Merry Mary…Quite the Contrary!

They say beauty is in the eye of the beholder.  Well, for Merry Mary, who has been passed over, forgotten, and unwanted for her 30 something years of existence, that is a tough pill to swallow.  Sure – she might be a bit gloomy and not the most striking upon first sight.  It hurts to be called ugly, though.  However, Merry Mary had faith that just the right ‘beholder’ would eventually come across her lonely life and see her inner potential…make her feel beautiful…wanted…fulfilled.  She was waiting for someone to tell her, “You are special to me…let’s make memories together.”  Ah, happy endings do and can happen.  Otherwise, Merry Mary would not be having her glorious feature story here on my blog!

You have just read the true yet dramatic story…of a fabric.  Call me crazy (don’t let me hear you say it, though) however anyone who has sewn long enough can understand that fabric can speak to you in curious ways.  This vintage fabric is copyrighted to 1988, carrying the name “Merry Mary” along the selvedge, and was a practically free find in a rummage sale.  It was too good of a deal to pass up – especially being a soft and harder-to-find rayon poplin weave.

Between the unusual print (looking so 90’s in 1988!) and the very useful two yards length, I soon found I was actually excited to sew something of it right away.  A general idea came quite effortlessly.  Of course it was much too tempting, but I paired the fabric with a year 1988 sewing pattern to end up with a project very specifically tied to a certain moment in time.  My first public wearing of the completed modern-vintage dress I made of the fabric completed in my mind the general emotions and background to such a long forgotten material.  Merry Mary’s story until now might be as drab as her muted colors, yet even if I’m the only one who likes it, that’s all that matters!  Beauty is in the eye of beholder and we should not judge others.

Of all the unusual and vintage styles I make and wear, I happily generally garner a pleasant, friendly, or at least curious response and attitude from those who see me.  It’s not that the feedback is what I am seeking when I choose to make what I sew.  I march to the beat of my own drum and create my own clothes to be true to myself and inner creativity.  However, the positive vibes I receive back certainly do help matters.  This 80’s dress is the first garment I have made which is obviously polarizing to passersbys.  Apparently, Merry Mary does not rub off the same way to others as she had for me.  ‘Too bad, so sad’ I independently think, because it is such a comfy dress that has just the right amount of a hot low neckline and a satisfying use of scraps.  Yeah, the gaudy 80s jewelry from my wonderful Grandma might be appropriate to the dress, but doesn’t help people love my look any better.  What can I say…I like to live big!  Nevertheless, it is quite interesting to try and figure out why those sour reactions are the case.  Revisiting the 80’s seems to be so polarizing.

Related to that, I’ll just come out with some personal info for sake of context.  In 1988, I was only just coming into the age when you start to remember life’s big events and exciting occasions.  Looking back at old pictures recently, I never realized my mother wore really classic 80’s fashions back then!  She sported all those wide and padded shouldered looks with the skinny skirts, power sets, and occasionally a wide collared dress.  Of course I am partial, but I think she rocked them quite well from my perspective today.  I do remember, coming from a non-judgmental child’s perspective, all I thought of back then was ‘how pretty my mom is’…no realization of what she was wearing (other than learning from and admiring her ability to fix herself up and put together an outfit!).  Perhaps we need to look at more of the 80’s fashion through more of that innocent perspective and stick to re-imagining it for the people we are today.

I know there are many right now who are all grown up and were children in the 80’s (like me).  I sense that the era is too ‘new’ for that bunch to do anything but find a gag reflex to those styles.  It is common to hate the era you feel is associated with your childhood or awkward teen years!  There were some bad fashion decisions then, I know, I’ll be the first to admit it, and yet I like to keep an open mind.  Check out what the great designers were creating.  Take a fresh outlook on it like I do, interpret it how you would like to have it instead, and own it for our current times.  Look out for the details in 80’s clothing which originated from past decades you do like (such as the 40’s or 50’s).  Realistically, it’s now 40 years since the 80’s and it is due for a refresh to be popping up at some point of this 2020 decade’s ‘fads’.  I’m just sayin’!  Nowadays, what comes ‘in style’ isn’t always what people want – things become popular out of social circumstance and Hollywood influence.  When that does happen, I’m already here for it.

