“Iris Garden” Burda Style Dress

Like a garden that emerges from its winter slumber to become a lovely surprise, this dress also took a different direction from what I originally planned but turned out nice in the end.  I feel like I’m wearing the season of spring with my dress…if that is remotely possible.

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I originally hoped to make a new Burda pattern into an art dress, one that would remind someone of a stained glass window.  However, to make the garment aesthetically uniform and complementary for my taste I had to combine two patterns to give the dress a new bodice and finish it as you see it. I am still a bit disappointed to not be able to make an idea that I had in my mind, but I’ll still try to scratch that itch.

As for this dress…well, all’s well that ends well, I suppose.  My hubby calls the dress ‘cute’ or ‘sweet’, and it is so comfy with my favorite colors I will admit.  Also, iris flowers are in my “favorites” list of botanicals since they are akin to the fleur-did-lis and King St. Louis IX, patron of our town.  I personally find it just mediocre and rather un-exciting as compared to other projects, nor does it come at all close to the avant-garde design I had planned.  However, I do love a dress that appears quite nice but actually feels on myself like a lazy day Saturday garment…this is that kind of dress.  Can’t beat that!

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I do have a really interesting bodice left over to work with and I could use your help and input as to what to do with it (you’ll see it further down and I’ll still give it a full review).  Please let me know what you think!

THE FACTS:

FABRIC:  The trio of solid colors in the original but unused bodice are all cotton sateen.  The bottom skirt half is a quilter’s cotton, “Deco Delight” “Iris garden” designed by “Fabric Freedom” in London, England.  The current dress bodice is a cotton knit with a slight pebbled silver sheen printed on the good side (leftover from my camouflage knit dress).  The facing for the neckline of the current bodice is from a scrap piece of polyester crepe back satin in light pink, also.

A-Line Cocktail Dress 03-2016 #122NOTIONS:  I had the seam tape, piping, lining, a 9 inch zipper, and thread needed on hand already.  I just had to go out to buy an extra pack of piping.

PATTERNS:  Burda Style’s ‘A-Line Cocktail Dress’ #122, from 03/2016, found online or in the monthly magazine, and Burda Style #7301, a paper tactile pattern (not online)Burda Style 7301, vintage style dress with arched neckline

TIME TO COMPLETE:  The original piped bodice took me about 5 hours, while the skirt took maybe 2 hours, and the new knit bodice took me about an hour and a half.

THE INSIDES:  I kept things simple for the inside and its finishing.  Everything is double stitched but left with raw edges.

TOTAL COST:  The “Deco Delight” fabric was a special order off of the internet and 2 ½ yards cost me about $30 (yikes!).  As my chosen Tiffany print fabric is from England, I had a hard time finding an American seller…this is reason for the higher price.  The pink knit was from my scrap bin, and the sateen fabrics were all on hand already, bought to be made into other projects, so I just cut small bits from those bolts for my Tiffany Art dress.  Thus they cost pittance in the scheme of things.  So I guess my dress cost me about $35.00.

As for any Burda Style pattern from online or out of a magazine, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My “Cocktail Dress” #122 pattern was traced out from the insert sheet of the magazine issue using a roll of medical paper but you can also buy it, download it, and print it out from Burda Style’s online store.  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.  Now, none of this is needed with a paper tactile pattern (which is sold through Simplicity, I believe) – all seam allowances are included and it’s a regular conventional pattern (to me in America) except for the European sizing.

This dress’ original pattern has good points to its style but the fitting definitely has fair share of problems, too.  Firstly, I found the bodice design just lovely but so sadly lacking in the proper curving in the right places.  The outward curve isn’t nearly properly generous DSC_0337a-compenough for the bust, while (without adjustments) there is an awkward pucker on the upper chest.  It’s like the bust went into the wrong place – even I know it’s not parallel with the chest just below the collarbone.  As you can see in my picture, starting at 4 ½ inches down, I had to unpick to straighten out the curve ¼ inch in to eliminate the pucker.  Also, I had to add in darts to the top back bodice (close to the neck) and the side bust (by the front underarm).  The back neck darts are about ½ inch by 4 inches long while the bust darts are about 5/8 inch by 3 inches in.  These darts do make it a bit more of a snug fit, and it’s already a tad snug for I think the bodice runs small, but a least it’s a tailored fit now.  For the good points, the skirt is quick and straightforward.  Although the bodice isn’t hard to sew besides the bothersome fitting, the skirt portion is easy and fits well with the sizing DSC_0433-compright on.  I made the skirts’ front box pleat fold a bit crisper by finishing off the bottom hem before adding in the insert, and hemming the pleat insert separately before sewing it into the rest of the skirt.  There’s no continuous horizontal seam to interfere with the vertical seams of the box pleat the way I did it, but it doesn’t have to be done this way.

