“A Dream Is a Wish Your Heart Makes”

Something that is in high demand in the world today can be in high supply since it stems from an infinitely renewable source.  I am speaking of kindness – a gift that can be so hard to share but costs nothing to give.  It is a universal language of communal understanding.  A plentitude of kindness is sorely indispensable.  Even if I fail all too often, I do try my best to fill the need, even though the effort is often disheartening.  “Be the change you wish to see in the world” is a cliché phrase but kindness is infectious and the key to someone’s good day can really begin with just one person.  Being kind in heart is a very beautiful, strong, and attractive personal quality to find in people, too.  This is why I would like to pick up (a year later) where I left off posting my “Pandemic Princess” blog series by featuring the most famous fairytale princess – Cinderella.  

Cinderella is the fictional rags-to-riches princess who practices indiscriminate benevolence, patience, perseverance, and understanding.  Her story is ancient enough to span many centuries, ethnicities, and interpretations but in all of them her honest beauty, radiating from the heart within, saves the day so goodness can prevail.  I love with a passion the Disney interpretation of 1950 (the animated film) as well as the live action retelling from 2015.  However, I am a sucker for a creative spoof on the story – my especial favorites are Ella Enchanted from 2004 and Ever After from 1998.  The catchy songs and the strong sewing references to the original 1950 animated film have me hopelessly hooked, nevertheless, and the live action interpretation from 2015 is a glorious treat for me.  “Have courage and be kind. For where there is kindness there is goodness and where there is goodness there is magic.” These are the best words ever to summarize Cinderella’s story and can be found in the 2015 live action film. 

1950 cover for a child’s book

I never fully finished sharing all of my Princess inspired vintage creations after launching my “Pandemic Princess” blog series at the beginning of 2021.  I would like to revisit it to wrap up the last remaining themed projects within the next few months.  As I said in that post which launched the series, I mostly interpreted my Disney princess inspired sewing in relation to the year that their original animated movies were released, and my Cinderella dress follows suit as the early 1950s fashion works perfectly for a full, swishy skirted dress, headbanded updo for my hair, and a pretty pastel blue tone.  Yes, I was inspired by the fairy godmothers magic dress for Cinderella since my Snow White interpretation was a similar looking work dress

Promotional image of actress Lily James for the live action 2015 Cinderella

I wanted something wearable and not a costume though, so this merely carries the spirit of and references to the associated heroine. I did not make these princess dresses because I had someplace to wear them – each was truly a splurge project in the truest sense.  Disney bounding, as is the frequent term for an adult whose assembles an outfit loosely inspired by a fictional character, doesn’t have to revolve around whether or not one is capable of actually showing up at a theme park.  It relies on the ability to dream, have a bit of fun, and appreciate a bit of fantasy…all from right where you are.  Cinderella says that “A Dream Is a Wish Your Heart Makes” in her first song for the 1950 animated film.  This post’s sweet and calming floral blue dress reminds me that it is important to keep one’s dreams alive, hold onto hope, and stay kind like Cinderella.  Sewing helps me make some of my dreams a reality, and keeps me creative enough to continue making magic with fabric and thread.

THE FACTS:

FABRIC:  100% cotton for both the solid blue, the print, as well as the lining layer underneath

PATTERN:  McCall’s 8898, year 1952, original pattern from my personal stash

NOTIONS NEEDED:  This was a fussy project that needed lots of thread, one zipper, 10 covered button blank sets, yards of binding, and a good amount of interfacing.

TIME TO COMPLETE:  This dress took 15 to 20 hours to finish in July 2019

THE INSIDES:  cleanly bias bound

TOTAL COST:  The printed fabric was $12 for two yards ordered through “Simply Fabric” of Oakland, California on Etsy.  The solid blue cotton was from my local JoAnn Fabric shop, again two yards for about $12.  Then I had to buy a solid white cotton muslin for lining the whole dress – 6 yards for about $18.  All the notions added up, especially the buttons.  The total for this dress is about $50.

This was my first princess inspired dress even before I thought of making a slew of them and turning it into a theme.  Less than month later, I whipped up my 1992 Beauty and the Beast animated film inspired dress (posted here) as a treat to myself for my birthday.  It was then I realized I wanted to keep going with this good thing I had started.  The blue is for Cinderella’s ball dress, while the climbing floral print is for both her sweetness to nature and the garden plants that were magically turned into everything needed to take her to the ball.  My embroidered headband further calls to mind Cinderella’s ball outfit, but mine has sparkly crystals to add just a touch of finery.  A jeweled butterfly brooch from my Grandmother refers to all the butterflies which rested on Cinderella’s gown in the 2015 live action movie.

Beyond any princess reference to my outfit, I had been aching to try out a dress that contrasts its print with large panels of matching solid color, anyways.  It is almost like color-blocking, but with half of the contrast being a complimentary toned fabric print.  Add in the fact that the front closure is asymmetric, which I am a complete sucker for, and this dress becomes the best way for me to dive into this style.  For a few years beforehand, I had kept a whole folder of similar 1950s dresses to encourage what I felt may have been a crazy idea.  It is interesting how mixing up prints with solids in paneled dresses has become a popular trend in both the sewing realm and also the sphere of true vintage sellers since last year.  I was ahead of things in 2019, apparently! 