THE FACTS:

FABRIC:  a 100% rayon twill for the floral and poly faux suede remnants (leftover from making this 70’s jacket and sweater vest) for the front and back middle contrast (I used the satin side out)

PATTERN:  Simplicity #8736, year 1988

NOTIONS:  I had all I needed, which was nothing special – thread, interfacing, a 22” zipper, and bias tape

TIME TO COMPLETE:  This was finished on December 18, 2019 after spending a total of about 8 to 10 hours to make it.

THE INSIDES:  all cleanly finished in bias tape

TOTAL COST:  A total of only $2                                                                             

This was a total experiment kind of project that I’ve ended up liking because it’s different, it’s comfy, doesn’t look at all as terrible as I was worried it might be on me, and also on account that I took the time and thought to make it in the first place.  If I saw such a dress on the rack of a vintage store, I confess, I probably would not be appealed by it, as it really only comes to life once on a body and fully accessorized.  I took the dive for this design mostly on account of knowing a plastron works on my body and is yet another feature of the 1940s which the 80’s refreshed.  My curiosity of fashion history frequently can only be appeased and sorted out if I create the object in question.

Making my dress was so unexpectedly easy.  It helped this experimental project not place too much stress on being a big success because the time investment was low.  There is no lining, minimal facing, and it is loosely fitting so no precise tailoring was needed.  Also, I was somehow able to make this out of two yards when the envelope back grid suggests to use 3 yards!  Every single piece was butted up against the other, with no room for error, but I did not have to compromise on grain lines at all, luckily.  I only had to shorten the hem line by a few inches.  The front contrast just barely made it out of the remnants I had from using the faux suede twice before, which was very lucky.  Many times I think ahead and plan to leave space around my cuttings for what I might be using in the future…such foresight was not here.  There was nothing but inconsequential shreds left over of both fabrics after some extreme pattern Tetris.  I do love it when a project I don’t hope to revisit doesn’t add to my scrap bin at all!

Due to the loose fitting design (such as those ah-mazing batwing sleeves!), I made a straight size, despite usually grading between sizes for the bust-waist-hips for most other patterns.  The only thing there is to fit is to make sure the hips were no too tight and find a comfortable elastic waist length.  Yes – it has an elastic waist…eww, right?!  That’s what I thought, too, until I realized it is not seen, only covered by the attached waist band which comes out of each side to the pointed bottom of the plastron.  I can deal with that!

It was quite tricky to make sharp, cornered points at the bottom of the plastron because the waistband, the front skirt pleats, and the elastic casing all ends at the same spot on either side, as well…so there was a lot going on there!  I had to do some stitching of those spots by hand to be precise and avoid frustration from trying to lay my dress under the machine just perfectly.  If the rest of the dress came together in the blink of an eye, I don’t mind spending a bit more time on the only detailed spot to the dress.  I didn’t have to deal with a installing a zipper, after all, as this a pop-over-the-head dress.

I found a photo shoot location setting which calls to mind the American suburban shopping malls.  They sure saw their heyday in the 80’s.  Those were the days when you could do more than clothes shopping there – does anybody remember the game rooms, toy stores, pet shops, very Punk-Goth looking “Hot Topic” stores, and “Glamor Shots” photography studios which were in malls during that decade?  Don’t forget the hanging out with friends, and the great people watching!  Ah, those were the days.  That is what I love about re-making the clothes of the 1980s, it brings back good childhood memories I can reminisce in.  I can image myself back in the 30’s, 40’s, or 50’s wearing my older vintage outfits based on what I know and have learned, but I personally did not relive those decades like I did the 80’s and 90’s.  First-hand experience is everything.

I hope I’m re-creating the 80’s in such a way that makes it more appealing than the initial go-around of the decade.  This was a project which stays true to its original date more so than many of my projects, and yet by making it – in what felt like a flash, too – I felt that I owned it in my own way.  I loved letting my full head of hair and dated accessories go towards my advantage to channel the full 80’s effect!  This is probably only a late fall or winter dress due to the colors and suede material, which is good because my cold weather wardrobe is significantly smaller than my current amount of warm weather clothes.  I want to fill up the yearly slots on my decade page for the 1980s anyway!

Stay tuned for a look-alike outfit to follow on the heels of this post’s dress.  As I mentioned above, this style calls back to the 1940’s, so I will be sharing a WWII era twist soon!