I am tickled by the way the skirt holds a surprise in its design with the center front box pleat.  When I’m just standing you’d never guess the box pleat would be there, the skirt appears to be knife pleated with a bell-flared silhouette.  Then, all of a sudden if I move or kick up high – surprise, there’s more fabric to come out of it’s hiding like the magic skirt that never stops expanding.

One Burda pattern went towards fixing another Burda pattern!  The “Cocktail Dress” is an odd mix, I should have seen this misfit coming but the lovely solid color of the model dress deceived me.  The bodice is overly modern and dramatic (especially the way I made it) and the skirt is more classic with enough going on too, but in a separate more feminine theme especially with my floral printed cotton. The replacement bodice from the Burda paper pattern was so super easy with sizing right on and lovely details.

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I personally think this bodice is the correct pairing for the skirt and does wonders to the silhouette.  I went back to what I know about creating a visual deception of wide shoulders of the 1940’s and 1950’s to balance out a pleated or full skirt.  Thus I knew I needed a pattern with a wide neck, preferably simple, to complement the skirt and slim the waist…thus I went for a kimono sleeve bodice with a sweet neckline arch that reminds me of the femininity of the overall dress.  The only adaptation I did to accommodating adding this bodice to my existing skirt was to extend the bottom by and inch so the dress’ horizontal center would fall at a high waist rather than an empire height.  Now, I have a dress which visually takes off pounds from my figure – yay!DSC_0455-comp

Besides switching bodices, the zipper closure was moved to the side underarm, rather than having it down the center back.  This side zipper placement didn’t mar my plan of adding in piping to the bodice seams, but as that bodice wasn’t used it made for a nice clean garment design keeping the zipper on the side.  I also didn’t line the bodice – either of them.  I did not want to restrict what stretch I had in the sateen of the piped bodice – and besides, I do not know exactly what to do with it yet anyway.  The pink knit bodice needed to be lightweight and thin so as to give let the bottom skirt half give it the right pull from below to hang right and stay in place on my shoulders.

Now what do I do with the piped tri-colored bodice?  As you see it, the edges are currently unfinished and there is no proper closure.  I really do like it, I spent enough time to make it and finally got it to fit me just right I want to do something interesting with it.  The bodice almost reminds me of a swim top or cropped sports tank the way it is like a second skin and has the streamlined contouring design.

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Do I just keep it has a separate crop top to pair with whatever for the bottoms?  Should I add in a short separating side zip or just have hook and eyes?  What bottoms will go with this – a high-waisted skinny pencil skirt (like Butterick 6326) or shorts or what else?  Do I turn the top into the bodice for a dress (and what kind of dress) or maybe a jumpsuit?  I know I’ll figure these queries out but I can’t put a finger on the right idea yet, so I’d be grateful if you can help me by sharing your ideas and thoughts.

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A Shapely 1962 Sundress

Out of all the fashions, styles, and decades of clothing which I sew, I can only go for so long before the need to make something from the 1960’s makes itself manifest. I do love making and wearing the 1960’s style, and am always so impressed with the patterns and clothes I make with patterns from that decade. Personally, in those patterns I find the styling lines so interesting to the point of impressive and notice the fit from the 60’s to be either difficult or spot on. This unique sundress is one of the best examples of a 60’s – a superbly complimentary fit combined with an unexpectedly rich floral print. This is by far my favorite make for this years’ summer.

