The Pink Polka Dotty Dress

For as much as I love everything about the 1940’s wartime styles, I also love the contrast that the post WWII fashion offers.  It is a lovely in-between the 50’s extremes of femininity (either big, poufy skirts or slim wiggle versions) and the rationed utility clothing.  I mean, this post’s year 1948 dress is 40’s still, yet I can have a full skirt in a midi length, softer shoulders, and extra details which demand excess fabric.  Yes, very early 40’s frocks also had only some of these qualities.  Yet, the post-war period had streamlined, elegant looks while the pre-war time had many folk inspired styles often with exaggerated features.  This dress is the best of what came both before and after it, in my opinion!

Even though this dress is in my least favorite print – polka dots – I am naturally disposed to favor it, probably no matter what pattern it is made from.  The fabric has the prettiest light pink and a very rich, purple-tinted burgundy!  They fall directly in my “favorite colors” range!  The whole ensemble is finished with some true vintage gloves, pink pearl earrings which had been my Grandmother’s, a retro scarf (which had been my mom’s) as my belt, and a little 1940s original hat in the same tones.  I have a recipe for a total mood booster.  To go full matchy-matchy, I even have a vintage post-WWII rayon blazer which further pairs beautifully with my dress, only it covers up the details so I saved it just for cold indoor air conditioning or a cool breeze in the shade.

THE FABRIC:

FABRIC:  The polka dot fashion fabric is a polyester crepe, with a satin finish.  It is partially lined in both a cotton-polyester blend broadcloth as well as an anti-cling polyester.

PATTERN:  McCall #7226, year 1948 ( I never cease to be shocked at the completely sheer black version on the cover!  In 1948, really?  I love it!)

NOTIONS:  Just plenty of thread and one side zipper was all that I needed to whip the dress up!

TIME TO COMPLETE:  This dress was finished on September 21, 2018 after taking about 20 hours to finish.

THE INSIDES:  The entire raw edges are covered by full lining.

TOTAL COST:  The fabrics for this dress had been with me long enough to no longer remember when they were bought, so let’s just count this as a free stash-busting project, shall we?!

The most obvious, glaring difference than any 40’s pattern which came the previous 6 years was the great number of pattern pieces and the extra fabric they required.  The back of the skirt section is a flared out version of the classic three piece which is the same as most of all 40’s dress patterns.  Yet the front has 7 panels which get wider as they go to the hem for a fantastic sweep which is so perfect for twirling!  The bodice back is like a bloused out version of a 1950s kimono sleeved block, and so is the front underneath the three wonderful layers of horizontal pleats!

This was as easy to sew together as it is a breezy and effortless joy to wear.  As the polka dots are randomly spread all over I made absolutely no attempt at any matching, totally taking the laidback route.  The skirt is more so.  The cut on sleeves with the deep cut armholes are unconfining.  I adapted the pattern so that the zipper would open up all the way under the arm for no need to wiggle into a dress with a limited side closure.  My choice of lining also adds both comfort and simplicity.  I detest the feel of raw polyester on my skin and hate the static cling it builds.  Lining the entire dress made it opaque and eliminates the need for an extra slip, of course, but adding a cotton blend to the bodice is for pure comfort while the anti-cling poly cuts out any problems with static.  I do like a ‘throw-it-on-and-out-the-door’ kind of dress which is classy in an instant yet feels as nice like a nightgown.

There is always something surprising to the construction of a vintage pattern.  They almost always have some little detail that is put together so much smarter than it seems at first glance of the line drawings.  In the case of this pattern, it was the pleats on the front bodice which were the ingenious detail that surprised and amazed me.  The bottom two pleats are drafted into the bodice front.  You have to stitch (wrong sides together) a certain amount away from the two marked foldlines and let the pleats hang down before sewing to the side seams.  Yet, the top “pleat” is really a fake, but realistically a two ties which get sewn into the top horizontal neckline seam.  Half of each tie hangs down free at the center front so they can be drawn into a bow.  As I said, things are not as they seem in vintage patterns…they are better than they first seem!

This is the perfect 3 season transitional piece.  Now, with the chilly spring days, it is just as perfect as crisp fall days with the darker burgundy background color (especially with the matching vintage jacket).  It is lightweight enough on its own for summer, too!  I have found myself reaching for it again and again after I’ve sewn it.  Some of the things I make just immediately transition into a being a piece of my everyday wardrobe and this is one of them (versus projects that wear out of that ‘just made’ status through time).  This is why I forgot to post it until now.  Oh, I am so behind on posting sewing goodies like this one!  So, no matter what is going on in the world, and no matter whether I am staying home looking not at all as magnificent as I would like, I have stuff up my sleeves to post of past fabulous times dressed in fabulous clothes to share.