Besides the interesting way I took advantage of the paneling in the dress, there is another neat detail that was added to this pattern.  There are V-notches cut into the sides of the neckline, the hem to both sleeves, and the center back neck.  These spots were tricky but fun to sew and require nothing more than firm interfacing, precise stitching, and the clipping of the seam allowances.  This small V notching along hem edges of a bodice is a feature I love to see because it is unmistakably tied to early 1950s designs.  See Butterick 5739 from 1951, Butterick 6091 from ‘52, Butterick 6960 from ‘54, and McCall’s 3235 from 1955 for some examples from sewing patterns.  Now you can understand why I attributed this vintage Martha Manning suit in my wardrobe, with its notched neckline, (see it here on my Instagram) to be from the exact same time frame, as well.  Asymmetry was likewise a popular element on dresses and bodices of the early 1950s, as well, so this dress pattern combines both into one fantastic design, similar to what both Vintage Vogue 1043 from 1953 (see my version here) as well as Vogue 9105 from 1954 have going for them.  This post’s dress pattern is from 1952, and has more little V notches along the edges than any pattern I have seen elsewhere…I love it!

Was this ever a complex project and a fabric hog, though!  The asymmetry meant I needed to pay attention to the right side of the front pattern pieces and cut them single layer.  The cottons – both printed and solid – being slightly sheer meant I needed to cut every pattern piece twice to interline individually.  There is 10 yards in total fabric here!  So much fabric means it is a heavy dress for summer, even though that is the season it is for being in a bright white print.  Making 10 fabric covered buttons became overwhelming pretty quickly, too. 

The fit was really funky making it as-is and turned out to be an ill-fitting dress that needed all sorts of adjustments.  Even the length before hemming was down to the ankles on me!  To counter all this bother, I cheated with the asymmetric front and installed a side seam zipper.  The entire button front is for looks only at this point and not a working closure.  After everything the dress put me through to reach a point where it was wearable, there was no way I had enough energy to sew in and cut open 10 buttonholes.  Even with sewing down the asymmetric front, the neckline is rather fussy to keep closed.  I am so glad I opted for ‘cheating’ on the front closing.  Even still, I had to add some tiny hook and eyes to keep the perfect V of the neckline over my chest. 

I am not as naturally gifted as Cinderella, and so the birds you see in some of my pictures are actually vintage plastic bird models that I and my dad built when I was kid.  Search up Bachmann’s “Birds of the World” and you’ll see what they are.  The scarlet tanager was a model my dad did as a kid himself (in the early 1960s) but the barn swallow in my hands for the first picture was one I made as a teen.  The birds were packaged in pieces like a plane or a car model and needed to be painted and glued together.  When they were finished, the scale was the same as the real life birds they were portraying.  I came face to face with a hummingbird once when she thought I was a flower, and I did some bird banding with the local Conservation Department as a teen, but otherwise these models are as close as I will get to my favorite songbirds.  I just had to include the models in my pictures because Disney-bounding Cinderella is about having a sense of fantasy…so why not pretend I do have feathered friend?!  After all, “be kind to every kind, not just mankind” as the phrase goes.

The print struck me as perfect for channeling her in a Disney-bounding dress for a very good reason.  It was similar to a cotton floral I picked out as a young teen to make myself a wearable Cinderella skirt for my birthday.  Looking back, I am proud at how I made exactly what I had hoped for but repulsed by the fact I actually wore that.  It was a long full skirt in a sheer floral cotton, lined in blue for a soft tint, and draped with swagged bows just like Cinderella’s first ball dress (the one the sewing mice made and her stepsisters destroyed).  A two yard cut on its own is not enough for a full skirted 1950s dress but I really had to make this fabric work for my idea.  Besides, I felt that the floral was too quaint and overall busy looking on its own without a solid tone to calm it down.  Cinderella only wore solid colors, so incorporating a large swath of blue to the print was merely properly following the call of crazy creativity.   I have properly reinvented something I wanted to do as a teen, and done it in a much better manner. 

I suppose I need to learn how to practice kindness towards myself, particularly when looking back on some dubious fashion choices of my past!  Being easy on yourself is especially hard to do, from a maker’s standpoint, and takes real effort and courage.  “I could have done this better” or “this is far from flawless” is frequent to think or say for sewists.  I know my perfectionism is too strong more often than not.  While it is admirable to set such high standards, such an attitude merely ends up with you being harsh on yourself and often setting unrealistic goals.  Cinderella’s kindness is often misunderstood as a doormat for others but if you look closer – as this article does – you can see how she was so busy being kind towards others she ‘forgets’ to be kind to herself.  Try to take one special step today to be understanding and gentle on yourself in the spirit of Cinderella, but especially in regards to whatever aspirations or dreams you cherish!