100_5595ab-compTHE FACTS:

FABRIC:  a 100% cotton, bought from the quilting section of Hancock Fabrics. The cotton print had the label “Eclectic Elements by Tim Holtz – 2014 Bouquet“ on the selvedge. It is a multi-layered, off-inked mix of flowers – roses, hydrangeas, lilacs, and peonies – in soft but strong colors. The straps are a poly/cotton linen-look fabric, leftover from making my 1931 day dress (see post for that here).100_5653a-comp

NOTIONS:  I only bought a pack of piping. The zipper, thread, bias tape, and a hook-and-eye (for the top zipper closure) were all on hand already.

PATTERN:  McCall’s 6261, year 1962, an “Easy-to-Sew” pattern

TIME TO COMPLETE:  The dress was finished on July 8, 2015, after maybe 15 to 20 hours from start to finish.

THE INSIDES:  Inside, almost every exposed seam is a French seam – just how I like them! Seams that aren’t French are the hems, the neckline (because it’s covered by facing), and the long vertical seam with the piping, which is covered with bias tape.

100_5655-compTOTAL COST:  My total for the fabric on sale and one pack of piping is about $15 to $20.

I love the way the floral print could be uber-feminine to the point of being overwhelming, but this is prevented and softened by being blurred slightly and muted in colors, especially with the contrast dusty olive green of the straps and piping. This is fabric caught my eye as a very close similarity to the dress of the left model on the pattern envelope cover drawing. So, I went along with sewing my look-alike and also picked the same contrast, happy to have an opportunity to use up scraps from my “leftovers” stash. When I use scraps from one project and incorporate them into other projects, I feel like I’m intertwining all my creations, giving them a subtle ‘common ground’. Most of the time, I shy away from copying envelope front model pictures or drawings, after seeing how modern patterns have the worst cover examples of any patterns. However, the vintage pattern’s drawing cover can be so cute and appealing, and I get so tickled when I am able to find a modern look-alike fabric for a vintage one. So, I guess I’m guilty of a lapse in creativity by being a ‘cover copy-cat’, but at least I know then that it’s a true vintage design.

100_5617a-compThere are two bodice options to this pattern – a regular “on the fold” cut bodice, in cut one piece with darts, or an asymmetrical, mock-wrap, princess-seamed bodice, cut in two parts. I chose the two part bodice as it is more unique, offered more interesting creative possibilities, and (as I correctly thought) seemed to have more amazing shaping.

100_5611a-compThe construction steps were adapted and varied a bit from the instruction sheet in order to accommodate adding in the piping trim all the way down the front asymmetric side seam. I did the darts first, of course, but then I sewed the bodice pieces to the skirt pieces and left the top edge facing for last. There was a bit of forethought needed to sew the two different top pieces to the skirt sections and not be totally confused. To understand what I mean here, know that both the front and the back skirt bottom to the dress are made of three sections (six sections in total). Thus, I had to sew both the middle and the left skirt pieces together to attach to the left bodice panel, but the skinny right bodice panel was sewn to a single right panel. The back bodice is one piece, sewn to all three of the back skirt sections joined together. The piping was then sewn in with the asymmetric vertical seam connecting the entire (bodice and skirt) left/center front to the entire right front so the side seams could be stitched for a completed main dress body. Besides the construction order being changed so I could add in piping and a slight downgrade in size, nothing major was altered to the design of the dress according to the pattern.

After sewing my 1944 Easter dress together, I felt very confident and excited about working with piping again, but I did improve on my method of sewing it into a seam. For this project, instead of sandwiching the piping in with the seam and sewing everything all at once (as for the Easter dress), I first sewed down the piping to one side of the fabric at the given seam allowance width. This way the piping was in sturdily place and acting like a “curb” to my final seam with other fabric laid on top.

100_5657-compFor a while, I was on the fence as to whether or not to add piping to the top bodice edge. Hubby helped me reason that it would unify the piping down the front, finish off the edge, and make the green contrast standout more. Since the piping happened to luckily be the exact color match with the fabric for my shoulder straps, I might as well use more of it! With the piping added along the bodice edge, I did not iron or sew on any interfacing to the facing. The only drawback with the piping along the top edge is the fact that the chest size is set for the dress now…it’s not forgiving. My arm and chest muscles can’t get any bigger, but for now, the dress fits, and it’s my summer standby go-to outfit this year!