A Tribute to Bernard the Flamingo – The “Devil in Pink”

When there are frigid temperatures, and forecasts of ice, snow, and dreary skies, part of me cannot help but mentally travel to the opposite clime…somewhere warm and sunny, where living is relaxed and duties are a thing forgotten (for the time being at least)!  Flamingos can be found at such tropical getaways, and imagery of their one-legged standing silhouette is often associated with resort lounging anyways.

This year, rather than just imagining, hubby and I are actually off at a sunny Florida beach for the moment.  Thus, now is the perfect time for me to share my 1940s outfit I made inspired by the “devil in pink” himself, Bernard, pet of the master of carefree lounging himself, Marvel’s inventor extraordinaire Howard Stark.  (Watch this clip for a small minute of understanding!)  Bernard the flamingo was the loud and hard-to-handle bane of Howard’s butler, Mr. Jarvis, to the humorous amazement to the two ladies Agent Peggy Carter and Mrs. Ana Jarvis in Season Two of the Marvel TV series.  This inspiration was the perfect opportunity to channel my love of vintage, Agent Carter, and casual yet nice separates all into one handmade outfit.

Thinking of a warmer climate basked in sunshine, my post WWII blouse has brass sun buttons and golden flamingos printed on a rich pink rayon.  My trousers are a multi-climate wool blend twill in practical khaki tan with post-war style hem cuffs for a masculine touch.  My accessories are a classic straw fedora (just like what Agent Carter had), pink patent oxford-style shoes, vintage pink pearl earrings, and an old 40’s original tooled leather box purse, the kind that were popular tourist souvenirs brought back to the states for sweethearts.  I couldn’t be happier with the comfort, chic, and practical usefulness of this set!  It’s a girly pink overload (with the shoes, too) in a restrained and professional way coming straight from the past.

THE FACTS:

FABRIC:  Blouse – a 100% rayon challis; Pants – a wool blend twill in a medium weight thickness

PATTERN:  Simplicity #8243, a reprint of an original year 1948 pattern #2337, for the blouse and a vintage original Simplicity #4528, year 1943, for the trousers (used before to make these denim pants)

NOTIONS:  I used everything from on hand – bias tapes, cotton scraps, thread, and vintage notions.  My pants have an old vintage metal zipper in the side, and my blouse’s amazing sun-image buttons come from hubby’s Grandma’s stash.

TIME TO COMPLETE:  The blouse and the pants came together quickly – about 5 to 7 hours to make each.  The blouse and the pants were finished in June of 2017.

THE INSIDES:  all cleanly bias bound

TOTAL COST:  The flamingo rayon was bought in early spring 2017 at JoAnn’s fabric store, while the fabric for the pants was bought at a rummage/resale store for only $2 for 2 yards. I don’t clearly remember the total but I think the blouse and pants together might have been about $10…pretty good, right?!

I had been saving the khaki fabric to make something that would be a staple piece which would see much wearing – weather that would be a 1940s Eisenhower jacket, vintage trousers, or a 1930s skirt, I wasn’t sure.  The flamingo fabric was a sudden, spur-of-the-moment purchase – one of those things that when you first lay eyes on it, it screams to you “you need this”, and then mentally you know exactly what to do with it.  The sudden purchase helped me narrow down what to do with the fabric purchase I had been hoarding.  Together, these pieces are awesome, but I really do immensely appreciate how each goes with so much else in my wardrobe.

Many times, spur-of-the-moment projects can satisfy one’s creative need but not really fit into one’s existing separates.  Not so with this blouse!  It actually looks good with khaki skirts, denim bottoms, and even some rust red and dark brown or white colored bottoms too.  As for the pants… they are something I really don’t know how I lived without until now.  I like them so much better than my basic black knit pants.  The material is nicely substantial and wrinkle free, and doesn’t show fuzz the same as a dark color would.  When my pants are worn with a basic blue oxford shirt and some suspenders, I feel like vintage menswear for women wipes out modern business attire.  Not even close to equal in awesomeness!