Free From My Tower

I suspect that many of us can now empathize (or commiserate) to some small degree with the fairy tale girl Rapunzel, who was locked up in a tower for the whole of her young life.  Being kept from social situations, apart from friends and family, as well as seeing the same limited spaces all too frequently during the pandemic has been very trying for me…I can’t dare to imagine a 16 year solitude!  Thus, I am here portraying a Rapunzel liberated from her tower, barefoot and free amongst nature, wearing my interpretation of a Bavarian Edelweiss dirndl to honor the Germanic version of the fairy tale.  My hair may not be blonde, nor is it remotely long enough to be comparable Rapunzel’s tresses, yet I was really feeling the part here nevertheless.  Enjoy the fun vintage spin with cultural heritage that I wove into my dirndl for a Bavarian take on this popular character – yet another installment to my ongoing Disney inspired “Pandemic Princess” blog series

The classic “Rapunzel” is a fairy tale that Friedrich Schulz printed in 1790 in Kleine Romane (Little Novels), followed by the Brothers Grimm publishing it in 1812 as part of Children’s and Household Tales.  Tied to the witch of the story, Rapunzel’s name is given to her because of the German word for a salad vegetable.  Although the Grimm’s recounting of the fairy tale is the most prevalent version of the “Maiden in the Tower” in the western literature, the basic storyline has strong origins to French and Mediterranean tales rather than to Germanic oral folktales, as once believed.

However, the only version that I particularly enjoy is Disney’s “Tangled” from 2010. It’s a 3D animated film loosely based on the Rapunzel fairytale with an added, appealing twist – she’s born a princess with magical hair whose ‘rescue’ is tied to the character redemption of the handsome scoundrel Eugene, aka Flynn Rider. 

Do not be confused though, as I am posting this just before Halloween – it is not meant to be a costume!  I am of German ancestry myself, and esteem and appreciate wearing a garment which is intrinsic to the story of my heritage.  Cultural attire of any kind is NEVER a costume for misinterpretation or joking about.  I made this as a true dirndl, attempting remain authentic to its heritage while also being modern enough to be very wearable for me to enjoy outside of Oktoberfest or ethnic settings.  If you go by past standards, yes, I am channeling someone that I am not – an unmarried girl of the Alpine region – with my choices of color and style inspired by a commercial Disney retelling of an old German fairytale.  Yes, I am sadly missing and apron here, too…I normally do follow a more old-fashioned expression for this kind of clothing.  This is only a ‘costume’ for me in the older, sensible, “uncountable noun” term of the word – a set of clothing, just like anything else in my wardrobe, for expressing who I am in this time and place, not a characterization of another race or culture.

Dirndls of nowadays, however, are not as confined to older traditions that designate them to be a visual statement on your state and condition of life (I will address more on this topic further down in my post).  Today we have to freedom to wear what we want, how we want.  Nevertheless, cultural clothing like a sari, a kimono, a kilt, or a dirndl (for just a few examples), always needs to be worn with proper context, understanding, and respect.   I have sadly seen way too many ‘influencers’ on social media this month wearing a dirndl has a costume, especially for “Lord of the Rings” themed Hobbit parties.  History has many deep tales to tell and perspectives to teach, along with amazing people to hear about, so let’s open up to all those lessons by respecting garments that express cultural identity.  Is there a garment for you that signifies your ancestor’s’ heritage?

THE FACTS:

FABRIC:  a 100% cotton Alexander Henry fabric dated to 1999 (seen on the selvedge) in the “chloe” floral print, with solid color jacquard woven cotton for the contrast front and sleeves, a sheer matching colored poly chiffon for the ¾ length undersleeves, and fabric leftover from sewing this vintage hat went towards making the tiny tubing which is my front dirndl lacing

PATTERN:  Butterick #6352, a vintage inspired Gertie design

NOTIONS:  Lots of thread, lots of interfacing (for the entire bodice), one zipper, and a set of traditional dirndl hooks

TIME TO COMPLETE:  This dress was sewn in about 20 hours and it was finished on October 7, 2020.

THE INSIDES:  cleanly bias bound edges

TOTAL COST:  practically nothing – this fabric was picked up at a second-hand thrift sale where fabric is sold for $1 per pound.  The 3 yard cut of this thick, substantial fabric was kind of hefty, so it was probably just a few dollars.  The rest of my supplies was all items on hand for longer than I remember or leftover from another project, so I’m counting that stuff as free!

I loved being able to start off this project with such a high end cotton with starting place tied to that of Disney and a date that reminds me of just how long “Tangled” was in the works before its completion. The concept of an animated film based on the Brothers Grimm fairy tale “Rapunzel” originated from Disney supervising animator Glen Keane in 1996.  Keane pitched the idea in 2001 to then-Disney CEO Michael Eisner who approved it, but requested the film to be computer-animated. 

My 1999 fabric hits right in between those preliminary dates for the film.  Alexander Henry is a premier textile design house, producing original cotton prints for product manufacturers and home sewists alike from their talented artists who hand-paint each design the line produces.  Their business is located in Burbank, California which is also the corporate headquarters for Walt Disney Studios!  We drove through Burbank on our way in to Los Angeles a few years back, and it was so nice, with great shopping opportunities!  I love weaving in little details and cool correlations to my outfits, but especially so when they all come together without even trying, such as for this dress.  It also happened to be the perfect purple-pink orchid tone for a Rapunzel frock!  It was such a soft, thick, and fabulously lovely cotton!  I love how serendipitous this project came together.