100_5604a-compIt was a bit a challenge when it came to adding in the side zipper, because all the curving and shaping was in the side seams, instead of in main body dress panels. This is a something I see in 50’s and 60’s patterns, whereas in most 1940’s patterns, which also often have multi-paneled skirts to dresses, the shaping is in the panels that are part of the main body of the garment. (See the patterns for my Mock-wrap ’46 dress and Winter Mint ’42 dress, for two examples for panel shaping, versus my ’50 wrap top or “Whiz-wrap” skirt, for two examples of side seam shaping.) The only main body shaping to my ’62 sundress was at the bust. Speaking of seams, I loved to see how the skirt panels coordinated with the darts for the bodice. Even the straps for the shoulder are sewn on at a vertical match with the bodice darts – what irony…beautiful symmetry paired with asymmetry!

100_5654a-compWould you believe the shoulder straps are actually shaped like a half circle? Check out the pattern back.  This is the ingenious way the pattern resolves design of the straps sewn so far over by the armpits. Usually with straps so far apart, they would slip off the shoulders, and that’s really not a problem on this ’62 dress since these straps deceive the eye and curve in towards the neck to stay put. Smart! I would never have guessed, nor did I think it would work myself, until actually wearing the dress as designed. Vintage patterns always have so much depth and interesting design to offer…more than what meets the eye on the envelope drawing!

Near our house was the perfect setting for an era-appropriate backdrop. There is nothing as appealing to me as an architecturally interesting building, especially one as much loved, well known and local as what people of our town know as the old Buder Branch Library building. (See the B.E.L.T blog page for a handful of links about this building.)  For many years it has been home to The Record Exchange store, which sells used vinyl records, cassettes, movies, and audio/visual equipment, so the whole retro-flashback feel is still alive in this amazing building. It was built in 1961, the year before the date of my dress, and I am always in awe of the graceful, standout Mid-Century Modern style of this building. Just like a well-made garment, the old Buder Branch Building is picturesque and beautiful from any and every angle it’s seen from.

In all, what you see in this post is my perfect warm weather fix…the 60’s era, a sundress, comfy cotton, complimentary shaping, and flowers – everything I love about summer! What can you sew to make your favorite season instantly better than ever?

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Me in front of my favorite summer blossom, the “snowball” bush.

1944, Piped, in Periwinkle…My Easter Dress!

Oh, and I can’t forget, there is another “P” to my dress – a pocket! Oh boy did I wear some rich and vibrant colors for Easter this year to brighten up my spring, although I had the new grass and magnolia trees for competition! Pop goes the Periwinkle…and the orange, and the white, and the fuchsia!

100_4877ab-compThere were a number of sewing “firsts” for me when making my Easter dress. I had fun with adding a “baker’s dozen” worth of vintage shell buttons all the long way down the front. To date in my sewing, this dress has the most buttons used and button holes made on a garment. My Easter dress also is my very first full button front dress. This was even my first try, and a successful one at that, doing piping to “accentuate the positive” to the pattern design, dating to 1944. 100_4895-comp

Three years ago, my Easter outfit was a design from the 20’s (my hankie-hem 1929 dress), and last year I made a dress from a 1935 pattern (posted here). This year I went for the 1940’s, because I wanted a decade succession up each year, and because of my excitement for the 40’s due to my “Agent Carter” sew along. By the way, I already have my 1950’s Easter outfit picked out for next year 🙂

THE FACTS:

FABRIC:  a 100% rayon challis, bought at Hancock Fabrics as one of their new spring offerings. It reminds me so much of the fabric drawn on the dress of the lady on the left of the pattern front.

NOTIONS:  I bought most of what was needed for this dress – fabric, thread, and the piping. The interfacing and the shoulder pads were on hand already.  The buttons came from hubby’s Grandmother’s stash, which I now have. They are slightly heavy carved shell buttons with a glazed shiny top.  