Rayon challis feels remarkably soft and silky on the skin, but as this was a blouse, it needed some stability in the neckline.  I didn’t want the collar and button front to be overly stiff from interfacing so I opted to use plain 100% cotton instead.  This gave it a bit extra body, and kept the fabric from losing its shape, without the stiffness.  As I used khaki colored cotton for the interfacing substitute, it also helped make the facing become invisible (more or less).  The pink rayon is slightly sheer, but a slip or anything skin toned becomes invisible under it.  I was afraid the double layer of fabric, where the collar and button placket are faced with on big fabric piece, would be glaringly obvious, making the pink a different color there.  However the flesh toned cotton interfacing happily disguised that.  I do like my sewing to be well engineered, keeping up the art of beautiful insides with tricky facings as subtle as if they are not even there!  Keep this in mind if you try this blouse in a light color, too!

The shoulders of this blouse pattern seem to run slightly small.  I have generous upper arms so I commonly have problems fitting in modern sleeves and some vintage sleeves, anyway.  This pattern is definitely not the tightest in its armscye, but it could benefit from a 5/8 inch longer shoulder seam in the bodice to make it extend out to the end of my actual shoulder blade as well as a wider back for more reach room.  The trio of darts at the sleeve caps are such a lovely detail, and make the actual sleeve itself generous in room, so any tightness in the bodice’s armscye is easily forgivable.

Besides the sleeve armscye, I did not find any major regrets to change for next time.  I did however, look ahead and make a bunch of slight tweaks.  The hem length ran a bit short for a blouse to stay tucked in on its own so I lengthened the blouse the fall under my hipline.  The collar was a steep curve to turn right sides out and so I snipped the seam allowances throughout down to about 1/8 inch.  The facings did not lie down as nicely as they could so I made the outer hem wider for a thinner facing that meets the back neck collar seam rather than hanging over it.  The recommended button placement was weird – the top button makes for a very chokingly high necked blouse while the bottom button ends right at the waistline making it hard to tuck in without looking like you have a majorly protruding belly button.  I lowered the top button by over an inch and raised the bottom one by ½ inch (could have brought it up even more) with the middle one coming in between the two.  Finally, I added a snap closure to close the blouse between the last third button and the hem.  This below the waist snap is something I always see in vintage patterns, and it helps keep my blouses closed nicely so I added it here even though it wasn’t in the instructions I saw.  Most of these recommendations I also made to my second, sequel version of this pattern – my silk orange Agent Carter blouse, posted here.

The length of the sleeve hems is something I see frequently “misunderstood” when I see versions of this pattern sewn up.  Looking at the original pattern piece, the extra length to the sleeves might appear as a ¾ length sleeve.  I installed my sleeve unhemmed to see for myself, and yes, it turns out as long as a ¾ sleeve.  I did not like this look in the least on my blouse, nor did the sleeves strike me as having the right shaping to give elbow room to be a ¾ sleeve.  Even if you do the instructed 5 something inch hem this makes the sleeve above elbow length, just like what you see on the silky red version on the model images on Simplicity’s site.  If you look at the original old pattern’s cover, the sleeves are meant to be cuffed, and honestly I think a shorter, mid-bicep sleeve looks better with this blouse, anyway.  It takes a lot of extra fabric to give room for cuffs, and I find it so weird, confusing and misleading that the line drawings and made-up versions to this pattern seems to inexplicably “forget” to show sleeve cuffs, throwing many sewers off with this pattern.

If the versions of this blouse that I am seeing are longer sleeved because they are intended to be so, because they like them that way, then that is another story and all fine and good.  But it sure seems the sleeves are this way because of a glitch on Simplicity’s part, since the pattern works out just fine being cuffed without making any changes.  I am wondering how many don’t see the sleeves were originally meant to be cuffed, and they don’t realize that in the extra hem length as the pattern intends all because Simplicity “forgot” about it in their modern make-up.  Every little detail matters when it comes to vintage – that is what makes it so loved, so likable, so unique, and so timelessly wearable.

Speaking of the sleeve cuffs, since I had made these pants before, and they fit me out of the envelope with no changes needed, I was comfy with the assurance of a good finished pair of pants and therefore played around with the long hem to add cuffs at the hem.  Each is cuff is tacked down in four places – one at each side seam, and one at the center fronts and backs.  This is what I did for the cuffs of my blouse sleeves, as well.  Cuffs are somewhat confusing because you have to over account for the extra fabric, but as I had my previous pair of pants to measure from and I had just done the cuffs on my blouse, I felt more to grips with making cuffs on my pants.  I think I would have preferred the cuffs to be a bit wider, now that I look at them, but I feel like they match the blouse this way, add a touch of masculinity, and bring my WWII era pattern up to date with the freedom from rationing that would have been the case with a 1948 outfit.

