Conifer Night

Conifers are the mysterious ones among their fellow hard woods, the trees – they stand fully clothed when others go naked in hibernation.  They jealously kill the grass over their ‘feet’, have unfriendly prickles for ‘leaves’, and cast mellow, unholy shadows when they are planted in a huddle together.  Their perennial greenness is cheering, though – providing color and shelter outdoors in winter, the resiliency they represent ends up decorating our living quarters at the holidays!  Combining an overcast rainy evening with a patch of winter green becomes embodied together in this comfy set of viridescent and navy hues.

After my last 1940s suit from post WWII times, I’d like to share another focused on a slightly earlier time frame of the late 30’s to early 1940’s.  The now past holidays for all things green (St. Patrick’s day and Christmas) originally inspired me to keep to a certain color scheme linking each piece together.  This set is sans jacket, but at least it does have a statement hat!  This is also put together (like the last one I posted) with a mix of re-fashioning and sewing from scratch.  Just the same, it is also for winter, again composed of a span of years and fashion influences, and has a blouse pattern from 1941 as its common separate.  A vintage look, or a new outfit is only a re-fashion or a simple sewing project away!  This was relatively easy and fun to whip together, with only one pattern needed and lots of inspiration.  I do like to keep my styling connected to the past for the best practical glamor.

THE FACTS:

FABRIC:  a semi-sheer 30% silk/70% cotton blend for my blouse, a cotton flannel for my skirt, and a poly felt for my hat

PATTERN:  Simplicity #3714, year 1941, for the blouse.  The skirt was made with no pattern. The hat is loosely based off of Vogue #7464, view D

NOTIONS:  I bought the base for the hat at Wal-Mart (sounds weird, but I’ll explain down below), but everything else cane from my stash – the buttons are vintage “Schwanda” brand from the 1950s, the zipper is vintage (metal teeth), the wire for the hat came from hubby’s workbench, the interfacing was scraps on hand, and matching thread was already here.

TIME TO COMPLETE:  The blouse was made in about 15 hours and finished on December 18, 2017.  My skirt’s re-fashion took me about 6 hours, while I spent no more than 4 hours to make the hat – both finished only days before Christmas 2017.

THE INSIDES:  French seams for the blouse, bias finish for the skirt

TOTAL COST:  The hat cost me a total of $5; the blouse cost me $6 for two yards; I’m counting the skirt as free as it had been on hand for so long.  Thus my total outfit cost is under $12 – how awesome is that!

Although this is a winter outfit, these pieces are quite versatile on their own, especially the lovely blouse in its soft silk blend ordered direct from China!  The way silk breathes and adjusts to one’s body temperature makes it fabulous and perfect for any and every outdoor or indoor climate.  When combined with the easy care and softness qualities of cotton, it is such a winning blend (would be perfect for some heavenly bedsheets!).  This blouse can definitely be dressed up but also be quite casual, especially when used as a layering piece under a sweater.  Having semi-transparent sleeves keeps me covered in a very lightweight, yet dressy way that also both keeps me at a good temperature and are easy to roll up to short length for summer.  I am slightly obsessed with its creamy celery green color and loving what it does for my light olive skin tone.  This blouse is really the one new piece of my outfit that will be a dependable workhorse in my wardrobe, besides being the one linchpin which inspired the whole set’s idea.

The rest of my ensemble is from items on hand – even my true vintage gloves and earrings but especially in regards the skirt!  Originally, it was something I haven’t put on in years, though I did wear it many times when I was in my early to mid-teens.  I was more of a wall-flower then, not as comfortable in my skin, and was always cold in the winter.  If I went out in the cold, I liked my skirts long so I could wear boots and pants underneath, and I liked them basic because I probably preferred to keep my coat on (whether inside or out) and not be seen anyway.  The skirt was ankle length, A-line shape, with a wide elastic waistband and in-seam pockets on both sides.  Yet, it was not worn enough to pill up or look as well-loved as it was…prime for a refashion.  I know the skirt is definitely for cold temperatures being a flannel, yet it’s lightweight enough to not completely be a one season piece, either…which makes my sewing the most bang for the little time spent to freshen it up.  A good rich toned plaid is one of the many fabric weaknesses of mine, and perfect for the 1940s, so a basic WWII era skirt it was going to be so it could match with my silk-blend blouse.

The pattern for my blouse has been used twice already, for my basic brown version and my “Leave Her to Heaven” look-alike.  I have this pattern down pat, but I love it no less for being the third time around…it’s a winner.  However, I did decide to tweak it a bit.  I spread the fullness of the thick single shoulder darts into three tiny darts of descending lengths which get shorter as they get closer to the sleeve caps.  It is an understated detail that feels very feminine and tailored.  I also added a bit more length in the sleeves with a little more fullness.  The sleeves are single layer of fabric so they are slightly sheer and delicate, perfect for the puffier shape.  The main body of the blouse has been double layered so that it would be both opaque as well as darker in color.  Instead of cufflink holes, as I do on most of my dressy blouses, I chose some wonderful pastel flower shaped buttons from my Grandma’s stash.  They really emphasize the creamy, bright color of the fabric in a way that cheers me up in winter and makes it perfect for summer, too.