Easter dress pattern front-comp.jpegPATTERN:  McCall’s 5668, year 1944

TIME TO COMPLETE:  Not too long but longer than “normal” for me, maybe 20 hours. It was finished on March 31, 2015.

THE INSIDES:  So nice…I love them this way! On account of an addition which was purely my idea, the waist band is covered smoothly inside with a second waistband cut out made to be an inner “facing” piece. Every other seam, except for the hems of course, is in French seams. The extra time spent on these finishes is so worth it when you see the insides putting it on.

TOTAL COST:  about $12

As much as I like this dress as a project, I really still am not sure how much I like it actually on myself, but I think this is merely because it is a new style. I’m not accustomed to having my waist so accentuated (with the piping in the waistband), but you know your waist is traditionally regarded as one of your shape’s best assets. After all, there is the famous song “Ac-cen-tchu-ate the Positive” which was published and recorded in the same year as my dress – 1944. So, I might as well follow those words and highlight my shape and the pattern’s style in one move! 100_4885-comp

However much I like the dress on me, one of the major selling points to make this dress so very special is the fact that it is (as far as I know) my only local vintage pattern which has actually stayed in town the past 70 years. Through an old receipt found inside the envelope of pattern, I can see the original place of first purchase in town and narrow down the year of purchase by a note written on the back. Then I happened to find and buy it about 10 miles away from the store on the receipt…talk about localized! I can’t do this exact sourcing with any other pattern in my stock. Dissemination of patterns through online sellers, vendors, and such seem to me to make sure that many patterns do not stay where they came from. After having so much enjoyment finding this 1944 McCall #5668, I now feel that this fact is rather a sad necessity for getting old patterns bought and sold.

100_4879a-b-compHappily my research into the pattern’s history through the receipt helped me discover something new about my own city and about the turnaround of old patterns. At the top of the receipt, it is a little faded, but I can still read “Sears, Roebuck and Co. retail store, Grand Blvd. and Winnebago St.” My scan didn’t pick up as much as I can see on the real receipt. There is a date of “March 2” with no year. The total amount of purchase shown comes to $1.35. At first, I talked to my mom, because she grew up not too far from that area and her mom worked in retail department stores. She remembered going with her mom to this store, where some good memories were made. Then, I looked up on my favorite preservationist and architectural appreciation web sites for our town and found this page showing pictures of the building and telling the sad story of how the Art Deco building had been neglected, unwanted, and torn down years after its closing in 1993. Now that I could place the location and store this pattern came from, I assumed it was bought in the year of the pattern, 1944, until I saw a handwritten note of “McCalls P. no. 5948” on the receipt back.Sears store receipt - back & front-comp Now I have done the best internet searching I can do, and I find no records, no picture, or anything of a McCall pattern by that number. However, I do possess a pattern with a very close number, McCall #5946 (see the post of my “Daily Life Dress”), and this pattern is from the next year after my Easter dress, year 1945. This presents so many questions. Is it possible this 1944 McCall #5668 pattern was bought in 1945? Did patterns stay out for purchase years after release, or was this something that happened just during war-time due to the smaller amounts of available resources for consumers and companies alike? I know I’ve definitely noticed a boom in patterns and styles in the year 1946, so did some of these patterns which had been out to buy for most of the war get shelved at that time? What is this mystery pattern the purchaser wrote on the back of my receipt? I wonder. If anyone wants to join in with me and help me answer some of these questions, you’re most welcome.

100_4889-compNow that I’ve addressed the “travel history” of the pattern, I’ll tell you making the pattern for my Easter dress was really pretty easy, requiring no extremely complicated skills. I merely made things harder (but a lot nicer in the end) for myself by deciding to add in the piping and extra inside waist facing. The most time consuming parts were the ones you would expect – the French seams, the piping, and the buttons and their holes down the front. Also, interfacing was ironed onto the wrong side of the front waistband, the self-facing half of the fronts (bodice halves and skirt halves), and the back facing piece. This type of iron-on interfacing (done for my 1946 Yellow Knit Top) is tricky and time-consuming but it really helps get sharply turned edges on a material as drapey as rayon challis.