For these pictures, I had a good taste of how Bernard could easily have been a bothersome handful which was his reputation when we visited the flamingo pond in our town’s zoo.  I was a yard or so away from a flamingo fight and they were totally unafraid of people.  For all their socialness in the pond, they can really get into things with each other!  Their noise quickly turned into a harsh and grating ruckus, and the two fighters walked away with a pride that was really laughable for their movements.  Bernard the pet had no intentions of acting like a pet in the least if he was anything like the flamingos I saw!

In ancient culture, flamingos represent a calming confidence.  It can also stand for femininity and a firm outspoken attitude.  Combine all of these together and there is one awesome combo to stand for an interesting creature.  The wild, unpredictable brashness of the flamingo was sort of a running joke and source of humor to the creators of Marvel’s Agent Carter, some of whom I hear were pecked at and chased down by Bernard off set.  A trio of Agent Carter ladies had show-girl style flamingo inspired outfits for the song and dance sequence in the beginning of the 9th episode, and from what I have seen on the social media sites of some of the actors/actresses, but especially the costume designer Gigi Melton, anything flamingo related (brooches, novelty fabric, fan art) is appreciated.  So – this outfit is to all of that quality entertainment, killer vintage style, and much-needed inspiring characters which is Agent Carter.

You will be seeing my pants making recurring comebacks to match with some of my future to-be-posted blouses.  Other than that, don’t fall over when you try to stand like a flamingo, and I will be back at home to share something closer to my winter clime when I give you my next post.  Here’s to happy sewing everyone!

“Retro Forward” Burda Style – ‘The Starry Night in the Day’ 1957 Casual Set

Picture a breathtaking scene of a pastel colored, dramatic sunrise, eclipsing a lovely clear night sky setting of stellar sparkling in lieu of the light of day.  Such a sight is sadly not to be seen most mornings.  I see such a sight sometimes in our winter season if I suffer through the misery of waking up extra early and bundling up to brave the elements.  Now, I can at least wear a vintage-inspired set that calls such a display to mind for me!  To me, it has all the elements of one of my favorite paintings…”The Starry Night”, painted by Vincent Van Gogh in 1889.  With a richly cobalt textured “sky” behind me, and colorful, swirling bursts of movement above a creamy pastel palate below, this Burda outfit is a means for me to wear art in my everyday life.  Sewing can be an art form in itself, anyway.

My first, real, riveting fascination with this piece from Van Gogh was through “The Christmas Wish” episode of the infant videos, “Baby Einstein”.  When our son was one year old in 2013, we were given a handful of “Baby Einstein” DVD’s, and he would be just as relaxed and mesmerized as I was watching them.  They would show details of “The Starry Night” by Van Gogh along to the music of “Für Elise” by Ludwig van Beethoven.  This combo of picture and music has henceforth been intertwined in my mind, which associates both with something lovely which puts me in a happy place.  This is partly why it seems so very fitting for me to take an old maternity tunic, and turn it into something which completes this artwork inspired outfit.  My second and strongly passionate reason for saving my old maternity tunic is also the fact it is an old “Made in the U.S.A” garment, besides the wonderful feel and print of the fabric.

Just as Van Gogh conveyed the sky abstractedly in his own personal way, I too probably see the world of clothing differently (I’m sure) than others.  In my opinion this is due in no small part to my ability to sew and my studyies on history.  In a sea of grey, black, browns, and whatever colors are popular with the dye lots for RTW any given year, I enjoy choosing a variety of colors.  The world around us is full of color and beauty, and we all have our own individual beauty and personalities, so why not give that awesomeness it’s just manifestation through what we are wearing?!  I wanted new skinny pants that were not another dark color – and how could such a lovely color not make me happy (especially with matching footwear)!  The shop that my pants’ twill came from as a stunning variety of incredible colors, so why not pick some out for yourself and make something special that’s all “you”, like I did here!   

Funny thing is, it seems as if the Versace line and I were of the same mind (though I made mine first)!  Check out how scarily similar this outfit is from their Spring/Summer 2018 ready-to-wear collection!  Look – it’s the same high-waisted, figure-hugging styled bottoms, in the same orchid-toned purplish pink…with matching shoes, too!  In honor of the 20th anniversary since Versace’s murder, his sister has brought back a style for next year that commemorates both the styles of the 90’s and influential celebrities who were his friends.