My skirt was a pretty basic re-fashion, all I was basically doing was reshaping it.  I cut off the elastic waist first (keeping the side pockets), then chopped of only enough from the long hem to make a new, wide, interfaced waistband.  However, I needed to tailor the waist before adding that waistband!  This was the tricky part, trying to figure out how to take the waist in and how much to bring in.  This step took way too long and caused a lot of unpicking.  I had plenty of other more interesting ideas (pleats, a placket) that I tried before I settled for the basic, darted straight line skirt style you see.  Just a simple hem made, the zipper and waistband set on and my refashion might not look that dramatically different from its the original state.  It was merely fine-tuned and I hope classic enough to not just be a “vintage” style item.  Just imagine my skirt paired with tights on my legs and platform shoes or slip-on mules topped with a modern oversized sweater and a big belt…yup, it should be pretty variable.

Now, my hat is definitely and unequivocally old-style.  I have long admired the late 30’s (see this article) and early 1940s oversized drama hats.  This hat style seems to go by several names – most frequently called either the pancake hat or beret.  It just kind of subconsciously seeped into my realization to just start with a placemat. It’s round and lightweight and the perfect base for that kind of hat, but then again this is not the first placemat hat I’ve made (see this one here).  First I covered the hat in felt, but that was way too plain.  I had to spice it up.  I pleated the felt in an Art Deco style throwback in three tiny pintucks that angle in to disappear before they reach the other edge.  Art Deco details persisted through the 30’s into the post-WWII times, mostly in the built environment, so the pintucks call to mind my love of architecture.  A sculpted hat is sort of like architecture the way they are structured works of art, sometimes reaching for the skies, and craftily perched on the human head the way buildings cling and hold onto God’s good earth no matter what the angle.  I actually need my giant hat pin to keep this one on my head.

I wanted to make sure the placemat kept its shape, so, before I sewed the bottom half of the hat to it, I hand tacked an electrical wire to the underneath edge.  This was a good idea that ended up being a bad idea.  Electrical wire was the scrap I most immediately found on my hubby’s workspace and it was much too heavy for the job…why I need my hat pin.  I should have used my lightweight floral wire instead (as I don’t have any proper millinery wire).  We live and learn, and although this was not the best success, it is neither a failure.  It is a very wearable experiment that I love.  It turned out 100% better than my husband had expected and cost me pittance so what could be more awesome than that?!  I now had the perfect finish to my outfit and tried a new hat style I have long admired, besides learning what to do the next time!  The little silly hat front décor is straight out of my head, also made out of the same felt, and merely something cute and decorative to break up the overwhelming shape.

I love practicing the idealistic challenge and thrifty, global conscious practice of taking my wardrobe from years past and things on hand to use with my talents to update it for my current life and fashion tastes.  It’s not because it’s the new “in” thing to do, though…neither are we on that tight of a budget.  It’s purely because I want to.  I have been doing this for so many years, way before it was a trend, I am used to looking for what is on hand before I buy.  My husband calls it a version of shopping…where I go downstairs and rummage through my stash of unworn, but sentimentally attached garments I no longer want to wear the way they are to find something “free” to rework it and feel like I end up with a “new” piece of clothing.  Add in a fully new, made-from-scratch item, like my blouse, which was easy and fast to make in a natural fiber, and top it off with a luxurious statement hat made from ridiculously simple home decorating supplies on hand…and I get my fashion and overall creative fix satisfied.  You don’t need much money or supplies to be crafty and start sewing.  There’s a bounty of stuff nearby somewhere just waiting for a second chance.

 

“School Teacher” 1940’s Suit Set

So many times, more than I can tell you, I hear from people who meet me, “…and, you’re a school teacher?”  As if it’s a half statement, that’s still a half question.  I really don’t know why this is – I do like tutoring but maybe it’s the eye glasses, he he!  Nevertheless, I’m embracing the school teacher vibes this time – the vintage 1940’s way!  My teacher’s outfit is authentically completed by a vintage oversized key brooch on my lapel, true 40’s alligator leather heels, and a post-WWII school building as our photo shoot backdrop.

This 40’s suit is achieved from an eclectic mix of vintage and vintage repro, sewing and refashioning.  The jacket is a true vintage piece that had seen better days (sadly), so I refashioned it using the skirt to salvage something wearable.  The skirt is made from a modern re-issued Simplicity pattern and some polyester plaid.  The blouse is made from a true vintage pattern and classic cotton for a basic, versatile wardrobe staple.  All these pieces have differing years in the 1940s as their sources.   Together, I end up with a cohesive 1940’s suit that is warm and classy to wear in the winter, and something I love to wear!

