to refuse to open her heart.

Only the year before this design, the bombshell actress Lana Turner had popularized decorated keyhole necklines when she wore several in the sultry 1946 movie, “The Postman Always Rings Twice” (see fashion pics here).  One of the only times she isn’t wearing white in the film, her black dress has white trim a few inches out from the edge to outline the shape of the keyhole neckline.  It looks all too similar!  Agent Carter was apparently only keeping up with Hollywood to wear this neckline style.

Otherwise, there is not much to say about the rest of the dress.  It has very basic shaping and almost boring darts and seaming.  That’s okay – the body of the dress needs to take a backseat to the neckline.  I kept the sleeves as they were designed, even though they are so different from my inspiration dress, because not only did they turn out cute in my opinion, but they are very easy to move in and provide a great 40’s shoulder widening appearance.  They are quite loose around my arms, but the rest of the dress also had a giant amount of ease to match.  I had to pare off about two inches from each side seams, and take off several inches from the hem.  This brand of pattern company must run really generous.  I guess I didn’t need to do all of that massive resizing after all.

Enough said about the dress – now I’ll talk about the hat!  Originally it must have been quite stunning – to me it has an almost sea-faring pirate feel and the back tassel bumble is an interesting addition.  Many late 30’s and early 40’s hats were similarly obnoxious in style with wide brims.  As I found it, there was an ugly black stain on the crown, and the brim had some rips or moth holes.  The brim edge wire was terribly twisted and kinked, too.  It needed a re-fashion, or else I cannot see anyone wanting it in that condition.

I hate seeing vintage items on their last leg, and I really didn’t want to make a hat from scratch to match my outfit…so I fulfilled both in one step!  Now I know my refashion tuned the hat into the bowl or platter style popular in the early 50’s, but it evokes the post war fashion of 1947, the year Dior unveiled his “New Look”.  It also shows how little details in shape and finishing can change a style so much!

My very first step was to unpick the stitching of the grosgrain ribbon along the edge, to then be able to unpick the millinery wire stitched on the edge.  Next, I took the tassel bumble off and stitched up the back brim slit opening.  Then the hat received an all-over steam ironing!  This flattened out the wavy brim and freshened it up in both smell and shape.  Now the hat was ready to be covered.

I started by covering the bottom underside of the brim using the dress fabric.  I made three rows of stitching from the edge for decorative looks and to keep it in place.  Then the crown was covered by gently stretching out my felt over the existing hat, and my knee was the best thing to put inside to keep in shape while I was doing this.  Stretching the felt made the two layers stick the one another better than stitching the two layers together.  If I was working with a wool felt, I would have soaked it in water before stretching it, but the polyester felt wasn’t going to work like that.

Finally, the top crown was covered with more felt, hand stitched down along the inner and outer edges, then my self-made bias tape, made from the same dress material, was stitched along the edge for the finishing touch.  The last thing was to make a tube of the leftover white satin left over from making the piping, and gently hand-tack that from the inside to where the brim meets the crown.  Agent Carter’s original hat had two different colors and textures of red just like my hat, but I just could not bring myself to copy the trim.  The original hat in the television show hat grey velvet trim with a matching bow, and to me it looks too much like a costume that way, and too over-the-top.  I like the classy simplicity of how I decorated my hat – again, not distracting from the dress, but definitely part of it by sharing the same materials.

It is remarkable how much this outfit forces me into a new outgoing spirit that is almost more than I can handle if I’m not quite feeling myself.  It’s all good stuff, though.  I’ve never really been a girl who is all about a red dress…it comes from reading the book “The Scarlet Letter” or watching Scarlett O’Hare show up at Ashley’s birthday party in the movie “Gone with the Wind”.  Besides, my mom never let me buy outfits in red when I was growing up.  I had only one fancy red dress, and that was reserved for a Valentine’s Day father-daughter dance to attend as a pre-teen.  Now, I’m rediscovering the empowerment of the color.  I even went all out with the color by treating myself to the complete Agent Carter red accessories as seen on television, too – cheaper copies of her Ray-Ban sunglasses, Besame brand “Red Velvet” lipstick (from the Agent Carter collection), her same mother-of-pearl flower earrings, and a true vintage alligator leather handbag.  If I’m going to enjoy the shade of crimson, and go all out in one of my most time consuming Agent Carter outfits yet, then it has to be absolutely awesome from my head to toes and everything in between.

Now I am truly a classic spectator…dressing up in my best, decked in a flag-your-attention set of red, sticking to two tones, and definitely realizing I am seen.  I may therefore be arbitrated, too, but then I am not afraid of it because I feel great in what I wear when I make it.  Besides – I am not afraid of others judgment in this outfit in particular.  I have a sneaky suspicion that it will get favorable opinion from others anyway.  I’ve already had someone drive buy and offer a compliment to me the very first day of putting it on.  There must be something with spectator fashions, because here I am talking about the self-consciousness, personality, and preparedness for scrutiny arising just from what I am wearing.  Clothing certainly adds a necessary complexity and interest to the human existence.