However alike, my trousers are actually sewn using a true vintage 1957 release from Burda Style, while my top is only very vintage inspired.  (I do see a slight 50’s air in a number of Versace’s items.)  I’d like to think vintage offerings that come from modern patterns definitely help past eras transcend time to meld perfectly into contemporary wearing.  Burda Style especially does a good job at “updating” the image of vintage re-leases!  Designers’ rehashing the details and trends from the past also creates a whole new appeal, too, whether people recognize it or not.  What goes around comes around is certainly true in fashion.

THE FACTS:

FABRIC:   Pants: 100% cotton twill, in 7 oz. weight with a brushed finish on the ‘right’ side, bought from “ebpfabric” on Ebay (here is the listing); Top: a 63% polyester, 32% rayon, 5% spandex jersey knit refashioned from an old maternity tunic of mine.  Some polyester jersey knit scraps leftover from this last Burda make went towards the facing for the neckline

PATTERNS:  Burda Style’s “High Waisted Trousers” #129, from April 2015 with Burda Style’s “Princess Seam Boatneck Top” #104, from February 2014

NOTIONS:  I needed to buy the zipper for the pants, but otherwise the elastic, thread, bias tape, and small finishing notions were all on hand for everything else.

TIME TO COMPLETE:  The pants took over 20 hours – I stopped counting after that amount!  They were finished on May 31, 2017.  The top took maybe 3 hours to make after maybe 3 hours of decision making about how and where to cut it out!  It was sewn in one afternoon, on June 13, 2017.

THE INSIDES:  Pretty nice!  The pants have every seam edge individually covered in bias tape, while the blouse’s insides still have some of the original serging (overlocking), but the rest are merely double stitched over.

TOTAL COST:  I am counting the top as free because it originally came from a thrift shop, probably for a few dollars, almost 6 years back now.  The pants cost me just under $15 for both material and zipper.  That total is probably just as much as I would pay for the cheapest pair of RTW skinny jeans, so I’m counting that price as an awesome deal for the fit, quality, and fulfillment of personal taste that has went into my pair.

I will say first off before any nitty gritty construction details that I absolutely LOVE both of these pieces.  These two projects might be the most versatile and my favorite Burda Style makes in a while.  The fabrics are first rate quality, and the designs of the patterns something not too readily found in RTW.  That said, they were challenging to make.  The top tested my mind trying to fit in the pattern pieces on the existing garment, while the pants were horribly drafted (for me at least), requiring some pretty tiring fitting.

Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced from the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t.

I’ll start with the bottoms.  I must say they do run short.  I cut them the given length of the pattern, and I really didn’t have any room for a hem besides a slight bias fold in for them to come to my ankles.  This was the perfect length, but I wouldn’t have liked it any shorter.  I’m about 5 foot 3 inches height so anyone taller than that, figure in to make the hem longer.

As I wanted a perfect body fit and ultimate practicality for the pants, I simplified the design just to the bare bones.  A summary of my changes are no in-seam side pockets, no ankle zippers, no fancy waist facing, and a zipper right where I can see it…in front.  For my next pair of pants from this pattern, I think I will draft a conventional zipper fly, but for this first pink pair they have an invisible zipper up the front to make them easy (versus up the center back as the pattern suggests – how awkward).  To support the top of that zipper, inside at the top there is a small strip of cotton velvet ribbon (for softness!) to act like a tab placket, with a waistband hook-and-eye to close the waist.  The waistband itself was made by stretching a strip of ¾ inch elastic down to the top edge, then folding it in twice and stitching that down for a wonderful body hugging, but stretchably comfortable and smooth-waisted option.

Go ahead and call me “granny pants” because these are wayyyy high up on my torso!  I like them that way.  Come on, ladies, honestly – I’ve heard the truth from many women I’ve talked to in in town who’ve told me they like my pants.  Nobody really likes to spend their entire day picking up their drawers every time they move or bend!  I know I don’t like the feel that my clothes are falling off of me.  With high-waisted pants, there is no awkward bulge in the wrong place (muffin-top, anyone?) just smooth waist and hip complimenting.