100_4890-compThe dress was made exactly according to the pattern, except for one fun personal change – the chest tucks at each side of the neckline are facing out, where you can notice them, rather than the conventional inward facing. This makes them more like pin tucks, and much more decorative, than regular tucks. I figured they would also complement the angles of the square neckline I chose. Wearing a square neckline is real pleasure, too – and a nice oddity in my wardrobe. It nicely frames the face, I think, making this dress, together with the bold, bright floral fabric, not a frock for the wallflower side of me.

The top half of the dress turned out more blouse-y and generous than I anticipated. Oh well, this gives me room to move my arms easily and wear some vintage figure enhancing lingerie. I did also sew in rounded, softened silhouette shoulder pads which fill in the dress’ top and nicely shapes the droopy fabric. At least, the bottom half of my dress turned out fitting snugly comfortable. I was afraid that the skirt section would be a close fit which would end up pulling at the buttons. Whenever I see this, I imagine a button popping out at me.

100_4919a-compNot too often do I have a larger lot of vintage buttons, and I was excited to be able to use 100_4917-compup a “baker’s dozen” of 13 shell buttons. They all are a little different in character, but that’s what makes them special. Button number 13 wasn’t actually needed by time I hemmed the dress, so it is sewn in to the bottom side seam as an extra “just-in-case” one. The waistband middle was way too thick for me to even remotely consider making a workable buttonhole there – it might break my precious special vintage “buttonholer” machine. So I just did a once around to make what looks like a buttonhole there and sewed the button directly down. There are double heavy-duty snaps to keep the waist band securely closed. When the dress is on me, no but you will know the difference.

100_4847-compThe piping really is the small addition to this dress’ design that makes the whole thing go up a notch in style. Why have a separate waistband designed in the dress and let it get lost in appearance?!? This was my first time sewing with piping, and I am relatively happy at how I did wedging it in the seams. I wasn’t sure how to even make it work, until I had the idea to use my invisible zipper foot on my 1970’s Brother sewing machine. I suppose using a zipper presser foot is a simple cheater’s way of doing something without an expensive specialty part, but, hey – it worked great! It took lots of pinning, measuring, and slow stitching to reach the point where I was happy with the piping…and I am my own worst100_4918-comp critic. I must admit I wasn’t 100% happy with the “Wrights brand” piping tape, but I don’t really know if there is any other option out there to buy. I’m not meaning to complain, for after all, all’s well that ends well, especially when the addition of piping helped my dress turn out better than I had hoped. As a last minute “after-everything-else-is-done” decision, there is also piping added along the top opening of the pocket. Otherwise the pocket would have been lost in the rest of the dress. Never underestimate the beauty and utility of having a pocket.

100_4892-compFor Easter, I totally splurged and chose my own gift to wear with my outfit – new shoes! I did not know until a few days before Easter if my dress would be done in time, and so I decided at the last moment to order my shoes from ModCloth. They are the “Say It with Sophistication Heel in Ivory”. The employee I spoke to on the phone was extremely kind and helpful, even giving me a free “rush” 2 day delivery upgrade on my order. I was so tickled! My shoes look so high heeled, but they are really the most comfortable heels I’ve worn in a long time. I love all of Chelsea Crew’s brand shoes and have several, but this pair is lovely – nice details and oh-so-very 1940’s. They are the perfect complement to my dress even though in reality they are a darker ivory color than I expected. I’ve seen old originals which look just like these…Chelsea Crew did a good job imitating those old beauties. By the way, the grass in our pictures really isn’t fake, just the first new grass of spring.1940's green snakeskin leather strap heels100_4900a-comp

Spring rains are necessary for such lovely grass but it made the ground mushy where I was posing. My heel sunk right into the ground and I totally felt stuck and frustrated. Pulling my heels out left me with a yucky plug of mud, ruining my “perfect Easter outfit” look. Nothing mars the prettiest Easter outfit like an ugly scowl as hubby caught in this picture. A passing man that was jogging on the trail behind me (which you can see his feet if you look by the tree) filled in the words for me, yelling out an exaggerated, “Eww, yuck!” It was quite embarrassing, funny, and totally memorable.

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