Mother’s Day Mandalas

Every mom can fully appreciate the amazing benefits of having her own special ‘space’ and quality ‘down time’ to refresh.  This is why my Mother’s Day post will be an elegant, flowing, treat-of-a-1930s dress in a lovely Indian mandala print.  Mandalas are a concentric symbol for balance, harmony, and focus in the Indian religions…and goodness knows, every mother needs as much of all that in her busy, hectic, and multi-tasking life!  I know I do!  Just the action of sewing is enough to put me in my “happy zone”.  Combining that with a fabric allusive of serenity sewn into a feminine vintage dress which is as comfy as my best nightgown and bingo – my Mother’s day cannot be any better than this.

I never have enough reasons or places to wear my fancy 1930’s gowns, and so this dress is my first (and happily successful) attempt at ‘normalizing’ that era’s evening wear.  Just by using rayon challis – a nice yet not-so-upscale yet equally flowing fabric as the satin or crepe the pattern called for – I took a special occasion dress into something which can fit more easily in my daily life.  I am in love with the everyday glamor, slimming silhouette, ease of construction, and interesting neckline of this vintage remake.  I definitely do not want to stop at only one of this design.  However, this version is such a keeper!

THE FACTS:

FABRIC:  2 ½ yards of a very soft and drapey printed viscose blend rayon with the bodice partially lined in a poly crepe

PATTERN:  Butterick #6410, a 1999 re-issue (now out-of-print) of a year 1935 pattern

NOTIONS:  nothing but some blue thread was needed…

TIME TO COMPLETE:  This dress was whipped up in about 5 hours and finished on April 18, 2019

TOTAL COST:  As the bodice lining was scraps from on hand, the rayon was the only expense and it was only $15. I bought it off of Etsy during a half-price sale at the shop “Fibers To Fabric”.

I cannot say enough good words about the work principles, the ideals put into practice, and the materials offered at Fibers to Fabric.  This is not sponsored – just my honest opinion as a happy customer and a seamstress trying to buy ethically.   They carry authentic, artisan, fair trade fabrics made with honesty and transparency in India.  Their true woven (not printed) Ikat fabric is to die for (I have one slated for an upcoming project)!  This printed rayon is so much silkier and sturdy than any carried by any big box store.  The viscose blended in makes this the perfect substitute for silk charmeuse, in my opinion.  Besides, ordering fabric directly from India is the right way to start off when making a garment with their cultural meaning or influence, no matter how slight, as I did here.

The pattern carries most of its complexity in the bodice along the neckline, but even still, those details were not enough to keep this dress from being a one evening project!  However, to be honest, I did greatly simplify the dress by leaving out the side zipper.  It is very tricky to keep a zipper from visibly restricting a flowing dress anyway, and even still, one that calls for delicate fabrics.  I went up one full size to make sure this would be able to slip over my head.  It is a bit roomy fitting this way, but it just makes this dress feel like some super fancy nightwear I can wear in public – is that wrong to want to stay that comfortable?!

Now what is important to realize with this dress is the skirt pieces are not cut on the bias so this pattern can be made on less yardage than the normal 30’s evening gown.  Here’s yet another reason I love this dress!  The skirt panel’s length is cut along the grainline and only the front bodice pieces are on the bias grain.  In order to make my dress on only 2 ½ yards of fabric, I opened up the fabric from the way it gets folded on the bolt and folded it a different way to still find the same grainline.  It was still a Tetris game, nonetheless, but I squeezed everything in after all (only by shortening the hem, which still ended up really long for my 5’3″ frame)!

The neckline is first rate.  It reminds me of a scarf or shawl that is tucked into a wide neckline.  Sadly the amazing seaming is rather lost in the print.  The bodice is kimono sleeved, but only on the sides because the neckline portion begins halfway out from the neck.  The the center back panels miter down into to a V.  The center front panels seam princess-style through the bust and plunge down to the empire waist.  Fill that wide neckline in with these long panels that reach from the front waistline to the back point between the shoulder blades, and there is one beautiful design to be had.  I love the way it frames the back of the neck and is more than just your usual V-neck or wrap bodice.

The pattern calls for the whole of the bodice to be fully lined, however my casual aesthetic kept only what was needed, which was just the facings to the draped neckline.  They were much skinnier than the neckline pieces of the fashion fabric, therefore only way to make the neckline fall into folds vertically, besides finishing the edges nicely.  I did not interface the neckline lining because you don’t need to add body there, just keep the gathers in.  Lacking the full lining which would’ve also filled in the side bodice panels, simple bright red ¼ inch bias binding finished off the armholes of my version instead.