Hips are an excellent pivot point in women’s garment design and the decade of the 1950’s used that point to perfection – that wide spot we all love to hate comes in handy when you think of it as an anchor point.  A garment with a central mainstay above hips will stay in place…on ‘em, style has more of ‘sliding’ effect without the right styling.  Now granted, if you want something that sits at the hip, that’s fine too.  I wore everything at my hips as a teenager and still wear hip-hugging pajama bottoms.  I just think store offered RTW generally doesn’t offer much that will be most complimentary to an individual figure when it comes to a variety of pants’ fit, at least not like something made for oneself.  Only you know your body the best, and embrace that in whatever you feel makes you the best.  I like to go with my hourglass shape, and let my hips and high true-waist anchor my pants on my body, whatever the negative connotation for this fashion.

Keep in mind the fabric I used for my pants are non-stretchy – the twill material has little to no give like a knit might.  A really good, sturdy, quality twill that feels and performs like a denim that will hold its shape is what I wanted and used – especially since a material like this is impossible to come by in any in town store.  A non-stretchy woven is what the pattern called for anyway.  I can definitely see this pants pattern being much easier to make in a knit and turning out fabulously, so there’s a lot of versatility here.

The real secret to my fitting technique was to sew the center front (with the zipper) and the center back seams, then turn the pants inside out and have the side seams and inner leg seams pinned to fit around me.  This was a bit more challenging than it had to be because I was working on it by myself, but I really think this is the easiest, quickest, least painful way to get a body fit.  It would definitely be even easier with someone else’s assistance.  Once a good fit is pinned into place I marked the seam lines on both sides with water soluble disappearing ink pen, following that line for my stitching and washing it away afterwards.

As my fabric has no stretchy ‘forgiveness’, just to be on the safe side in the unforeseen chance that my body changes and I need to refit these trousers, I left a wide seam allowance…not a whole lot, but 5/8 to ¾ inches along the sides and inseam.  The thick denim would feel and fit a tad better I believe without the wide seam allowances, but having the possibility to keep what I made (and love as a wardrobe staple) for the long-term is something more important to me.

Speaking of items that endure from one’s wardrobe, I’ll move on to the top re-fashion.  My first step was to cut off the elastic empire waist for the tunic.  The body of the tunic became the bodice for my new top while the bust and sleeve sections managed to also be the new top’s sleeves.  Only because of the skinny princess seamed panels was this able to be fit in on what I had.  I did have to shorten the length of the hemline by two inches, but luckily that was the only way I had to “give in” and make a change for this re-fashion to work.  I like a shortened length anyway!  Too much fabric in the body might distract from the lovely off-shoulder sleeves.

The sleeves are really made of interesting pattern pieces of small rectangles curved dramatically on one side…and it turns out just wonderful!  I can completely adjust where I want the sleeves to sit on me for a slight change of look – I can pull them completely off the shoulder, or pull ‘em up like “normal” sleeves, but where they naturally sit on me is right over the angle where my shoulder ends and my arm begins.  Now, the back neckline did turn out a tad generous and it sometimes looks like a draped neck, but I’m okay with that.  The one major caveat is that strapless lingerie or a bandeau bra is needed with this style.

Both of these pieces can be similarly found in vintage patterns and some vintage reproduction garments, which why this is included as part of my ongoing “Retro Forward with Burda Style” post series.  The pants are already vintage from 1957, I know, but I’ve seen several patterns that remind me of their same style (see McCall’s #9221 from 1952 and McCall’s 4024 from 1957) so I just had to share!  In fact here is an interesting article to read, making me think that my pink trousers are technically “cigarette pants” or “stovepipe pants”.  The blouse seems to be a recurring style in the decade of the 50’s except they seem to call it, “a scoop neck, with cap sleeves set into armholes”.  See Vogue 8100 from year 1953, Vogue 9643 year 1958, an unidentified 50’s playsuit pattern, and “Unique Vintage” company’s 1950’s Marilyn top in either plus size or misses size for a few examples.

Ever since the most recent total solar eclipse several months ago (we were in the path of totality), I can actually look at this set’s inspiration in a whole new ‘light’!  That afternoon for us was truly a starry night in the daytime!  On a factual level, did you know Van Gogh actually painted “The Starry Night” from mental picture, as it was done during the day?  So my title is right on!  Do you have any artwork related creations!

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“Bright Confetti” Burda’s 1960 Suit Dress

Re-prints of vintage patterns are happily available everywhere nowadays.  Vintage re-released offerings from Burda are fewer than other pattern companies, and they are frequently quite challenging but awesome styles!