Now, knowing that Disney’s story base was the German version of Rapunzel, I looked beyond the artistic license of the animation to see that her dress was intrinsically a dirndl.  It was the laced front, the puffed sleeves, (faux) apron, and the neckline shaping that give it away for me.  This would make total sense, anyways.  Dirndls are an established manner of local dressing, an organic means of freely expressing cultural identity, for Bavaria, Austria, Germany, Switzerland, and more.  They are not just for Oktoberfest.  “Fashion With Renée” relates that back in 1626, the Bavarian Prince, Maximilian I created a ‘dress code’ to show people’s rank in society. The law separated people into seven groups and noted that farmers (and the lower class workers) were not allowed to wear imported clothing…and thus the dirndl was adopted for women, just as the lederhosen was for men.  The Bavarian Alps are located in what is now Germany (since 1945) near the southern border of the federal state of Bavaria and continue across the border into Austria.  

“Girl Sewing”, 1869 by William-Adolphe Bouguereau. This is a great example of the romanticism of the peasant life that brought the dirndl to the consciousness of the aristocratic class. Our picture is of an original oil painting, from a 2019 exhibit at the Memphis, Tennessee Brooks Museum of Art.

Beginning in the early 1800s, aristocrats, upper classes, and even artists romanticized rural living of the Alpine regions.  That eminent Habsburg the Archduke Johann of Styria (briefly Regent of Germany in 1848 to ’49) sported traditional Tyrolean styles in his coats and jackets, and his famous nephew, the Emperor Franz Joseph I, was a great hunter of the Alps who also was an aficionado appreciative of the rustic designs of the region.  In 1900, two Jewish brothers, Julius and Moritz Wallach, opened a clothing store in the Bavarian city of Munich and had the clever and successful idea of marketing dirndls and lederhosen as a kind of urban “rural chic”, transforming them into a fashion trend.  The Wallach name was renowned for their famous custom printed folk textile prints, even offering fashion shows of Bavarian and Austrian wear in their cloth.  (See this excellent blog post here for more info on the Wallach history.)  Thus the dirndl (and lederhosen, too) became both more universally adopted and overall more vibrantly fashionable.  Much of this energy and growth was snuffed around the time WWII began, only for Germanic clothing to find a comeback for the 1972 summer Olympics in Munich.   Today in 2021 they are having a moment in popularity again with an exhibit “’Dirndl – Tradition Goes Fashion” at the Mamorschloessl palace (former summer residence of Emperor Franz Joseph I) in Bad Ischl, Upper Austria.

Vivienne Westwood dirndl on display at the “Tradition Goes Fashion” exhibit in Bad Ischl, Austria, 2021.

On a local level, in the 150 years before the 1940s, many new, organic traditions were evolving around the dirndl to make the wearer’s marital, economic, and regional status be something visibly recognizable by the every detail of one’s manner of dress. For example, an apron knot tied on a woman’s left hip meant she was unmarried, the right meant married, while the center back meant she was either engaged or otherwise working at her job (so leave her alone).  Married women were more restricted in colors to choose from while single girls were permitted the flowered hair crowns and the prettiest variety of tones.  These are just a few of the many, interesting, and beautiful traditions surrounding an old-style wearing of the dirndl.

The rich pastel colors that Rapunzel is wearing properly designates her as a young unmarried woman while the laced bodice with the dirndl hooks ties it to the Alpine region, which would be the perfect place to hide the tower the witch uses to imprison her.  However, I am so excited to have thought out not just her dress but about the main symbol associated to Disney’s Rapunzel – the golden sun of her parents’ Kingdom of Corona.  I see it as reminiscent of an edelweiss flower, also called the “mountain star”.  

The Edelweiss is such a long-standing Alpine symbol – it’s still on everything from Swiss airline planes, beer cans, club logos, coats-of-arms, money, and certain uniforms for army officials and mountain troops in Germany and the Bavarian Alps.  Again, it was the Austrian Emperor Franz Joseph I who popularized a renewed passion for the edelweiss flower in 1856, when he made a point of gifting the flowers, picked during a hike in the mountains, to his beloved wife the Empress “Sissi”.  As I wanted a simple outfit without jewelry, the most natural (and practical) way to add this Alpine symbol was to order a set of edelweiss flower dirndl hooks, ordered direct from a shop in Bavaria that sells tract supplies (link here).  The pattern called for loops to be sewn in anyway, so decorative hooks for the front tie was a prettier, more interesting, more authentic to have a laced-front dirndl.  The way they show the long and short petals radiating out in a staggered, wavy fashion perfectly embodies Disney’s Rapunzel Corona sun symbol while still being specifically Bavarian.  I love how beautiful the hooks are on my dress. They bring out the color of the golden flowers in the print and shimmered in the sunset glow for this post’s pictures.  

Lacing is not necessary to the front of a dirndl, but one of the many decorative elements that are optional yet also traditional.  Because it is not a corset, a dirndl normally has a closure on its own separate from embellishments – here the dress has a center closing zipper.  Lacing is a traditional Bavarian feature, but dirndls often have a front buttoning closure instead, especially ones from Germany (such as a “Black Forest” dirndl, which I have posted more about here).  A dirndl has a stable, substantial bodice, which is why it was fully interfaced just as the Gertie pattern instructs.  Most Gertie patterns call for boning, which I thought would have been overkill here, so I did leave it off for my version.  Dirndls have a close fit with little excess wearing ease, which was how the pattern fit anyway after choosing my matching size according to the given chart.  It is not confining, though, but fits me perfectly because of the pattern’s excellent curving drafted into the princess seams. 