Any time I have wearing this 30’s dress is instantly glamorous in a very unassuming, easy manner…the best of the 30’s for today!  Even though this dress’ pattern is out of print, there seem to be a good number still for sale out on internet sites so I heartily recommend picking up one for yourself.  This design would be great for scrap busting because a one yard cut could go towards a contrast bodice with a slightly bigger cut (no more than 2 yards, though) going towards the skirt portion.  I’m sorry my post did not even take into account how fabulous the little Mandarin collar crop jacket is in the pattern, as well.  I seriously need to come back and make the short jacket to match this dress in the future.

Whatever your state or position in life this Mother’s Day, we can all appreciate some relaxation and a calming moment.  I hope my mandalas for the day, and my quick-to-make but elegant to wear sewing creation, remind you that taking time for yourself is time well spent!

…At The River’s Edge

There is something so relaxing to me about being near where I can hear the movement of water.  Of course, as a city dweller I am never really that close to much water.  Maybe that why I appreciate it so much whether it’s a local rambling creek, a man-made fountain jumping enticingly in the summertime, the beaches of Florida (of which I’m a big fan), or the one man-made ‘river’ we have traveling through the heart of south city.  This ‘river’ was the perfect place to go relax, cool down, enjoy myself, and take a few pictures of my most recent sewing treat – a year 1951 dress with interesting seam lines, sewn using a true vintage rayon border print.

The flowers in the border print remind of some sort of tropical, lush beauties.  I like what the color of pink does for my complexion so I wanted this to be on the bodice, which wraps around me in a U-shaped fashion due to the cross-diagonal seaming.  Yet, the directional lines to the rest of the print first struck me as very animal-referenced, but maybe it is more like leaves on plant stems when I think differently.  The animal/stems lend a very proper post-WWII preferred-silhouette of a slenderizing, long and skinny skirt.

Whatever it is printed there, this slightly tropical dress is my new perfect summer dress, which is very ironic.  Usually rayon challis does not hold up well in our hot and steamy summers here – it sucks up too much moisture both from the air and off of me to become limp, wrinkly, and clingy.  Thus, my splurging on myself to use a true vintage fabric was one of my best, yet very wary, idea for trying something new for summer.  I don’t know what era this is from but it doesn’t wrinkle!  It is also a denser weave, and quite tightly stable yet so cool to the touch.  This is unlike any other modern rayon challis I have ever found.  I prefer past styles over newer ones generally already, but now you mean to tell me that old fabrics are much better too?!  I am glad to have this dress in my wardrobe and finally find out the benefits of old-style rayon.

THE FACTS:

FABRIC:  a 100% rayon challis, with a remnant of a modern poly lining for the bodice facing

PATTERN:  McCall #8376, year 1951

NOTIONS:  I had everything I needed to make this on hand already – interfacing scraps, thread, bias tapes, buttons, and a vintage zipper from my Grandma’s stash.

TIME TO COMPLETE:  Making this took me about 15 hours and it was finished on May 11, 2018.

THE INSIDES:  This dress has a clean and complimentary interior in pink and blue tiny ¼ inch bias tape along all the raw edges.

TOTAL COST:  Two yards cost me only $7…pretty awesome!

I felt extra pressure to be “perfect” with this make because of the vintage fabric I was using.  I found it at a reasonable price, and it is in very good shape so I don’t feel as if I have to be more careful wearing my dress. No – the pressure came from my respect for vintage and my knowledge that I had no back-up fabric to buy more of if I messed up.  Border prints are a specialty not to be found everywhere as it is, so finding a vintage fabric border print gave me even more of an expectation to find the right match of a pattern, too.  I had plenty of inspiration to go on which you can see for yourself as well here at my “Border Prints” Pinterest board.  The bodice of this earlier vintage year 1943 McCall’s pattern was my main inspiration, what I was going for with this year 1951 make.  Here, as my dress turned out, the floral border was too loose, oversized and not directional enough to make the U-shaped bodice all that obvious, as I wanted.  Oh well, it’s still just as pretty either way.  On the back, the border print runs along the bottom of the bottom of the bodice where it joins to the skirt.

The sizing on this pattern was weird.  Vintage McCall’s patterns are normally always so dependable, well instructed, with fine designs, and can be counted on to turn out great for me, but this one was one of the very few which I have found to run quite small.  I even sized up just to have a safety cushion “in case”.  Luckily, there were 5/8 inch seam allowances which I let out.