My Easter dress this year was one of Burda Style’s re-prints that have been out for a while now.  Ever since I dove into Burda patterns in 2013, this pattern has been one I’ve been wanting to sew – now I finally have made it, and I love it.  It has Paris-influenced details and a style that is put together yet deceptively easy to wear.  This is a year 1960 design of a suit jacket and pencil skirt in the form of a one piece dress…made boldly bright and cheery by using a fun bouclé that happens to remind me of confetti.  Confetti for Easter?  Why not celebrate!

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This makes project number two for the Easter Spring Dress Sewalong 2017.  However, for EasterSpringDress Sew Along Badge 2017those of you that follow my blog, you might have seen I have a ‘tradition’ for the Easter outfit I sew for myself each year.  I think it is an interesting challenge, but I know it probably just sounds weird and even quite quirky.  Starting with my 1929 Vionnet-style dress in 2013, I have been going up in decades (closer to modern times) for each successive year’s Easter dress.  For 2014, I made a silk 1935 dress with a matching slip, for 2015 I sewed a 1944 rayon dress, and then in 2016 I made a 1954 shantung dress and reversible jacket.  Whew!  This ‘tradition’ did make it a bit easier for me to choose what 2017’s outfit would be – a definite 60’s garment.  I blew away a whole lot of things I’ve been waiting to ‘check off’ on my sewing ‘bucket list’ by making this particular Burda Style 1960 garment, though.  It’s from a year which I have not yet sewn from, it is made of a pattern (and fabric) I have long been wanting to use, and it’s a one piece dress to make things relatively easy on myself this year.  Our church’s 1960 era Mid-Century Modern architecture matched perfectly with my outfit anyways!  Here’s to a doubtful but hopeful plan that I might actually find a dressy outfit from the 1970s which strikes my fancy so I can keep my Easter sewing ‘tradition’ going.

THE FACTS:Vintage Bouclé Dress 12-2012 #141

FABRIC:  an acrylic, polyester, ribbon blend novelty boucle lined on a sheer, lime green chiffon with bright pink cotton broadcloth for the facings

PATTERN:  Burda Style #141, released 12/2012, “Vintage Bouclé Dress”

NOTIONS:  Thread, bias tape, interfacing, a zipper, a button, and shoulder pads was what I needed – all of this was on hand already.  The single fake closure button on the dress front is from the stash I inherited from hubby’s Grandmother.

TIME TO COMPLETE:  This was finished on April 12, 2017, after about 20 (maybe more) hours to complete.

THE INSIDES:  This fabric shredded and un-raveled like a sewist’s nightmare!  Thus, all the seams are bias bound.

TOTAL COST:  Ah, here’s the sweet part!  The bouclé was bought when a Hancock Fabrics store was closing in 2015, and so I bought several yards of this for just under $2 a yard.  The lining was recently bought at my local Jo Ann’s Fabric Store on clearance for about $5 a yard.  Put all of that together and this dress cost about $15.  Awesome!  I do have one yard of the confetti bouclé leftover, so unless I share it or ‘donate’ it towards one of the projects of others I know who sew, you’ll probably see this again. 

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So much about this outfit screams Coco Chanel to me.  I mean, my ensemble is primarily pink (even my shoes), the fabric is a tweed-like bouclé, it’s a suit with fringed hems, and the Burda magazine summary says this dress has a French couture influence.  How much more Chanel can one get!  (If you’d like more Chanel pink inspiration through the decades, please visit my dedicated Pinterest page.)  In my own country, the famous first lady Jackie Kennedy wore a Chanel pink suit for one of the most iconic moments in Presidential history, 1963.  I did find that this particular waist tab styling isn’t really new, though, it can be seen in earlier decades looking at both the cover of Butterick #4022, year 1947, and a 1956 photo of Ghislaine Arsac.

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Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced off of the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t know.

I found this pattern’s sizing to run on the large size, but perhaps this is because of the weight of material I used.  This confetti color bouclé does not hold its own shape or keep its own body.  A fabric that does both of those things would be the best way to really achieve the right fit and fake bolero appearance.  I know the pattern’s fabric recommendations say the same thing.  I’ll admit I often disregard such guidelines only to end up with a great finished garment, but they are really is important here.  Otherwise this dress is a more of a trick to make than it has to be.  Perhaps a boiled wool (lined, of course) or a suiting blend, might be ideal…however, the fabric recommendations also ask for a fabric which can fray easily.  As of yet, I don’t understand what would be a fabric that is the best of both worlds.  As long as I made it work to sew this pattern out of my lovely novelty suiting, all is well.  You see, I had been saving this up specifically to make a suit dress from the minute I laid eyes on this in the fabric store.  Some pattern and fabric pairings are just meant to be, like a match made in heaven.

