Belated Easter Sewing – Part Two of a 50’s Suit

This year’s Easter outfit from earlier this year’s spring left me with a lovely year 1954 reversible jacket and an exact one yard of lovely boucle suiting leftover.  Another dress I made this spring (yet to be posted) also left me with another one yard that seemed like it would match well with the suiting.  Humm…seemed like potential just waiting for the making.  I just couldn’t help myself but to continue the mix-and-match properties of the jacket and make a different look composed of separates from ’56 and ’58.  I’m so pleased to get further use out of my fabric leftovers on hand and give my jacket something else to match with.  The 50’s really can provide some effortlessly lovely pieces when you don’t have generous cuts of material!  I feel so put together in this!

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My jacket is was made earlier for my Easter suit (as I mentioned already) from a year 1954 Simplicity #4793.  Thus, if you think about it, my outfit in this post skips every other year through the middle of the 50’s.  I suppose this would be plausible for a lady of the 50’s to do something like this outfit, perhaps she might add to her wardrobe as the years went by with one more simple-to-make piece so as to keep up with the styles of the times.  I think it works well together – especially when I add a vintage headband-like netted hat, elbow length gloves, cat-eyed sunglasses, and my wonderful “Hunter” turquoise B.A.I.T. brand heels!

THE FACTS:

simplicity-1732-year-1956-teen-slim-skirts-front-coverFABRIC:  The boucle for the skirt (and jacket) is a rayon/acrylic blend; inside the skirt is a polyester cling-free lining leftover from on hand in my stash; the blouse is a cotton gabardine (leftover from another project yet to be posted).

NOTIONS:  I had all the bias tape, zippers, interfacing, and thread that was needed

dsc_0172a-comp-wPATTERNS:  McCall’s 4605, year 1958, view B, for the top; and Simplicity 1732, year 1956, view #3, for the skirt

TIME TO COMPLETE:  This was a fast outfit to make – the skirt took me 6 hours and was completed on March 22, 2016 while the top took me maybe 4 hours and was finished sometime in April 2016.

THE INSIDES:  So nice!  The skirt is fully lined and hemmed with bias tape while the top is French seams with bias hems and edges.

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A classic pencil skirt is more or less about one yard of fabric very simply wrapped around and darted to make an awesome basic wardrobe staple every bit as suitable today.  With such a basic design, it’s all the little details that make pencils skirts stand out to me in the 50’s.  This skirt is no different even for being a “teenager” pattern.  Look at all the cute options on my Simplicity 1732 – you can bet you bottom penny that I intend to try that suspendered jumper option, as well as the asymmetric front pleated style.  My skirt version definitely has subtleties – two cute little pointed tabs out of the front waist darts and a triangular closure tab at the center back waist.  Aren’t they cute?!  At least I think so.  Sure they might emphasize the hips but this is the 50’s after all and the top I chose is meant to balance things out.

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My skirt’s tabs co-ordinate perfectly with the tabs on the top.  The tabs are small enough not to make my set too matchy-matchy.  The pattern originally called for one tab at the neckline and one above the hemline.  Since I planned on generally wearing the top tucked into bottoms, I switched things up and had the two tabs together at the neckline going opposite ways.  There’s more interest this way.  However, I suppose I sort of ruined what this pattern really is designated to be – a “Misses Overblouse” as the envelope back says.  The definition of an “overblouse” is “a blouse usually fitted or belted and worn untucked at the waist.”  Oh well, so much for that…the irony of the situation makes me shake my head at myself.  I suppose view C in blue on the far right of the pattern cover is fully an overblouse with its belted-look bottom, all buttoned down.  This just goes to show your sewing is whatever you choose to do with it.  Learn from it, be proud of it, and (most importantly) rock what you’ve made when you wear it!