My dress’ pattern overall length also ran long, which I left as-is.  I think the longer length is most elegant and very befitting to the transitional 1948 to 1952 period when hemlines were a length they had not been since the early to mid-1930s.  A “several inches above the ankles” mid-calf length hemline like this now seems to be labelled as a “midi” dress nowadays.  It can be awkward on some garment designs, and it seems especially weird from a wearer’s perspective looking down, but generally I think this length is very flattering.  The triple pleats flaring out on each side of the center front skirt give a very gentle hip emphasis to keep the longer skirt from seeming like a straight pencil shape.

I’m guessing the major change I made to the dress pattern is pretty obvious already.  I eliminated the full button-up front closing to instead have a bodice only half-button front (with a zipper in the side, as well).  It wasn’t just because I was a tad lazy and didn’t want to do all those buttonholes and buttons.  I really didn’t want extra busyness to the print and besides – I actually didn’t have enough fabric for a button front!  Two yards was cutting it so close for this pattern…most of the tissue pieces were touching one another laid out on the fabric.  As much as I LOVE pockets, I also had to leave them out for the same reasons as for adapting the skirt.  Luckily I didn’t have to compromise anything else major (especially grainline!).

Eliminating a button placket is pretty easy for being such a visually evident modification to a design.  Most patterns have a vertical line that marks out the center front, the ‘middle ground’ where the two sides lap over and under one another.  It’s normally where the buttons would line up with the buttonholes.  The center front line is the line I placed on the fold, so that I would have one, large continuous front piece.  If you would ever like a seam line in place of a button placket instead, the center front would be the stitching line and a seam allowance would have to be added on.  Many pattern adapting techniques are a lot easier than they look once they are done, and this change-up is no exception.

The minor alteration I made to the overall dress was to add some slight “sleeves”.  Well, technically they’re not full sleeves, the shoulder line was merely extended slightly and the armscye adapted into a rectangle so that my arms would feel a bit more covered.  My upper arms are on the larger side and this seemed to be a feminine dress, so since I had the little bit of extra fabric I would need to make the change, I made easy half-cap-sleeves onto the garment.  This way I also used up every spare square inch of my lovely fabric, too, he he.

With the nice fabric I was using, I took my time with this dress to do only invisible hand work when top-stitching was needed.  This was worth it!  Finding the perfect color thread was not working out, and having a harsh, obvious stitching line was I felt not at all proper for this dress.  I had stitched all along the neckline and buttoning fronts to tack down the facing underneath.  This was the true test of how invisible yet regular I could make my needle do its job!  Also, I hand stitched under to the wrong side the skinny bias tape edge finishing along the armholes.  This was really quite challenging because there were sharp corners and right angles to the opening for the arms very much like another year 1951 dress I made before.

After all the attention I spent hand working on the bodice, I felt I would have been terribly remiss not to spend the same care on the rest – the bottom hem and the side zipper.   I am so ‘sold’ on stitching on hand picked zippers (except when it comes to the ‘invisible’ kind).  I discovered this ever since doing all the “labor of love” intensive work put into this 50’s dress. Such zipper installations turn out so much cleaner, and less bumpy than machine finished ones.  They are less noticeable so that they blend in with the garment as much as possible (unless it’s an exposed zipper!).  One can be so precise with getting a hand-picked zipper to turn out looking every bit as good as it’s intended, it’s worth the extra time every time I finish sewing one.  A bonus on the side is that it gives my machine a break, anyways!

This dress is a continuance of a segment of vintage fashion I suddenly feel I don’t have enough of to wear.  The early 1950s and late 40’s are my current fashion fascination in my sewing.  I love the in-between periods when styles where trying to find the right balance of details and not quite looking like the stereotypical silhouette.  One of my favorite ways of understanding history is to sew.  As I do have a plethora of killer patterns from this time, look out for more of circa 1951 here on the blog (although I must say this is one of the best I think I have yet made from this time period!).  How could I go wrong anyway with a wonderful vintage fabric…in a border print, to boot…sewn with my favorite vintage McCall’s patterns?!

