My “John Hancock” Dress

It was the day after that terrible, unexplained explosion at the Isodyne Energy Facility.  She was fighting through so much internally and externally – confusion, loss, blame, and a gut suspicion of a truth that she cannot prove.  At least she was the only one who had the humanity to get to know the missing scientist, no matter what his skin color.  Although she did not have the time to establish the connection she was inherently hoping for, she did understand him enough to mourn that he was only another senseless innocent in the long list of persons she seems to be the cause of their destruction.  Rightly or wrongly, those are her feelings.  Yet, the rest of the world around her only wanted the ‘facts’ about last night tied up in a nice little package, so that the truth for them was what they expected to hear.  SHE was the one needed by those in power to sign off for their lies – willingly or not was the threat.  What might our heroine wear for such a scene?  How can her fashion translate her strength showing through her weakness, her conviction to stand for veracity as the sole woman among a sea of lying, well-connected men?

Luckily, Peggy did have some true friends to turn to in such an hour.  Fortunately, also, the wonderful costume designer Gigi Melton has already come up with the perfect, amazing, and striking answer to a scene such as this, as well as other incidents just as powerful.

The heroine, Peggy Carter of the “Strategic Scientific Reserve”, dons the signature color of her female adversary – purple.  As someone who perennially wears blues, reds, and browns, she combines it with a new-to-her tone from the other end of the spectrum…green.  A professional looking faux two-piece outfit becomes a convenient one-piece dress.  Bold but sensible courage is manifested in Peggy’s fashion as well as character. Now, with my sewing capabilities, some fabric remnants, and an old pattern, I have my very own copy of Marvel’s Agent Carter’s dress for the above described “John Hancock” scene from Episode 3 of Season Two, “Better Angels”.

I love how Peggy’s words perpetually cut through the crud around her and are searingly direct, like a hot knife in hard butter, especially for this scene.  Truthfulness with others is what she is best at, and those scenes in which this memorable dress is worn, she oozes an assertive yet feminine, complex yet simple, and full on 40’s look!   “Better Angels” episode helps demonstrate why I have such respect for her and why I admire her character – an everyday superhero capability is tinged with a very relatable humanity and touching empathy.

April 9 is the anniversary of Peggy’s birthday, and it’s annually a day to celebrate a character that has brought so much into our lives by taking part in the “International Agent Carter Day”.  This is one of my favorite days of the year!  For such a day this year, I will post one of my very favorite Agent Carter outfit “copies” I have done.  It also happens to get the most compliments everywhere I go wearing it!  All this was made in one yard of deep eggplant purple gabardine and a few scraps of bright China silk leftover from a past project.  I adapted a true vintage 1946 pattern to both keep to the era and find the real historical version – thus I’m not just copying a Hollywood garment.

Of course, anyone who knows me knows I love a great pair of shoes, especially one that perfectly matches a color in my outfit.  Thus, I set out to find some true vintage shoes which would parallel the olive green B.A.I.T brand heels in the show.  There are some more modern decades, such as the 60’s or 70’s, which mimic 1940’s shoe styles, with slightly different heel shapes.  They are frequently much more wearable because of their not-so-fragile-as true-40’s footwear, however.  So, after much searching, I found a pair of lovely suede and polished leather, woven front, peep-toe heels in my size, in the exact matching green as my center bodice!  These are so comfy and really complete the outfit, yet they sadly blend in too well with the grass to be seen when I’m in a yard!

THE FACTS:

FABRIC:  a rayon/cotton blend gabardine, combined with china silk (leftover from lining this 40’s jacket-style blouse) for the contrast, and full lining in the bodice with all cotton broadcloth.

PATTERN:  McCall #6377, year 1946

NOTIONS:  I had all the thread I needed, and I used interfacing scraps and a zipper from on hand

TIME TO COMPLETE:  This dress was finished on September 10, 2018, in about 10 hours.

THE INSIDES:  cleanly bias bound

TOTAL COST:  The one yard of purple gabardine was a remnant found for about $5 at Wal-Mart, the silk was scraps (I don’t count the cost of such small pieces), and the “American Classics” cotton was yet another remnant, this time found at JoAnn for a few dollars.  This dress cost under $10!!!