THE FACTS:

FABRIC:  The blouse is cotton broadcloth, the skirt is a poly suiting, and the vintage jacket is a wool-rayon blend twill or gabardine

PATTERNS:  Simplicity #3714, year 1941, for the blouse (the legs on the cover women are intolerably, ridiculously long!); Simplicity #4044, a 2006 reprint of a 40’s pattern, now out of print

NOTIONS:  I had all the thread I needed, I used a modern zipper in the skirt, modern shoulder pads for replacement in the jacket, and new two-tone metal buttons (with an open filigree middle!), with bias tape packs to make all the insides nice and finished.  The only real vintage notion used here was the buttons on my blouse – they were from the stash of hubby’s Grandmother.

TIME TO COMPLETE:  The jacket was re-fashioned in about 6 hours and finished on January 8, 2016.  The skirt came together in about 4 hours on October 24, while the brown blouse was made in 8 to 10 hours and finished on November 27, both in 2015.

THE INSIDES:  The blouse and the skirt are all nicely bias bound with lace hem tape.  The jacket’s lining covers up all inner seams.

TOTAL COSTThe vintage suit was bought for $15, the cotton was maybe $10 for 1 ½ yards, and the plaid suiting was on clearance at Jo Ann’s Fabrics at $10 for 2 yards.  A total of $35!

Before my re-fashion, a beat up mess of a suit set was offered to me for a small amount during one visit to a local vintage re-sale shop.  The owner knew I sew.  She gave me one of those “Buy this if you think you can do something with it or else I’ll probably end up throwing it away, but I did spend some good money on this” offer.  The shop owner was thankfully very forthright letting me know the condition history of the suit set.  The suit was originally so dirty when she got it there was ‘no choice’ but to throw it in the wash machine…which ended up shrinking the wool, making the lining’s stitching to fall apart and the metal buttons rust, thus causing brown staining.  She had then spray painted the buttons silver to cover the rust.  Ugh!  That one wash sure got the jacket clean but caused a MESS of problems for me to fix.  The shoulders pads had balled up and fallen apart inside, as well.  The left sleeve to the jacket was chewed up, but not by moths.  It looked like it had been caught in some machinery or run across something sharp that tore it up all the way down the underside from the elbow to the wrist.  Other than the sleeve, though, the body was luckily free of holes or fading.  The matching skinny straight skirt was generally fine, with a few fade spots and random holes.

The suit did fit me and with its lovely design lines and details, and felt I had to save it for all its potential still left.  I guess it’s like going to “just look” at a new puppy – I tried it on, so I was hooked.  The capability to give it the attention I felt it deserved is well in my ballpark, anyway.  The bittersweet fact is that many vintage suits do not have their matching skirt as this one, but that skirt was unfortunately sacrificed for the jacket to save face.  I was hopeful, but slightly doubting my efforts would turn out so well.

As it had been washed once already, I took the old buttons off, added stain remover to take out the rust marks, and washed it once again.  With the lining was loose, I could reach right into the jacket and take out the old shoulder pads and unpick the sleeves.  I unpicked them completely to use the pieces as a guide to trace out a pattern.  The new sleeves have their bias slightly off due to the size restrictions of the skinny skirt, but are overall the exact same.  Then, with the sleeve set in, new shoulder pads, and the lining all stitched up by hand, and the new buttons (pic below) as the icing on the cake, I must say this was an amazing renewal for a formerly desperate vintage item.  Now, with a new separates sewn to match, it really can shine again for years to come in my wardrobe.

The best basic perk is that it is nice to have a new suit jacket without all the effort of starting from scratch.  Besides – they just don’t make them like they used to anyway – in way of styling, fit, and material!  It’s more like the weight of a coat, it’s so lofty!  I am amazed at how sturdy this jacket is to have survived everything it has and still polish up like this.  It’s amazing enough to have something from the 40’s last until today as it is.  I do really think, from the look of the inside seams, the shoulder pads, and the lack of a label, that this could have been private seamstress or tailor-made, but it’s done so well, it’s hard to tell.  As it is now, how unique is a part me-made, yet still vintage garment?!  It’s ‘true-vintage-with-my-personal-touch’, I guess.

There are many reasons why I absolutely LOVE this blouse.  Firstly, it’s in a nice rich earth tone – not ugly or boring and uncomplimentary as some solid browns can be, but it has many undertones that I notice every time I wear it with a different color scheme.  Pictures do not do it justice.  Not your basic dirt shirt here!  Also, it was an easy make, coming together in no time, and it’s perfect for layering with the slimmed down details.  It’s a true 40’s pattern, yet without being as obviously vintage as some others, as this one’s lacking a giant sized collar and gathers in the body.  There still are the gathered sleeve caps, but there is giant darts that shape the chest from the bust up to the shoulder tops.  Looking at the pattern envelope front, this is primarily because it is designed to go under a jumper, but to me it is just as good on its own to change up my vintage style.  The simplified, toned-down details make this versatile to customization.  With a tweak here and a variation here, I can have a different style.  This time, nevertheless, I stuck to the original design and left it unchanged.