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The large square neckline is of course the other main feature to this design.  It’s sort of hard for me to wear something this wide and it doesn’t always stay straight or necessarily lay flat on my smaller shoulders.  Nevertheless, it is flattering (so I feel), different, and classic of the 50’s to widen the shoulders and neckline… it also helps create a visual trick which slims down on the waist (always good).  This combo of my skinny skirt and square neck top looks similar some dress designs already out there – Butterick 5032, a reprint of a 1952 pattern, as well as Simplicity 2233, a pattern from 1957 or 1958.  Yet, there is something that still seems slightly 60’s about this to me, too, maybe it’s the cover hairstyles…oh yeah, well it is from ’58.

I must say the top, for being such a simple pattern, was really somewhat of a problem.  Getting the top fitting right was difficult. I kept taking the darts and the side seams in a little at a time again and again in between trying it on until I got tired of this.  The pattern was supposed to be my size and an overblouse is supposed to be fitted but I just couldn’t get this top to really contour to me as well as I would have liked.  Next time I make this (and I do want to try some of the other views soon) I will take out maybe and inch from the center front and back to bring to neckline and darts in more.dsc_0171a-comp

Complicating the simplicity of the making of this top was the pattern itself.  I’ve seen McCall’s patterns between late/mid-50’s until the mid-60’s have this “Easy Rule” feature on them and I do not like it.  There is so, so much type and explanations covering the entire pattern pieces making it hard to see what is going on.  If it is too hard to see the basic stuff like darts that are needed on a pattern what is the use?

There are just a few special touches and tweaks to the skirt I would like to mention.  I did change up the pattern just a bit when it came to the back slit.  Originally the back slit was supposed to be more like a box pleat opening, but I’ve done these before and besides the boucle seemed too thick for something like this to turn out successfully so I merely made a basic, fully opening slit.  I don’t mind showing a bit ‘o leg!  Extra pains were taken to hand sew a blind hem to the skirt…and this from one who cannot do hand stitching.  Luckily pencil skirts have short hem circumferences.  I needed to make a really wide hem – it turned out ankle length before finishing…way too long!  Finally, I enjoy the bright, rich green lining inside the skirt.  The pop of color makes me smile every time I put my skirt on.

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It never ceases to amaze me at what can be made from fabric cuts leftover.  At the same time one can only keep so much stuff on hand.  It’s hard to find the balance of time, ideas, storage space, and places to wear one’s projects.  I don’t really see any one yard patterns offered anymore…unless they’re vintage, especially between the 1930’s and 1970’s.  I think one yard cuts need to be advertised and better known to help us who hold onto our leftovers (and those who have a great fabric stash) go through our store without too much effort!  Even without extras on hand, buying one yard is generally a practical purchase whether the fabric is on the expensive or cheap side of the wallet.  Style doesn’t have to be short because of the amount of the fabric, especially with mix and match pieces.  Do you use one yard patterns, or not?  Do you also sew sets that match?

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Rich in Jewel Tones…the 1950’s Way!

This outfit of both skirt and blouse is rich in mid-50’s style, deep color, quality fabric, and especially family memories and friendly connections. Would you believe two one yard cuts were all that I needed here? It’s true.

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Nevertheless, with two “Easy-to-Make” patterns I managed to have a hard time and make some “design opportunities” (a fancy phrase for a mistake). Sometimes with the simpler things there’s more room for error. What did go right for me is how the finished outfit turned out. It’s perfect for flaunting my curves through clothes that turn me into a classic retro 50’s hourglass shape!

THE FACTS:

FABRIC:  For the blouse: a 100% cotton, found in the quilting department in Hancock Fabrics. For the skirt: an extra thick 100% linen100_6054a-comp

NOTIONS:  I had everything I needed – thread, a zipper, interfacing, hook-and eyes, and buttons.

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PATTERNS:  The blouse was made using a “Quick and Easy” Butterick #7490, year 1955, and the skirt pattern was a McCall’s #9901, year 1954.