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Of all the features, the front fake bolero ‘closure’ at the waist takes the cake to this design.  It is neat, but was so tricky to figure out and actually get it to appear as a bolero.  I whizzed through the rest of the dress, otherwise, but the front probably took up half or 1/3 of the total time spent.  What was really hanging me up was where to snip and what to do with the ends of the pleats which come into the dress from the front waist tabs.  As I figured out, they get tucked into the facings of the tabs, pulled down (more or less) on each side of the tabs.  I would have taken a picture of what I was doing at this step, but unless you make this dress, it’d look like mumbo-jumbo to show you.  Nevertheless, once I had the front mock closure reasonably correct, I further figured out that the real trick is to pull up the 2 inch wide seam allowance to the front waist and connect it to the top of the tab facings.  This way the bodice sort of overhangs onto the skirt, creating the appearance that there is a jacket over a skirt.  Only when I turn to the side or the back then someone might go, “…wait, what?”  What a tricky deceiver!

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The back part to this dress is very basic to vintage 50’s and 60’s patterns, and even modern ones for that matter, but I find it to be shaped very well.  It is common for me to adjust the darts to these type of dress backs.  I almost always need to fix the bootie and/or the shoulder points of the darts…but not this time.  This was quite a relieving change.  As I said above, the pattern runs a bit generous so perhaps this was the reason for my vacation from fitting adjustments.

There were a handful of relatively small changes I made to the design and/or layout.  I straightened out the skirt side seams – originally they tapered into the knee for something like a wiggle silhouette.  No, thanks!  Rather than a slit in the back of the skirt I made the classic kick pleat vent.  I raised the shoulder seam on the bodice (making DSC_0132a-comp,wroom for shoulder pads) and added in 5/8 inch to the sleeve/dress armsyce at the armpit point so I would have “reach room”.  I also cut the sleeves on the bias for more interest in the directional bouclé and for more “reach room”.  The sleeve length turned out quite long (as in bracelet length) so I shortened them by one inch.  Just to be on the safe side, I added in an extra inch to the length of the hem of the skirt bottom.  I did not do a separate lining for the entire inside, but cut out full pieces (except for the skirt front, which is its own piece) to back the bouclé and be sewn into the dress as a whole.  Finally, rather than cutting strips of fabric, shredding them, and finishing off the edges for the sleeve hem and neck, I merely used the fancy selvedge to the fabric.  It worked perfectly to use to selvedge, and I think it looks better and is more stable than using frayed fabric strips.  I only put the frilly edging on the sleeve and neck (not on the skirt) because (again) I was trying to keep up the whole mock jacket appearance.DSC_0110-comp,w

Oddly, what most impresses me is something you’d never see unless you make this dress or wear it for yourself – the inner lining.  The lining skirt has four darts and is significantly smaller than the fashion fabric skirt with its two box pleats.  This design ingeniously keeps the box pleats loose enough to keep a lovely loose shape.  It’s just like the 1950s and 60’s to have this ingenious fitting technique that’s so understated and disguised.  There is so much more than meets the eye to vintage patterns, and as long as a re-issue is decently ‘true’ to its original design, then more amazing techniques can be done by others to sew one’s very own special design, too.

DSC_0120a-comp,wThe difficult but successful process of making yet another Burda vintage re-print has given me a very comfy and cheery dress that I am just plain happy wearing.  With my adjustments, I am not confined at all in this dress so I can walk and bend fully (to find those hidden Easter eggs).  The design makes me put together with one pull of the back zip (so simple).  Finally, the fabric is a lovely standout mix of colors (just like how spring is to the floral world).  So many times, being in a suit dress doesn’t mean all of those things.  Until I started sewing my own garments did I realize you can have the best of both worlds, if you plan a sewing project just right.  In Vogue magazine for February 15, 1954, page 84, Chanel was quoted as saying, “A dress isn’t right if it is uncomfortable…A sleeve isn’t right unless the arm moves easily. Elegance in clothes means freedom to move freely.”  I like that.  Easter is a time to celebrate and appreciate family, nature, and blessings, among so many other things, and I didn’t want what I was wearing to get in way of doing all the ‘good stuff’ to do.  Another Easter might have come and gone, but now I’ve got memories leftover as well as a great dress to wear again and again.  I hope you, too, had a wonderful holiday!