However, the best perk is that this pattern fits me like it was designed for my body in mind, and I can use it without needing to adjust anything.  Finding such a pattern in the world of sewing is a real treat.  They’re a true gem to hold onto (and copy!) when you have one, especially when it comes to vintage patterns, as sizing and fit standards have changed throughout the decades, and yet even for today as modern wearing ease can be unpredictable.  For this blouse pattern, I can just lay the tissue pieces out, cut it out, and whip it together, almost like I don’t really have to think much at all to do it.  I suppose the greatest demonstration for how much I treasure this pattern is the fact I have made three different versions of blouses using it, as you will see in the next few posts.  I really have been meaning to make the jumper, too, as I like the rest of the pattern so much!

The skirt was another quickie project, thankfully.  When making your own suit set, even though I didn’t start from scratch for the suit coat, sewing more than one garment to have an outfit can become wearisome by the time you come to the second or third item!  This is partly why I made sure that the skirt was so easy-to-make!  I kind of knew how this skirt would generally run a bit roomy, as I have made the trousers from the same pattern, so I had the assurance of what size to choose to fit as well as really liking the front curving detailing to the waistband!  I also love this skirt – it is a go-to item that matches with lot of other items that I have and has a nice dressed-up look without being too formal.

To make up for my limited fabric amount and to match up the plaid in a more pleasing manner, I went rogue against the grain line recommendations.  Don’t judge me here, please!  I rarely do this and then it’s only when I have thought things through.  The fabric was a tight, rather stiff man-made polyester so it was not going to have much of a grain line from the fabric, so I merely stuck with matching the plaid up well.  In order to fit the two skirt pattern pieces on my yard and s half, I stuck with the same tact as some of my other 40’s plaid skirts.  The A-line shape is emphasized by having the plaid line up horizontally on the side seams, while the plaid miters together at an angle in the middle front and back seams.  For a fabric more drapey, this layout probably would not work as well, but I like making the most of the little of what I had to make an idea work.

The finely detailed and openly-spaced plaid lends an interesting visual texture to the suit set, I think.  At first I wasn’t sure that such strong colors on my top half would overwhelm the muted but busy skirt fabric.  However, the plaid does have the tendency to look weird from a distance in the full shot pictures for some reason!  There is a sneaky bit of turquoise in the plaid actually, if you look up close.

As I mentioned at the beginning of my post, this is the first time I feel I have been able to assemble a cohesive outfit from garments across the entire decade of the 1940s.  The blouse is from the beginning of the era – year 1941 – when many styles were still very 30’s inspired, fully feminine and dramatically distinctive in the decade.  The suit is I suppose from circa 1946, when extra fabric was again allowed, as it has a longer length, flared peplum, and decorative pocket lapels.  The skirt is (again, from my estimation) a little later than the suit, circa 1947 or 1948, especially with the slightly longer length.  It was common for a woman from back then of the 1940s to have worn garments many years old already, but with all the inventiveness, the refashioning, and desire to not publicly show that rationing was putting a cinch in their fashion life, I imagine an outfit that spans 7 years might have been a stretch.

To me, I see set differences every two years at a time in the styles of the 1940s (such as hem lengths, sleeve styles, body emphasis), but I will leave a discussion of this for another time.  I will say that, for some reason, it seems the conventional stereotype for the 1940’s seems to be circa 1945, when skirts were quite slim and under the knee, as if the wartime fashion was the benchmark for the era.  In reality, there was so much variety in the decade that a dress for 1940 compared to one from 1949 would and could totally confuse someone as to how to “do” 40’s fashion.  There was as much going on in history at the time as there was in the garment realm, and so 40’s style can be all over the place!  There is no “one way”, and that’s the beauty of how the 1940’s can appeal to so many people with so many individual style tastes and body shapes.

I always like to respect the style differences I notice in each year of the 40’s because I see it as important to realize the rhyme and reason behind them.  However, my sewing is about personalizing fashion for me – after all I am the one making things – and learning and feeling fulfilled are the greatest perks I enjoy about it along the way.  Thus, I enjoy the fact that I am able to a slightly less predictable style of a blouse from pre-war, and incorporate it with a skirt from post-war, and a suit blazer from the very end of the time of the fighting and rationing.  I certainly did take a very “made do and mend” 1940’s attitude to the pitiful condition of the jacket as I found it!  I hope the original owner of this blue suit would be proud at how I saved it to reinvent a new suit set 70 years later.  1940’s year differences, modern fabrics, vintage tailoring, self-made fashion, and a refashioning mentality have all made peace together with my outfit!

‘Gene Tierney’-esqe 1940’s Lumberjack Shirt and Trousers

It’s way too fun to let myself give in to my strong tendency to do pretty dresses.  With the weather turning chilly, I could use something different that isn’t quite so dressed up to keep me cozy.  So, now that I’ve been recently realizing the beauty of 1940s casual wear, through the inspiration of actresses Gene Tierney,  Ava Gardner, and Hayley Atwell (a.k.a. Agent Peggy Carter), I took two mid-40’s vintage original patterns from my stash to make my own downtime wear from the past.  There is something a bit timeless, tasteful, and special about a set of “down-time” clothes made in vintage style that modern ready-to-wear cannot have.  The 1940s can make wearing a man’s style look so ladylike!