TIME TO COMPLETE:  The blouse was not as easy as expected, so it took me about 8 hours to make, and the skirt had maybe 5 hours spent on it. Both projects were completed on September 11, 2015.100_6141a-comp

THE INSIDES:  My blouse’s fabric is such a tight weave cotton and (for a ‘quick’ pattern) I took too much time on it the way it was. Thus, the insides are raw. For the skirt, well…what insides?! This is a pun and rather ironic – I’ll explain lower down in this post.

100_6140-compTOTAL COST:  The linen was on an insanely super discount since it was a one yard remnant, and the blouse fabric was reasonable at one yard, too. In total I suppose my outfit cost me about $7.00.

The blouse’s fabric really looks like something better than just quality cotton. It is such a deep green that, as a one-sided print, the white underside shows bleed through dye marks from the other side. A metallic gold is printed on top of the design to highlight the print and make this fabric appear as a brocade (this isn’t the first imitation brocade I’ve used for a 50’s blouse). However, this cotton is so much softer than any brocade could ever be, yet stiff enough to give a ‘crisp’ appearance, perfect for the pattern. My skirt is a linen, which is already a very nice fabric, but this is a type of linen that I’ve never seen or felt before…very luxurious. Some linens can instantly become wrinkly, feeling very rough to the touch or scratchy and even stiff – not my skirt. As a mundane description, this linen could be a blanket, it’s so plush and pliable but so thick (about 1/8 inch). Having a loose weave helps the linen not seem so overwhelming, though. Together, the two fabrics are in a dressy ensemble making me feel oh-so-put-together. They also are a very comfy set that makes me conscious of some very nice material. It’s like a treat for me to wear.

100_6096-compFor some reason or another, I was a bit off while sewing these two pieces, and so some boo-boos were made. I made the best of the mess-ups, although my mistakes on the skirt could not be recovered. When this happens sometimes, I find it’s best if you just go along with your mistakes, and make the best of them by letting them become part of the design, as if it was something intended.

100_6055a-compAbove in “The Facts”, I mentioned the irony behind trying to explain how the inside of the skirt is finished. Well, there not a straight answer here, which is also directly part of my mistake. Somehow or another what was supposed to be the right side of the skirt became the wrong side, and the wrong side became the right. This might sound like an obvious thing I shouldn’t have missed, and it’s really not like me to do this. Here were some of the sources to my problems. The linen fabric itself has no right or wrong side but has the same finish and appearance on both sides, so the fabric was confusing me. The pattern itself is so simple. It is just like an enormous one yard square, to which you shape by sewing in a quantity of darts along the waistline, so it’s kind of like a wrap skirt. This made it hard to figure out sides, too, not to mention the possibility of my son running around inside with too much energy and my dog stepping on the fabric begging for attention. Cancel any undivided thought process. My mistakes with the fabric and the pattern would not have been a big deal if the vertical button plackets on the right and on the left side were not completely different from one100_6107-comp another – the right side with the buttonholes is half as big as the left side with the buttons. I did not realize my mistakes until all the darts were sewn and the interfacing ironed on – darn! The right still had to close over the left (I knew that much) but now the button placket is off center instead of centered. Oh well, it is now officially an asymmetric button front wrap…this is how I’m satisfying myself with the finished garment.

100_6106-compOfficially, there are no inside seams to the skirt and it is a very nice skirt, so mistake or not, I love it. The color and the weight of the fabric should make this an all-season piece. Happily, I looked at several other 1950’s era blouse projects I have lined up “yet-to-make” and they will all match with my royal blue skirt.

I did line the waistband and the front placket with a heavier weight interfacing than what I conventionally use. This makes the soft linen of the skirt adhere to the stiffer and straight lined look of the 50’s, at least in certain spots. The interfacing also makes my skirt extremely hard to button as do the backer buttons I added for stability. I found this out after the fact. Oh well – the skirt sure feels secure when it’s on me! To top off the whole project, the bottom edge was extremely wonky. Two inch hem here, three-100_6143-compsomething inch hem there – the line was all over the place! To have a straight hem I had to measure down from the waist all the way around and hang the skirt up while I sat the bottom of it hand hemming with a ruler at my side. Sorry if I sound like a ninny, but usually hems are much easier than this. That’s o.k., I was forced to give this skirt a nicely finished invisibly stitched hem finish like it deserved.