The way a dirndl’s front bodice panels (in between the lacing) are often in a different fabric, or at least highly decorative either by adding embroidery or lace, is reminiscent to their old and hazy origins to a corset.  Either way, for my center panels I used a heavy cotton jacquard that alternates stripes with a tiny floral.  It was just a remnant on hand, and it happily matched the Alexander Henry print I used for the rest of the dress.  Disney’s Rapunzel had striped sleeves so I was originally led to choosing this contrast fabric from my stash so I could have a similar look on my dress, but then carried it over into the front panels to incorporate it into the dress, just as many dirndls do.  The open U-neckline is another classic dirndl feature, and such a pretty one for framing the face.  I see dipped U-necklines pop up a lot in the late 1940s (see this ’49 one I made back when I started blogging) into the 1950s, and Gertie herself says this pattern of hers is strongly 50’s inspired, after all.   

Whether or not the skirt is the easy part depends on how much detail and what level of quality you want to achieve. Some dirndls have tiny, even pleats going completely around the waist, and the high end ones are sometimes smocked, but many are merely gathered into a waistband – the simplest method by far. I chose that last mentioned option, using fabric left (about two yards) from cutting out the rest of dress, making sure to have the selvedge be the hemline to save myself some trouble!

My chiffon undersleeves are a custom addition.  Not only do they bring my dirndl closer to a Rapunzel look alike, but they help my dress look polished.  They add a nice touch of color and a differing texture that helps make it more interesting, in my opinion.  They help my puffed short sleeves stay controlled, most importantly.  I did wear my dress for a short time without the undersleeves, and the puff sleeves crept up my arm and ended up looking weird.  I just used a very basic, skinny fitting, long sleeve pattern piece from another pattern (don’t remember which one), sewed it in under the puffed sleeves, and then shortened to the length I wanted.  The two sleeves are tacked together around the cuff of the outer puff sleeves and the hem kept simple by a bead of Fray-Check liquid.

It was so awesome how this Gertie pattern has so many authentic dirndl details under the guise of being a cute, vintage style dress.  This is a great pattern I highly recommend.  Granted, it is a mark of 20th century modernization for a dirndl to suddenly be a one-piece garment, instead of separates – skirt, dirndl (under) blouse, dirndl (vest) blouse, apron, and an optional collar.  Just like any other culture, traditional clothes tend to evolve along with the changing needs and the present history of the culture they are a part of, yet traditional elements still remain.  In the decades between WWI and WWII, the groundbreaking research of Austrian Jewish anthropologist Eugenie Goldstern showed how the Alpine culture has not been static, or overly set in its ways, but has adapted over the centuries since ancient times when King Charlemange was hunting in the region and was impressed by the sturdy, warm Loden cloth of the region.   

Many of the cultural stereotypes for Germany originate from the Bavarian Alps, yet ironically it only composes less than 10% of Germany’s total area.  All too often stereotypes have the facts warped or screwed up to the point that the actualities are understood in a distorted way.  Popular understanding of history doesn’t automatically equal truth.  I love to uncover facts that get overlooked or forgotten for a clearer picture.  I hope you enjoyed this deep dive into the history, lore, and traditions surrounding a dirndl – if you fancy more, read my last post on the other German fairytale princess Snow White, as well as my post on my “Black Forest” dirndl interpretation.  Maybe the next time you hear of Rapunzel, or visit an Oktoberfest, I will have given you a different, deeper outlook!  As you can tell, I became totally invested in taking on this particular fairytale through the lens of my heritage.  I do admire a girl who can grow her hair that long.  I’m pretending I’m the Rapunzel who got her hair cut after being free from her isolation, ha!

Make It Blue! Make It Pink! Make it Both, I Say!

Out of all the princesses in the Disney franchise, one of the most divisive topics seems to be the personal color preference for the gown of Aurora, also known as Briar Rose, aka Disney’s Sleeping Beauty.  It doesn’t help the matter that the fairies who magically whipped up her gown couldn’t decide on blue or pink, either.  If only the third fairy had been the tie breaker in the matter, this would not be a controversy!  I have my own opinion on the “blue or pink” subject which I will explain in another post.  Since Aurora is practically my favorite princess (mostly on account of the movie’s songs, artistry, and overall aesthetics), there will be some follow-up, further ‘inspired-by’ outfit…or two!  Nevertheless, I took a neutral stance with this, my main Sleeping Beauty inspired dress, as it was made as part of my “Pandemic Princess” series.  Thus, I chose a fabric that includes both pastel tones of blue and pink.  This is much more of a fashionable combo between those two colors than the magically splashed version as seen in fairies’ quarrel during the film!