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1946 is the magic year for my blouse.  Not only is it the year for the pattern of my blouse, but it is also the year of my inspiration.  Gene Tierney wears a lovely flannel shirt in her Noir movie “Leave Her to Heaven”.  Once I’d seen this movie, it has tendency to gene-tierney-leave-her-to-heaven-year-1946-see-classiq-me-style-in-filmcropuncomfortably stay in back of my mind and the fashions are equally memorable in a better way.  Luckily this movie was specially made in color (a rather special practice for the times) and I was so happy to find a plaid in a shockingly close color scheme.  Ava Gardner also wore a nice flannel blouse in her gritty part in another 1946 movie “The Killers”, as also did Paulette Goddard in the 1948 movie “Hazard”, though as both films are in black and white I don’t know the true colors.  You can visit my Pinterest page for “Ladies Lumberjack Blouses in the 1940’s” to see pictures of all movie inspiration mentioned for this blouse, as well as others, too.

peggy-and-sousa-promotional-imagecompBoth actresses Tierney and Atwell wore perfectly fitting bifurcated bottoms in colors, as did Marvel’s television heroine Peggy Carter.  They all put the “class” into “classic”.  Peggy wears such wonderful trousers during the exercising of her duties on the job, and although the inspiration garment came from her Season Two (year 1947), she is often stuck in the past.  Thus I feel using a pattern from an earlier date (1943) suits appropriately.  My spin on feminine menswear from the 40’s is completed with nail polish (Cover Girl XL nail gel in “rotund raspberry”), red lipstick (Cover Girl Continuous Color in “vintage wine”), my sole Bakelite bracelet, and a simple ponytail!

THE FACTS:mccall-6709-year-1946-ladies-lumberjack-shirt-compw

FABRIC:  BLOUSE – 100% cotton flannel, with cotton batiste scraps for lining the shoulder placket; PANTS – a mid-weight denim, 60% cotton, 36% polyester, and 4% stretch.

NOTIONS:  I relied on what was on hand and actually had everything I needed – the thread, interfacing, bias simplicity-4528-ca-year-1943-compwtape, zipper, waistband hooks, shoulder pads, and buttons (which came from hubby’s grandmother’s stash).   

PATTERNS:  McCall #6709, year 1946, for the shirt (view B belt looks like the modern Vogue #9222) and Simplicity #4528, year 1943 for the pants

TIME TO COMPLETE:  The pants took me about 5 hours in all from start (cutting) to finish, which was on March 4, 2016.  I spend maybe 30 or more hours to make the flannel shirt, and it was done on April 27, 2016.

THE INSIDES:  The denim of the pants was too thick to add more bulk with edge finishing, so they are left raw.  The shirt is nicely finished in either French seams or bias bindings.

TOTAL COST:  The denim was on clearance when the now defunct Hancock Fabrics was closing, so it cost maybe $6 for only 2 yards.  The flannel came from Wal-Mart and cost $7.50 for 2 ½ yards.  So my outfit cost less than $15 – good deal, huh?!

The shirt was a bit of a time consuming trouble to do all the details while the pants were so easy and quick.  Both the patterns fit me right out of the envelope no changes and no real fitting needed…it’s so nice when that happens!  A decent number of the 40’s patterns run small for me so I went up in size for the trousers to have a good comfy fit, especially as I was planning on tucking my thick flannel shirt in the waist.  Lumberjack shirts are often roomy, so I actually went smaller by finding a pattern in my exact sizing and making wider seam allowances.  Both steps were good ideas though the pants are a tad baggy when worn with lighter weight blouses.

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My flannel blouse served as an experimental piece on which to attempt two techniques for the first time before doing them on some upcoming projects.  As the back has a separate shoulder placket, and I did not have enough fabric to do something special (like mitering the plaid into V), I made my very own corded piping using self-fabric to make sure that dsc_0236a-compwseam has a special touch.  Making my own piping was not hard – it was fun actually!  All it took was a little extra time but is so worth it in the finished appearance.  I even cut the strip of fabric for the piping on the bias for more contrast.  See – the plaid is cross-grain.  Also, I found out how to do sleeve openings with a pointed over-and-underlapped placket.  They turned out great, but now I know what to do better next time.  Making these plackets became challenging with the flannel becoming so thick with multiple layers in one small spot, and they were barely all my machine could handle to sew.  I really do love the look of this kind of placket – so professional and finished looking, and special, too, as it was also cut on the cross-grain!  I can’t wait to try out these two techniques again.