“Retro Forward” Burda Style: Kimono Jacket

Why is it that the nicer or the more unusual the fabric is, the more pressure there is to choose the perfect pattern to make something of it?  Sometimes this pressure can sadly prevent me from getting around to sewing projects I would want to pick up immediately!  At the same time, I do try (unsuccessfully at times) to avoid the stereotype pitfalls (such as copying the envelope cover, for one) and stay creative with my makes…true to my own tastes and ideas.  However, I cannot resist some killer vintage inspiration!  This perhaps sort of explains why I made the quick and sudden decision to use a very special and unusual rayon fabric to make a somewhat simple, unfitted, unlined jacket.  Sewing this had went against my normal practices for my sewing, but I love the outcome.

This jacket amazes me by the way I went from each end of the emotional perspective from its beginning being sewn to the final photo shoot.  I started out as very skeptical of the pattern and rather dismissive to the fact that it vaguely appealed to me, only because the sizing was for tall women (which is definitely not me).  Then, finding a Burda Style contest became the other enticement to try this pattern.

After the jacket was done (in one evening, mind you!), however, I was disappointed when trying it on.  Not that it didn’t fit and turn out great – I was tired, it was a late night, and didn’t know what to pair it with, nor did I know if it looked complimentary on me.  After a good night’s rest and a new perspective the next day, I happily found several neat combinations my jacket can be paired with (in this post, a “White House, Black Market” strapless brocade dress is worn underneath).  I finally felt justified for my time, effort, and sacrificing of my precious fabric with my going out on a ledge here.  Besides, I am still trying to have a good relationship in completely liking and understanding peplums, and how they do work on me.  This was like an “I’m getting to know you, peplum” project.  Now, I am actually a bit frustrated in a good way because I love my new jacket and want to find occasions and opportunities to wear it.  This is a good problem, though, I suppose!  Can’t let a new favorite just hang lonely in my closet, now can I?!  Especially not when it’s made of fabric like this!  (Pictures don’t do it justice, by the way.)

THE FACTS:

FABRIC:  A 100% rayon, with a slight, soft, crushed wrinkle throughout.  It also has a dull metallic (like an oil slick kind of sheen) finish on one side with a crepe-like matte finish on the other.

NOTIONS:  I had the thread, elastic, and hook-and eyes needed on hand already.

PATTERN:  Burda Style “Short Sleeve Jacket with Plunging Neckline, #107, 04/2015“

TIME TO COMPLETE:  I only spent about 4 hours to whip this jacket together, not counting taking care of the pattern (tracing and re-grading).  It was finished on July 29, 2015.

TOTAL COST:  This fabric was bought on deep clearance when my favorite Hancock Fabric store was closing.  I bought 2 yards of this fine specialty fabric for only about $5.

The pattern for this jacket can be found in their May 2015 magazine, on the insert page for tracing out or at their online store as a buy-and-download printable PDF file.   It was originally part of the “Design Academy“ Collection” (one of my favorite Burda pattern collections! I have made 4 of them…), but then it was up for everyone to try and make to have a chance to be the new “cover” in their “2nd Ultimate Member Model Challenge”.  If you visit the page for the jacket pattern, you can see that I didn’t win.  Nevertheless, I have my own prize…I was prompted to make something I would definitely not have tried on my own gumption, something that I am glad I have to wear after all is stitched and written!

It is a pattern made in tall sizing, which is one reason why I dismissed it at first as I mentioned above.  However, I figured out the proportions for tall as compared to myself looking over their measurements chart and suddenly the sizing made sense.  What I needed to do was the opposite of the up-grading I’ve done for juniors’ designs – I add in 2 inches between the shoulders and waist for petite and juniors’ patterns so this tall ladies’ pattern needed 2 inches taken out instead, between the same spots.  Folding out one inch at a time in two different horizontal segments did the trick, at the chest and just above the waist.  I did also lengthen the peplum by about two inches as well so I would avoid having it too short to completely cover my hips.  I didn’t want the peplum to pouf out awkwardly, but it’s still so gathered, in the back of my mind, I secretly wonder if it really sticks out like some sort of ballet tutu anyway (so I think in the back of my mind).