As I mentioned in my flagship post (here) announcing my series, I took the route of interpreting most of these princess outfits through a pattern related to the year the animated film was released.  Disney’s animated interpretations are very much a product of their times, and here the year 1959 “Sleeping Beauty” has the most enchanting medieval spin on a mid-century outlook (explained in further detail in this “Frock Flicks” post).  Looking at design lines, common color preferences, as well as fabric choices of circa 1959 women’s clothing, I easily saw a natural way of interpreting Aurora’s dresses in a way that would be just as dreamy and feminine yet also wearable on an everyday basis.  My finished inspiration dress is perfect for twirling, light enough in weight for summer, comfortable, and in such pretty colors.  It is perhaps my most subtle princess referenced outfit from my “Pandemic Princess” series, but I definitely love the way it is such a practical luxury and a comfortable, useful wardrobe staple.  Its reference is like a little personal secret that makes me a very happy girl when wearing it!  I’ll admit it makes me break off in random spurts of swishing and twirling around while humming the tune “Once Upon a Dream” or “I Wonder”

Pages from my old original Disney children’s book, dated 1959!

Next to Disney’s animated “Cinderella” film from nine years earlier in 1950, “Sleeping Beauty” is also heavy with sewing referenced scenes…and I absolutely love it!  Please follow my link here and watch the whole thing for yourself.  It is a hilarious representation of the trials and challenges of people new to the craft.  “It’s simple – all you do is follow the book!” exclaims Fauna to Flora, who has never sewn before.  She starts with cutting a hole in the middle of the fabric (why yes, do start with the hem) because “…that’s for the feet!”  At least they had proper enthusiasm, if improper approach.  The fairies are so snarky with one another the whole time, I am in awe every time I watch.  When Merryweather, who was told to “be the dummy”, comments that the finished dress looks horrible (and I agree) Flora tells her, “Well that because it’s on you, dear.”  Ouch!  Sewing difficulties can bring out one’s ill-tempered side, that’s for sure.  Sadly, however, the rest of us do not have wands to magically, quickly remedy our troubled projects – which is why I am blogging about my princess creation, sharing its progress steps and related inspiration.  Enjoy!

THE FACTS:

FABRIC:  a Madras semi-sheer 100% cotton imported from India from “Fibers to Fabric” shop on Etsy

PATTERN:  Simplicity #3039, year 1959, from my pattern stash

NOTIONS NEEDED:  lots of thread, interfacing, bias and hem tape, six large snaps, and one hook n’ eye

TIME TO COMPLETE:  This dress took me at least 25 hours’ of time, and it was finished by July 1, 2020.

THE INSIDES:  cleanly bias bound

TOTAL COST:  The only cost was the fabric, which cost about $15 for 3 ½ yards on a clearance sale…all else that I needed was on hand already in my stash

A classic shirtdress pattern with fine details from 1959 gets the royal treatment here!  Yet, for being ‘just’ a shirtdress, this was quite a long haul of a project to make.  Collars and plackets are not a challenge for me any longer, but they still take time.  Mostly though, there was a lot of fabric to wrangle into a tailored dress.  The bodice, sleeves, collar and front placket pieces together took just under ¾ yard which left me with a full 3 yards plus for the skirt alone.  Even still, I was short on material enough that I had to adapt the pattern for the skirt to be pared down and thereby somewhat matched up.  Buying 5 yards for a shirtdress seems over-the-top to me…somehow I feel better splurging on something fancy.  Also, pleats are time-consuming for me to achieve, since I am the exacting type that wants to mark, fold, sew, and iron them perfectly.  Here are multiple clusters of four tiny pleats around the waist for further details that are amazing once finished but a headache to do.  Finally, hand sewing over half a dozen closures was a whole chunk of time and patience in itself.  Whew!  This princess dress may appear unassuming but it was just as much ‘work’ as any nicer piece.  That’s okay!  A finely made basic is much appreciated and most appropriate for my ideal princess collection.

I chose my pattern because not only was it from my stash but it had the similar design lines in the skirt as Aurora’s.  The quadruple pleats are grouped up into sections between blank, flat spaces so that the skirt has a controlled fullness combined with a detail that fine tunes the look.  It ends up being very elegant and certainly hides the fact there are several yards of material in the skirt alone!  Aurora’s skirt to both her woodland outfit and her princess gown have been drawn so that something similar seems to be the case.  When she twirls with her prince, her skirts open up to an amazing fullness. When at rest, her skirts fall into what looks like concentrated sections of multiple pleats which give the appearance of a slimming bell shape. 

Animation back then was not as literal and uber-realistic as the digitized films Disney releases today (such as “Tangled” or “Frozen”) and so I am filling in with my imagination for the drawn stylized elements.  Although, in the same breath, Disney animators for “Sleeping Beauty” did draw from live models in full costume (see this article for more info), and actress and dancer Helene Stanley in her woodland Briar Rose outfit (see video here) does have pleat clustering to her skirt just as I was supposing.

A plaid is great to pair with any garment which is pleated.  I knew that 50’s decade had a lot of plaid dresses, and such a print is a great way to combine colors which normally do not go together, such as a soft pink and blue.  Then – without looking for it – I just so happened to run across an Indian Madras plaid cotton which was exactly what I had hoped to find.  Don’t you just love when a project idea starts to come to life before your eyes?!  It’s always so exciting.  The best part about going with a plaid is the mathematical aid it provides when you are pleating.  For the quadruple clusters, I could depend on the first pleat being folded on the beginning of the grey vertical stripe, the second folded through the middle, and the third on the other end of that color strip.  The fourth pleat was folded at ¾ inch into the pink tone.  Plaids help pleats be precise and predictable and this way can give a very sharp look.