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Most of the other skills that were needed to make my flannel blouse had already been done for my hubby’s 1943 flannel shirt as well as my “Saddle and Lace” Western-style tunic. This shirt has the collar stand all-in-one with the collar (like the tunic), a favorite feature of mine.  This makes for a smooth and unfussy neckline besides making it a bit less extra seaming to make.  My hem is arched into the side seams, shirt-tail style, though it is lacking a small patch at the inner arch, like what hubby’s shirt has.  On my shirt, the patch pocket (yes, just one) with the flap closure was every bit as stressfully detailed to match as last time I made them on my hubby’s shirt.  Just because I’ve done some techniques before doesn’t mean I like doing all of them any better for sewing them again 😉

dsc_0423-compcombowThe buttons on my shirt are vintage, as I said they come from the stash given to us of hubby’s Grandmother, but what era I’m not sure.  These buttons came in the number I needed, but they are also tiny and feminine, which is exactly what I wanted for the shirt, although they do kind of make it hard to button through the thick flannel.  The buttons had been coated with an imitation pearl stuff, but as most of it was coming off anyway, I used a pocket knife to take all of the coating off to have the buttons be a creamy white as you see them.  They are all kind bumpy on top with three small hills on each.  Does anyone have any idea what era these are from?

The shoulders are a bit droopy and I think they are meant to be like that but I did try todsc_0430a-compw prevent an extreme case.  I sewed the top shoulder seam in a ¾ inch seam allowance but as the sleeve was still over-long for my arm, I also made the cuffs in half the width they were meant to be.  Thin cuffs do look a bit different but I think this is a good save versus having the sleeves end up looking way too big for me.  I also added thick ½ inch shoulder pads inside the shirt to further structure the blouse’s silhouette, because the droopy sleeves fit better with them and also…this is the 1940’s after all!  Out of everything else on the shirt, it’s the shoulder pads that make me feel like this shirt is more like some sort of loose, unlined jacket.  I find it so funny how ginormous thick shoulder pads fit in so well with 1940’s fashion, they actually look good, and fit in to the garment’s style so well.  You’d never have guessed huge shoulder pads were in there, would you?

My trousers are so freaking awesome, I can’t praise true 1940’s high-waisted pants enough.  My last attempts were done using reprints of old patterns from Simplicity, and although they turned out decently enough, they seem modern and pale in comparison to the real vintage thing.  The reprints (especially Simplicity 3688) don’t have a proper vintage high waist, good crouch depth, and proper hip room that this old trousers pattern has to it.  The envelope back calls the set “pajamas” but I technically think that this set of tunic blouse and trousers is actually like a house outfit, probably worn as an option to the house dress.  Regular ‘blouse and slacks’ vintage original patterns for women seem to sell for more than I can reasonably spend, so this pattern is my affordable substitute.  The design is probably a bit more simplistic than an-outside-the-house pair of slacks, but they fit me better than I could have ever hoped for so that’s reason enough for them to deserve to be worn to be seen!

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The only small thing I did change was to transform a full dart out of the pattern’s prescribed knife pleat.  Just to be on the safe side, I added about 2 inches to the hem of the pants, but as they turned out, I didn’t need that extra length, so they have a very wide hem – no so 1943 at all when excess fabric like this would have been a waste not allowed by the war rations.  Next pair (yes, I am definitely making another) will not have the added length and wide hem – the pattern is just fine for me the way it is.  I have found a body match in this 1943 pants pattern.dsc_0306-compw

My trousers have seen so much use since I finished them, but here’s a different perspective yet.  I think they looked best the way I styled them to wear to our town annual WWII re-enactment weekend several months back.  I wore my white scalloped front blouse with the trousers, a leather belt which matched my studded wedge leather sandals, pearls, clip-on earrings, and a netted snood I my hair.  A re-enactor told me he thought I looked like I was dressed up like I was a French civilian.  My hubby can be seen in his recent lucky find of a never worn, Eisenhower-style, military suit set (just need to hem his pants…).  These service suits were being worn on limited personnel in 1943, but became standard issue after November 1944, so he and I are not too far off in time frame.  If I am re-enacting a French civilian, maybe I can play the part of the bride that he met while serving the European front of the war.

Do you, too, have some “inspiration icons”?  Do you sew your own casual wear, weather vintage or modern?  Have you, like me, happened to find a magic pattern that seems as if it was meant for your body?

Happy Thanksgiving to all of you!  Here’s to best wishes for good eats, good times, and good memories!

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1940 Summer Plaid Sundress with Mock-Shirred Bodice

Some of my projects unintentionally get passed up under my radar of “things to be posted”.  This lovely staple in my summer wardrobe of vintage garments is one of them.

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At first, this dress was an “Un-Finished-Object” (often dubbed as U.F.O.’s) for quite a while ‘til I eventually conquered its problems and finished it, then it became a “Un-Blogged-Object”.  No longer!  I am proud at how I saved a potential failure here to make another ‘favorite’ frock.  I know the pattern I used is still published (and seemingly popular), so I hope you like my sundress, too, and find both my review and my way of making the dress helpful.  The bolero jacket, part of the pattern, too, is something I have plans to make in the near future, so that review will have to be in a different post.