Faux boleros on a one-piece garment or even just color-blocking – like this dress – seemed to have been a ‘thing’ starting in the late 1930s through 1940s, from what I have found so far through extant garments and similar sewing pattern designs.  This collage is only a small portion of what inspiration I have come across.  These are all a very smart – perfect for using small cuts of fabric, but nevertheless make the most fun out of fashion as well as the most streamlined outfit ever!  The bottom right extant late 1930s dress is the one that I specifically channeled here with my tweak to add a bit of Agent Carter my vintage pattern.  That inspiration garment had the arched, faux cummerbund mid-section as well as the shiny silk contrast bodice panels which worked perfectly with my need to fit every pattern piece on small remnants.  The more concise the pieces, the better to fit onto scraps!

Getting my bodice to look like a faux bolero required me to retrace it out onto paper, cut out that copy, and re-draft it into a few extra pieces.  Yet, to keep all of those pieces together nicely – besides validating the accuracy of my re-drafting and provide a clean interior – the bodice lining is the one-piece design of the original pattern.   I was so happy to be using my lovely leftover silk in a project which would highlight it.  As I had only used it for interior lining in the project before, this silk literally now has its opportunity to shine.  Yet, the silk is so much lighter compared to the substantial thickness of the gabardine, it sometimes appears quite wrinkled.  China silk is not the best at holding its own on a fashion design.  There’s exceptions to the rule as you can see here, but it really is best as a lining.  I wouldn’t trust the China silk to not rip or tear apart on its own if I hadn’t lined the bodice.

The best part of sewing a two-tone dress (total irony here) is having to switch between colors with the spools and bobbins of thread in my sewing machine.  It is a real pain!  This is why I did the side zipper and several other sections by hand.  Not to brag, but I can use whatever color of thread on whatever color of fabric and make the thread invisible!  Such a technique is a very useful skill, just sharing a heads up!  I kept the machine top-stitching to the purple portion of the bodice only because gabardine doesn’t look as terrible showing thread as silk would.  Silk is such a fine fabric, I feel like it deserves better (most of the time) than machine stitching!  I know, silly me!

There’s something to be said about dressing in character.  When you try to copy someone else’s wardrobe, no matter how much you like it on that other individual, you are not dressing for yourself until you own it and make it yours, whether through a tweak to the garment or a change of mental outlook for example.  I – and many other wonderful women who call Peggy Carter their heroine, like me – find that Captain America’s “Best Girl” only raises us up and makes us stronger and more confident in ourselves when taking on her persona through wearing her wardrobe.  Agent Carter is such a special character to emulate.  She is so relatable and inspiring in so many ways that to imitate her is like manifesting a braver and bolder version of yourself, which needed Peggy’s help to show itself.  Let’s all “know our value” today and every day!

Preparing for ‘Ruff’ Weather

It must be miserable for dogs to have to do their potty business outside no matter cold or rain or whatever the weather.  Here where we live, it’s the cusp of when we normally start having all of winter’s most nasty weather, and our little fur baby does not at all like stepping outside in any such clime (not that I blame him!).  Being a dachshund – both long and short – most RTW coats do not fit him correctly and he waddles around in them unable to move naturally.  I’ve made coats for myself, I’ve made a coat for our son (posted previously, see here), and I have everything ready to sew a coat for the husband, but I realized there is one family member that really needed winter wear – our dog!

I had some scraps (literally just a few pieces) of quilted fabric leftover from the previous winter’s sewing.  The scraps were too small to warrant stashing away and an annoyance by keeping out.  Bingo! Our little companion can now go outside in relative comfort and style in a coat I made for just his body type!  Soon, everyone in my family circle will have a custom coat handmade by me.

His breed of dog has a German heritage, and so I put a bit of a Bavarian spin on the coat.  At first, that wasn’t intended – I was merely adapting the pattern to accommodate fitting his body, my shortage of available pieces to use, and easy finishing techniques.  However, I love everything about how it turned out!  In just over an hour, I had a made my pup a new coat.  Since the rest of the quilted fabric was used to make things for me, I personally know that stuff is super warm and cozy so I do hope he is as happy to wear the new coat as pleased as I am to see him in it.

I chose the extra small for the body of the coat and a small for the longer length plus under belly straps.  As it turned out, I only had to use one of the two under belly straps because he is such a little guy!  Also due to his smaller chest, a tissue fitting (tough to do on a wiggly animal!) seemed to show that the neck and tummy straps were at the wrong placement for him so they were the last things I attached at new spots for a custom fit.  He has a box of RTW coats which have been gifted to him and this is the only one that fully covers his back yet has him moving around and doing his outside business like he isn’t even wearing anything.  It’s about time…why hadn’t I thought of this before?!