This leads me to explain how I adapted the skirt.  As I mentioned above, this dress’ skirt was supposed to be almost a yard fuller and I pared it down to keep this garment manageable for me to wear and make.  Making the skirt smaller in width messed with the pattern’s pleating layout so I reconfigured it myself.  This step literally hurt my head, but I knew it was just a matter of mathematics.  I knew what finished waist size was needed because I had sewn the bodice first, and I chose how many clusters of pleats I wanted.  Then I chose how deep I wanted the pleats.  I mostly worked with the plaid to help me make some of these decisions, because (as I mentioned in the previous paragraph) that I wanted the pleating to be aided by the predictability of the lines to the geometric plaid.  If you notice, I have the pleats fanning in towards each center for some slight visual drama!

The simple, more deeply folded center back box pleat was my favorite part to my personal choice in drafting this skirt.  I hate the way complex pleats which are at the back end of a garment become so messy in a hot minute.  By the first time they are sat on, especially in a soft cotton garment like this dress, pleats over the booty become frazzled and wrinkled.  Here, I simplified the center back pleat to the point that doing something necessary like sitting doesn’t ruin the overall look of the dress.  The folds are deep enough to reach over to the next pleat cluster so that everything back there stays in place.  I tend to either floof my skirt up around me when I sit, which takes up half of our couch or all of a seat and makes me totally feel like a princess, or I do the old fashioned, prim and proper thing where you use your hands to smooth out the back of your skirt as you sit down. 

After all that thinking which went towards figuring out the skirt, my use of snaps rather than buttons down the front was a matter of indecisiveness.  I could not find buttons that I liked enough to commit to, nor did I want to break up the crazy plaid.  I merely couldn’t make up my mind anymore regarding anything for this dress.  I was tired but excited it was almost done, and so snaps were chosen.  At least I find oversized snaps so much easier to sew and match up than tiny ones.  If I were to consider a technical take on my chosen closures, this would no longer be a shirtdress because of its lack of both buttons and belt. If I ever find my ideal buttons for this dress – ones that are clear with inlaid roses in their plastic or acrylic – then I’ll make buttonholes.   

For my accessories, I am wearing some ceramic rose earrings, Charlie Stone brand  sandals, and the Bésame Cosmetics “Sleeping Beauty” pendant locket that they released back in 2019.  I love the novelty of wearing my makeup’s case as part of my accessories for the day – it makes something pretty and handy out of something which would clutter my purse.  It is also a useful combo of either crème rouge or lip tint in a whisper pink color, contained in a rose gold mini book that imitates the one seen in the intro of the film for a further reference to my inspiration.  I am wearing the crème on both my lips and my cheeks so I can take my slumber in royal fashion.  Hopefully my prince will wake me from this rose garden!  Oh wait, he’s busy taking my picture at the moment…

Modern Beauty

Superficial standards for beauty are fickle beasts to follow – they come and go, change and go out-of-style, caring nothing for humanity.  I prefer appreciating the more meaningful qualities.  When it comes to princesses, Belle from Disney’s 1991 animated fairytale movie, has the spunk, self-confidence, intelligence, love of learning, independent spirit, concern for family, and loving heart enough to be beautiful in more ways than the frivolous!   Now that I’m older, the tale of “Beauty and the Beast” seems weirder to me than when I was little, yet Belle is still “my” princess nonetheless.  The fact she loves to read, has brown hair and eyes (both like me), and is of a different breed of Disney “royalty” always has resonated with me.  Goodness, my parents bought me the special “New Adventures of Beauty and the Beast” comic books, the dolls, and handheld game when I was a child because I couldn’t get enough of Belle’s story!

Thus, her iconic golden yellow dress was the first creation I made for my “Pandemic Princess” series.  My mom had sewed me a version of that dress for a beauty pageant when I was little.  This time around, Belle’s ball dress was my birthday present to myself in 2019, and it became the catalyst to all the rest of the Disney outfits which have followed since.  My birthday is always my day to feel like a princess, anyway, so being able to wear this gloriously swishy, glamorous dress was a dream come true!  As I just had my special day come around again, I thought it appropriate to post this particular dress now.

This is also my most recognizable ‘copy’, where you can easily see my inspiration.  Yet, as I have said in my flagship announcement for the series (posted here), many of my princess inspired are channeled through the lens of the year the movie was released.  In this case, I found a pattern from circa 1991 which had a similar silhouette, neckline, and shoulder details to Belle’s dress, with just my kind of interesting tweak to the style.  I always have to take an original interpretation to be happy and this is why I call this my “Modern Beauty” dress!

THE FACTS:

FABRIC:  the exterior is an all rayon twill, with the body lined in an all-cotton, and the sleeves lined in a golden tan polyester; several layers of pre-ruffled sheer golden organza become the attached petticoat to the dress’ lining

PATTERN:  McCall’s #5999, year 1992

NOTIONS:  one 22” invisible zipper and lots of thread, with a bit of embroidery floss for some hand stitching

TIME TO COMPLETE:  This took about 25 to 30 hours to make and was finished August 1, 2019.