100_6105-compNow, the blouse has a wide bateau neckline, classic ‘50’s kimono sleeves, with what the pattern back calls a “pie-cut neckline with modified wing collar.” I’ve never seen a blouse with open lapels called a “pie-cut neckline” but it’s a cute term and I sort of like it because it reminds me of yummy food. The back design made me highly doubtful it would work with a closed end zipper ¾ of the way down the center. Below the hips the fabric is together. I wondered why there is this strange layout. Separating bottom zippers (like on a coat or jacket) were invented already, but maybe they weren’t readily available to the home seamstress or perhaps just too expensive or bulky to be practical. Anyway, the closed bottom to the top isn’t a problem – it just makes it more of a ‘step-in’ garment than something which goes over the head.

100_6109a-compMy main problem with the “easy” blouse was mostly because of a slight fault in my work of down grading the pattern to my smaller size. I figured out how much to take out and where to hack it out, but I didn’t re-slope the shoulders and take off some of the length. Thus, after my blouse was quickly done I realized there was too much room between the shoulders and the waist, creating a bubble sticking out of my back with the zipper. Yuck! So I went to work doing my least favorite thing to do in the sewing sphere…unpicking. I took apart almost all of the tricky facings and all of the zipper, then cut off about 1 ½ inches from the top edge to bring the neckline down. Now I could re-sew those tricky, sharp cornered facings and the zipper back down again for a no longer easy basic blouse. That extra time and effort sadly was really necessary or I wouldn’t like my new top and therefore not wear it – so is life with sewing! Tailoring takes effort but has its reward, too.

100_6116-compThe sources and history to both patterns is part of the “family and friends” goodness to this ensemble. The skirt’s pattern was found at a nearby vintage/antique store, and picked out by me on my birthday as my own present. On the front there is a stamp of “Goldie’s Department Store, Maplewood, Missouri”. Hey, hey, Maplewood isn’t too far from us. So I spoke to some family and did some Google searching about the town to find out a rich, local history to Goldie’s owner and it’s multiple stores in the area. The Maplewood location, burned down in 1966, was at a part of town that I already know and love to visit. My Hubby even remembers going to get his boy scouts uniform at one of the last surviving locations. Neat! This makes it a local pattern which actually stayed in town, and came from a store family members have memories of, just like the one I used for my 1944 dress (post here). The blouse’s pattern was given to me from a close friend of mine who shares many similar interests as myself, among which is sewing.

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Yup, this is me at 3 1/2 years, playing dress-up!

My blue wool hat is the most special part of my outfit. I’m so proud! It is from my Grandmother. This is the same hat I remember when I would go over her house as a little girl and play dress up with my cousins. She would let me put on this very hat, among others too, and now that she has given it to me, I can again wear it for some grown up serious dress up time. Unfortunately, my parents can’t find, but do remember a picture of a mini-me in this wool hat. However, I do have a picture of myself from one of those dress up parties (see at right). I suppose my love of having fun with fashion and enjoying making my own look hasn’t died back one bit since then. Thank you Grandma for those times…and the hat!100_6111a-comp

Our photo location was at a gloriously stern but bright early “Mid-Century Modern” building built during the boom our neighborhood experienced in the 1950’s. I think it lends my outfit a business-like, professional aura. Besides, I love architecture appreciation!

See? Money isn’t necessary to look like a million – just a little talent, a sewing machine, some ideas and creativity…viola! It is so much easier than many realize to personalize one’s style be the master of your own fashion and do it all on the cheap. Look what two one yard cuts of fabric did for me in this post. Do you also love the freedom and enjoyment which comes from sewing your own clothes? Better yet, do you also have a family memory attached to a particular outfit you’ve made?