The bias tape finishing the raw edges used up a color I never need otherwise and was the perfect solution to making this a quickly finished project.  My fur baby certainly doesn’t mind and I like the different combo of colors.  The tape highlights the extra collar that hangs over a half-hidden small pocket.  I will never know why dog coats have pockets – it is one of the world’s great conundrums.  Usually pockets are for the wearer of the garment to use, but I will be the one using it to carry things for his needs (if anything) so…is the pocket really for him?  If anything, it adds some extra interest and was a good way to use up the second chest strap I no longer needed otherwise.

I had a rectangle only big enough to cut out the main body without attached neck/chest strap, but as I mentioned before, they didn’t seem like they were going to fit as they were anyway.  The way to get the neck to fit was to have a separate chest piece…that was all I could manage out of my scraps anyway!  Those buttons are purely decorative because out of convenience the neck/chest piece is sewn down.  It’s one less thing to deal with to get him dressed because when he has to go, he sometimes can’t wait!  The sole side closure of the belly strap closes with Velcro loop tape.

This time every year I have so much more incentive to sew for others, anyway, but this is the first of my sewing going for a pet!  I don’t really expect to do much more sewing in that department, yet it is exciting to find a new use for my scraps.  I mean, dachshunds do show up on so many of the few pet patterns which do get released.  He probably hopes I don’t get carried away with my new discovery because he doesn’t necessarily like to model or be the subject of the camera.  He is so accommodating, though.   Don’t worry little buddy, the coat you were born with is plenty handsome…

THE FACTS:

FABRIC:  two-sided, 100% cotton covered quilted batting

PATTERN:   Butterick #4885, year 2006, View C

NOTIONS:  I only used what was in my stash – matching thread, bright orange bias tape, and some 1980s buttons out of the inherited stash of my husband’s Grandmother

TIME TO COMPLETE:  From start to finish, this coat only took me an hour and a half!

TOTAL COST:  Basically nothing – a few dollars or less!  This was made of the scraps leftover from 2 ½ yards of quilted fabric which has already went towards two different outfits.  A third re-iteration of the same fabric is practically free in my opinion!

Remnants, Scraps, and Leftovers, Oh My!

With the refashions and sewing projects which need small cuts that I’ve been doing lately, some deep questions have arisen in head.  Primarily, what constitutes a fabric remnant?  When is a scrap piece of material considered rubbish?  When it is no longer useable?  Who is the judge of that?  How has our estimation of when the leftovers from creating a garment are considered unusable changed over the years and why?  Is figuring out such questions another key to truly sustainable fashion and new creative possibilities?  I have a feeling these questions are not easily answered nor can they be figured out in one blog post, but perhaps this outfit project is a small example to part of the solution.  It is made from two less than one-yard linen remnants and a handful of notion scraps, for an on-point 1960s era set which defies the modern disregard for its ‘waste’.

Only half a yard of 45” width novelty linen fabric was turned into this interesting pop-over crop top.  Just under one yard of linen became the slip dress to complete it.  If a remnant can make a full garment, should we still consider it scrap fabric?  My last post featured yet another half a yard top.  I suppose remnants used to be considered as those tiny pieces that became 1930s era crazy quilts, the stuff that is thrown away at all the sewing rooms, fabric stores, and homes of other seamstresses I know.  I love how the end of the bolt is a gold mine waiting to be dug because they are almost always deeply discounted and do work with more sewing designs than realized.  The 1940s, 50’s, and 60’s were really good at having sewing patterns that boldly advertised they would work for one yard or less.

Having more than a yard to work with is needed for many sewing projects, but it is not automatically a necessary luxury.  Refashioning my unwanted clothes, or taking the time to mend and alter, is on equal par with the indulgence of making just what I want to wear when I make it work with unwanted scraps.  In my mind, it’s because I like to be responsible and caring and appreciative of what I have.  I can turn this outlook into something fun and creative, catering to my individuality, by being the maker of my own fashion.

To continue this handmade, sustainable, and thrifty outfit theme, I would like to also point out that I also made my necklace out of a cheap, assorted bead pack I found on sale recently.  I am freaking infatuated with purple and pink, and lately orange as well, so this whole outfit is like my dream colors…but purple is my hands-down favorite.  Thus this necklace set is my new favorite accessory!  Each of the two necklaces are separate so I can wear the assorted seed bead one with or without the fancier, Czech glass, detailed one for a flexible look.  I brushed up on some beading skills learned back as a teen and had a blast making these necklaces.  I get to wear just what I imagined for a fraction of the cost and much better quality than I could possibly find to buy.  My bracelets and earrings are true vintage.