Styling can be deceiving, but this is a ridiculously simple and easy to make jacket.  It is unlined, and there are only 4 major pieces to use.  The lapels are all-in-one with the front and only an easy facing finishes it off (I used the matte side for a cool contrast).  There is no expert tailoring needed.  It is comfy, loose and unstuffy yet looks put together and fancy in a nice everyday sort of way (meaning, it can look just as good paired with jeans and a tank or over a good dress)!  This is why I feel this pattern is a good opportunity to use a really nice fabric.  As much as I try to save those complex or even stunning designs for equally killer fabric, this jacket has convinced me there is another option.  Choose versatile and easy-to-make patterns which both will let the fabric shine and will see more use than that special-occasion-only jacket.  Besides, using a simple design makes things more fail-proof, somewhat…or so we can hope, right?!

Kimono sleeves always make for such an easy bodice assembly, great reach room, and complimentary curving for the shoulders.  Kimono sleeves in the fashion world necessarily have no direct association anymore to the traditional Japanese garment that it uses in its label.  Now a kimono sleeve is commonly meant to designate a sleeve that is drafted as one with the bodice, with no armscye, and a deep taper under the arm that usually ends at the waist.  This double interpretation is so ironic especially since the word “kimono” literally means thing to wear” or “clothing”!  As Kimono sleeves do offer a looser arm and bodice silhouette, they were a frequent feature used in many women’s garments of the 1950s.  This is why a 50’s suit jacket in a strikingly similar green was my main inspiration (as seen on the far left, below) which gave me the gumption to use my precious fabric.  It wasn’t the only one, however, the many other wide lapel, waist closure, kimono jackets and blouse-like wraps of the 50’s I was finding gave me the strong feeling that this is very vintage-inspired, which is why I am including this project in my ongoing blog series “Retro Forward with Burda Style”.  Peplums, too, were a preferred feature to the 1950’s when exaggerated hips were wanted to contrast visually with the tiny wasp waists women were expected to have.

However, at the same time, as I said, there is a blousiness to this Burda Jacket – a lack of the impeccable body fit that much of the 1950’s was all about.  So – I also see an influence of the 1980s and early 1990s on its style.  Technically, these eras are now over 25 years old, thus as weird as this feels to me, they are vintage now!  Peplums were also a feature of these two eras, most especially the 80’s, but the clothes in general were a lot baggier…even when they were generally fitted.  Suits of that time were not the impeccable outfit that you were supposed to sit pretty in.  They were unassuming and meant to move with you…the feeling I get when wearing this Burda Kimono jacket.  My preliminary inspiration might have been 50’s, but I think the 80’s and 90’s influence wins out here with the shiny, bright, almost neon green of my jacket.

The most challenging part of the jacket was figuring out the closure method for the double-breasted wrap-front waist.  Not that it was really that hard, either.  It’s just that the elastic gathered waist added an element of difficulty.  The waist seam made its own casing for the elastic when you sew it down, so luckily there wasn’t any more bulk than there needed to be and that was pretty simple.  I didn’t want buttonholes to pull on buttons, or snaps that could pop apart, so I used the most basic hook-and-eyes that I had (about ½ inch, large size 3) to make sure the closures wouldn’t get buried among the gathers.  I used the spring of the elastic to work in my favor here, because hook merely has to find the eye and I let go – the elastic pulls it closed for me!  The first inner hooking was easy because I just had to find a comfy fit around my waist, but with the overlapping second hook it was much trickier.  You need to keep a certain amount of the elastic to still stretch between the two closures to make the waistline seem evenly gathered.

I stuck to the casual feel of the jacket and left the inside edges raw and free, to do their own ‘thing’.  My reason for doing so at first was because I decided to add one more project to the sewing contest as well and I only had one more night to get it done.  Nevertheless, the fabric really doesn’t fray that much but for some weird reason, I – the perfectionist herself – actually like the soft, imperfect, and handmade feel of seeing and knowing those seams are left as they are.  Yes, as I said up at the top of my post…this totally is not my normal sewing practices.  You know, though, it feels good to change things up and gain a new perspective!

Making a style you’re unsure towards is hard enough, then to turn it around and actually find a way to have it work for you is a difficult and satisfying thing to achieve.  For a seamstress, taking the time to make a new style, especially when it needs a tricky size adjustment, or using a special fabric which would not be seen otherwise, is both a perk of sewing one’s own wardrobe and a scary challenge because it opens you up to the possibility of either failure or success.  Luckily this project was a victory, but if it wasn’t, I would have worked my way through it because an idea (and a good fabric) is worth it.  Keep those ideas coming everyone and don’t be afraid to make something out of that notion that popped into your head!  Nothing in the sewing world is off limits to have a crack at if you put your mind to trying and succeeding.