THE FACTS:Vintage Vogue 8812

FABRIC:  My dress’ fabric is a loosely woven-style polyester blend in blue/tan/white plaid; the lining is a poly pongee in white

NOTIONS:  The thread, zipper, and hook-and-eyes came from on hand.

PATTERN:  a year 1940 reprint, Vintage Vogue #8812

THE INSIDES:  bias bound seams are in the skirt but everywhere else is fully lined.

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TIME TO COMPLETE:  Well…this is a story in itself.  It was first made in spring 2013 for Lucky Lucille’s 1940’s “Sew for Victory”, yet finally finished on May 5, 2014.

TOTAL COST:  This fabric came from something my parents found in their basement and gave to me.  I know it’s not like vintage kind of old, just something from awhile back.  No one remembers when it was bought, so I’m counting it as free.  The lining was from my stash, so I’ll count that as free, too.  Yay!

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In general, I have never had a Vintage Vogue re-print that I didn’t like, didn’t have great fit, nor have I had one that did not turn out successfully.  When this 1940 sundress didn’t seem like it was working for me I was so sad to break this record, so I was elated I could easily make it turn out well.  It was really easy to make, super quick to put together, and does fit very well – I will say that.    But I really think my change improved on the design and also places my dress more on the emphasis of the late 1930’s side of the year 1940.  Yet, at the same time, it seems (from the compliments I’ve received) that either this sundress is deceptively modern looking or this vintage style is quite appealing…maybe both.  It’s great to wear, that’s all I know.

100_2883a-compMy main problem was with the bust gathering of the dress, but I also had random problems everywhere else.  To start with the smaller problems, the skirt length was extremely long and needed to be shortened by about 3 or 4 inches for my taste.  Also, I did not see the back closure working with buttons – I do not relish the idea of “blind” buttoning on myself contorting my arms behind me.  Besides, I wanted a snug smooth fit and (rightly or wrongly) imagined puckering if I added buttons and buttonholes.  So, long story short, I sewed a zipper into the back placket in the same method as a pant or trouser front fly.  I added in hook-and-eyes to the back placket flap edge at both the waist and the top for extra smoothness.  Finally, I changed up the placement of the straps to criss-cross rather than simply going over the shoulders.  I didn’t want to have a dress with straps that droop, always needing attention to be picked up over the shoulders much like many lingerie slips.  With the straps forming an X between my shoulder blades adds added interest but especially gives the bodice more support and just plain stays up properly.

100_2882-compNow the bodice…well, perhaps part of the problem was the stiffness of my chosen fabric.  I can possibly see this working out “as-is” if the fabric was a lovely jersey knit or a handkerchief weight cotton (something loose and flowing), but even still, I’m doubtful.  I did raise up the neckline of the front of the dress’ ‘bra-like’ portion higher by a few inches to make it less revealing, as well as leaving out the “window” opening through the middle.  This added a bit of a challenge to cutting out the pattern and perhaps the more gathering that I ended up with made it overwhelming.  Either way, how it turned out, I could not stand the way the bust drooped a puffed out all at once – so awful!  I was so upset, and for a long time all I could figure for a fix was to cut off the gathered part and top-stitch something on instead. However I had done a good job (not to boast) and the points of the bodice under the ‘bra’ part turned out very well and I hated to give up on all of that.  Finally, it occurred to me to merely control the gathers by the then (1940/late 1930’s times) popular method of shirring or ruching.

100_2871-compWell, I couldn’t start from scratch to make real shirring, so my stitching sewn on the top of the bust gathers are a fake look-alike but just as beautiful and effective.  I maxed out my supply of straight pins to tack down all the gathers.  Seeing all those pins really put my hubby off when he saw it – I suppose he was picturing it on myself like that, making me like a prickly sharp porcupine in the wrong place.  Anyway, I stitched across on top in as straight lines as possible starting from one back side going horizontally all the way around to the other back.  This mock-shirring almost feels like quilting in reality and ends up giving the bust part semi-firm, yet supple, needed support better than some good interfacing.

I felt such relief to see how this mock-shirring was the perfect solution.  It can be so hard to happen to have to right idea for amending sewing projects that just don’t fit the bill of100_2877a-comp approval on oneself.  I find such ideas can’t really be forced, and I have to relax and let the solution come to me after (calming down, first) and be alright with the idea going on a “back burner”.  If I regard it as a failure (easily done), the thought is too crushing and kind of defeats the goal of re-purposing my project into something I’ll eventually like.

So, this is part of the reason why I waited so long between when my dress was first made and when I was finally happy with how it fit and turned out.  Maybe, this is also why I get so many good ideas in the evening…when I get relaxed with a happy tummy my mind also gets happy!  Now, why it took me so long to get to posting about this, well I’ve got no excuse except that when I wear something I’ve made often enough it doesn’t seem ‘new and excitably blog-worthy’ anymore.  Silly me!