THE INSIDES:  all raw edges are covered up by the full body lining

TOTAL COST:  Each yard of the rayon twill fabric was on closeout for $6 through Hobby Lobby, and the cotton was the basic broadcloth from JoAnn Fabrics.  The ruffled chiffon was a remnant on clearance from JoAnn Fabrics for $10 at one yard.  Altogether, this dress cost me about $50.

First off, you have no idea how I fussed over finding the right golden color to create this dress!  When searched for a “golden” color, I found tones of beige, yellow, and orange.  Even then, one cannot trust the accuracy of what a computer screen is showing you will receive.  What I see in Belle’s dress is primarily a very orange toned yellow, though, one that will go with beige tones well.  My rayon twill outer fabric was originally (on its own) much brighter than I wanted.  However, the fact is was semi-sheer gave me the opportunity to turn the shade into just what I was looking for by having the lining be darker.  The true color as it turned out was hard to capture in photos…whether I’m in full sun or the shade changes the tone.  Yes, I know I am a perfectionist but I think it pays off in the end. 

As this is a princess seamed dress, it is not only appropriate in theme but also a very big fabric hog.  The pattern needed much more than the 3 yards of both the rayon and its lining that I had on hand, but I was feeling cheap and didn’t want to buy anymore.  A midi length dress was my ideal, as it is less formal but still elegant.  I trimmed down the width of the flare to the skirt from the hips to accommodate my shorter yardage yet still keep the length.  Even still, the skirt is so very full, making the dress quite heavy, and I’m glad there isn’t any more than 3 yards to each layer.  Yes, that means there are six yards in total, not counting the yard of double layered ruffled trimming to the hem, whew! 

As much as I like an open shouldered look, I reconciled myself to something more sensible for my version of Belle’s hallmark gown.  A dress this substantial that is also strapless sounded like a nightmare to turn out successful unless I added a fully structured bodice much like what was done to couture gowns in the era of the 1950s.  This is a 90’s dress that – though well shaped to my body and fancy, too – I intended to be wearable by being effortless and casual.  A structured body would counter that. 

Neither did I want to do the ‘’work” and once a sewing project becomes drudgery to me, it is no longer enjoyable, and that completely defeats the intended purpose of my sewing, especially when it comes to fun princess outfits.  The hem ruffles are added to the lining to eliminate the need to wear a crinoline yet still softly shape the skirt…easy, right?  Along this vein, the shoulder straps were added to support the heavy dress without needing an internal structured bodice.  I can pop this dress on then zip it up without any specialty lingerie, fussy closures, or restrictive shaping needed.  I was wanting a princess dress for modern times, and I kept it that way.  There’s no use to even making this dress at all if I’m not the one ecstatic about it!

Of course, I still have the dropped, off-the shoulder sleeves, just like the inspiration gown.  Of course, if I was to get technical, Belle didn’t really have sleeves – just a shoulder drape that is part of an extended neckline decoration which to me looks like a home décor sash.  My dress’ sleeves are so much cuter and easier to wear than I already expected.  They are joined under the arm only up to the nearest princess seam and merely float over my arm.  I absolutely love this feature although it does fool me into thinking that the sleeves are going to fall off!  (Silly me, I forget they are attached.)  It made for some interesting sewing that I haven’t done before, that’s for certain.  In the future, if I want a ‘closer to the original’ kind of cosplay piece, it would be easy to add to my dress some sort of shoulder/neckline drape (as well as skirt draping) like what was on Belle’s gown.  

As I couldn’t bear to just plainly top-stitch down the sweetheart neckline or leave it blank, I did some simple decorative hand-stitching across the front.  I made a stitch that calls to mind some sort of chain because I was thinking about how weird it was the way Belle transformed her captivity under the Beast.  We tend to forget that she was a ‘prisoner’, in one way or another, for most of the movie.  Belle had many good qualities, but her honest regard for her life situations wasn’t one of them.  Just one small touch in the details of my dress alludes to my current adult outlook on the animated film. 

There are several significant pairings with my outfit which help me fully immerse myself into Belle’s world.  The most important of any accessory is the red roses I’ve included.  The real roses I am holding were part of a dozen which were gifted to me as a birthday present from my Aunt on my mom’s side.  The necklace rose is a memento piece from my Grandmother on my dad’s side.  My mirror – like my roses – might not be magic, but still special.  The mirror is part of a sterling silver dresser set (including comb and brush) that I received from my parents as a present when a young girl.  Yet, it was my background setting which is what really helped me feel totally in character for these pictures.  It is an old abandoned stone church that has been shored up and overtaken by ivy but left to become a now popular photo location in the city.  It completely reminds me of the stately but derelict atmosphere of the Beast’s castle. 

I hope you too can relate to my Belle inspiration here because I know “Beauty and the Beast” is one of the most popular fairytales and has received many other iterations other than through Disney.  The original story is even more enchanting than any Hollywood version, though.  Nevertheless, it is great to relive a childhood memory in a tactile way, especially when it’s a good memory.  So far, this is not my most worn princess creation, but it might be my favorite just because of the treat that it is and the way I interpreted it.  I wish for such a euphoric garment on everybody…especially on their birthdays!