My Hubby’s 1956 “Odd-Collar” Madras Shirt

Menswear can get pretty predictable after a while, and it’s hard for me to find “something new and different” for my hubby without being too avant-garde or “look-at-me”.  So often, it’s the little details or subtle touches or even the fit that makes all the difference to menswear…so here is one shirt that stands on its own.  I’ve never seen anything like it, but leave it to a vintage pattern to offer something amazing!  I think this shirt rides the delicate balance of being fresh, vintage yet timeless, comfy and classy, with a toned down unusual-ness.

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THE FACTS:

FABRIC:  100% cotton madras plaid100_6215a-comp

NOTIONS:  I had the bias tape, thread, and interfacing used already on hand.  The two buttons at the neckline came from hubby’s Grandmother’s collection so they are most probably vintage.

PATTERN:  Butterick #7673, year 1956

TIME TO COMPLETE:  This is by far the easiest and quickest shirt I’ve made for him to date.  It was made in about 5 hours and finished on September 24, 2015.

THE INSIDES:  All cleanly finished bias bound edges.

100_6581-compTOTAL COST:  The madras was bought for pittance when our favorite local fabric store was closing.  For only 1 ¾ yard it cost maybe $3 or $4.  Cheap, cheap!

My hubby loves how comfy his shirt is in the weightless madras cotton.  He also seems rather tickled at the shirt’s uniqueness.  He does get thrown off just a little by the unusual way of closure but it is not hard in the least to slip on over the head.  On my end, being the one that did the sewing, the biggest perk is that it is so easy and super quick to make (believe it or not), besides being incredibly fun to do something so out of the norm.  Plus, (lovey-dovey gushing alert) I also own a matching ladies version (Butterick #7771) so I can sew my own “odd collar” blouse to match my man!  Awww!  Look for my version coming soon to my blog.

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I would like to know if there is an official name or title for this style or type of collar.  I think I remember seeing in an old catalog page or ad where this kind of shirt was called an “Italian-front” shirt.  I have not yet re-found where I saw this so I feel badly that I am not justified for saying this.  The envelope back identifies the other style of shirt in the pattern as a “wing collar” (unusual, too) but yet does not identify the other view that I made.  For the ladies’ version, the envelope back summary calls it a “two button horizontal closing”, but there has to be a better name.  If anyone else can help me out as to what an “Italian-front” shirt is, or any designation or story or such for my hubby’s shirt please let me know.100_6580-comp

Peter at “Male Pattern Boldness” made a version of this same style shirt, only in long sleeves, from a different brand, and (surprisingly) in an earlier year, 1954.   Now, as the ladies’ version of this style shirt is the latest dated version I’ve yet seen I can’t help but wonder – was it so popular for the men that the ladies demanded a version or was it planned by Butterick anyway?

Back to my man’s shirt, I do love the option of decorative top-stitching across the front.  I’d like to try this on a solid version – after all, I do have a late 50’s sewing machine (kept in storage) with a dozen cams to make such fancy stitches.

However, hubby had an immediate liking for the feel and the plaid of the black and white madras when he found it in the fabric store.  As is the unfortunate trend, the fabric he again picked for a shirt for himself was a seriously shortened length.  Not even two yards!  It was the last end of a bolt…barely enough for a shirt but just enough to make it a very challenging effort for me to finally make it work.  This is why there is an unplanned-for (but rather invisible) seam down the center back of the collar and the shoulder panel – I had to piece those parts together just to get a match of the plaid or even fit them on the fabric at all.  I’m hoping yet that someday making a shirt for him will be easier with at least one having enough (or more) fabric to spare (…feel the doubt in my tone).

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The continuous lapped sleeves are wonderful – so much easier than the set-in kind.  I wish more women’s patterns had this but then again we ladies generally want slightly more defined shoulders.  There are side slits that go up to the level of his pants pockets so the shirt doesn’t have to come up when he wants to use his pockets.  The sleeve hems are shortened up by several inches because the original length is about down to his elbows and that made his shirt only look frumpy (so we thought).  We also wanted simplicity to let the plaid shine so I left off the optional chest pocket…it would be too much like a dentist’s shirt at that point.  Besides the sleeve hems and the pocket, the rest of the pattern was 100% unchanged even for the fit as it was his size right out of the envelope.  Hallelujah for easy!  The hardest part was figuring out ahead of time how the collar goes together, but I just followed the directions and it came together with no problem.  I’d like to congratulate the person who came up with this shirt’s design and its instructions.

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Who knew sportswear could be so sophisticated, yet effortless to make?!  What is so funny is the way we like to see if others notice something different when he’s wearing his shirt.  For example, one day my dad complimented him on the shirt (knowing if he’s wearing a new shirt I probably made it) yet he looked at it better saying “Wait, what…something’s going on…where are the buttons…how do you put it on?”  It’s so good to catch people off guard in such a good way, getting them to see and think differently about men’s clothes, a thing often taken for granted when it comes to style or change.  Do you have a favorite “out-of-the-box” garment you really enjoyed finding and/or making?

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(It looks like hubby is doing a Western-movie pose, much like, “Draw partner!”)