THE FACTS:

FABRIC:  100% Linen all around, so pardon the wrinkles!  The top is from a novelty, multi-color, open weave linen and the solid under dress/slip is a cross-dyed semi-sheer linen is a reddish pink color.

PATTERN:  a true vintage McCall’s #8786, year 1967, for the under dress/slip and a Simplicity #1364 “Jiffy” blouses from the year 1964 (originally Simplicity #5262)

NOTIONS:  Everything for this outfit was scraps from on hand – the thread, bias tape, interfacing, and ribbons!

TIME TO COMPLETE:  Both were made in only about 2 ½ hours each, and were finished on August 15, 2019.  These were definitely easy and quick projects!

THE INSIDES:  As linen frays something awful and that fraying gets scratchy, my top is bias bound while the dress is French seamed.

TOTAL COST:  The linen for the top had come from JoAnn, and was only $2.50.  The cross dyed linen slip dress had been purchased for a few dollars as well when Hancock Fabrics had went out of business.  All together, the whole outfit cost me $6 at the most!

This is an awfully good classic, proper set for coming directly from the late 1960s!  The only slight giveaway to its era origins that I can see is in columnar, straight-line silhouette of the slip dress and the boxy shape of the top.  I love how cool and comfortable the set is and how versatile each item is on its own.  The underdress goes well with my modern bias flounced wrap dress, yet I do have some sheer pink floral chiffon in my stash to come back to this pattern and make the matching given overdress.  It is humorous how confused the 1967 pattern seems to be at what exactly to call what it has to offer – is it a camisole top dress, a slip, or just a dress?  The top goes with all sorts of bottoms, but especially my 1980s pink shorts!  These particular linens are such soft, sweat-wicking champions that layering them up like in this outfit is not a problem but rather feels quite good.  You just have to roll with the wrinkles, though!

I did just a few adaptations to the pieces’ to both make them fit and be as easy to go on as they are to wear.  First of all, the slip dress was in junior petite proportions and a too-small-for-me size.  Thus, I had to readjust the bust-waist-hips spacing and grade up at the same time.  Luckily this was a really simple design – one front, one back, a few fish-eye darts for shaping, tiny spaghetti straps, and a wide neckline facing.  I went a bit over and above what I needed in extra inches because I wanted the slip dress to be a closure-free, pop-over-the-head type of thing.  If I was planning on wearing this as both a dress on its own and as a slip, I didn’t want a stinkin’ zipper in the side.  I already have a 1940s and a 1950s slip that both have zippers, so I’ve been there and done that.  This linen was too soft and wonderful to confine into a zipper anyway.

Going along with that aesthetic, I went up a size larger when cutting out the top (and was forced to make it shorter based on the half yard I was working with).  I wanted it to be closure-free and easy, breezy, too.  It’s such a refresher to do without a zipper.  I really don’t mind sewing them in at all and they are a must in the structured garments I love to wear, but it is nice to do without both from a maker’s standpoint and as someone who likes simplistic fashion sometimes.

A few little details were all my two pieces needed to elevate this basic set to a chic, coordinated set.  To tie the slip dress in with the top and also make it look a little less plain, I used two random pieces of leftover ribbon from my stash for decorating along the hem.  They secretly cover up my hem stitching!  The lavender velvet ribbon is true vintage and all cotton, still on its original card, and out of the notions stash I inherited from my Grandmother.  The cranberry sheer ribbon is modern, leftover from this dress project made many years back now.

My top needed something to pull the boxy shape in just a tad, so I stitched a button down at the bottom point of each side seam then made a thread loop three stripes away to pull the hem in.  I love how this ‘fix’ compliments the striped linen by making a lovely V at the side seam point (where the bust’s French dart and my back pleat is pulled in).  This ‘fix’ is nicely non-committal, too.  I can also wear it either way – full boxy or slightly tailored when buttoned in.  The notions I used were two leftover buttons I had cut off my son’s worn-through school pants before they were thrown away.  I’m proud of how I let very little go to waste around here!

“The Frade”, a stash swapping website where you can buy/sell/trade fabric, yarn, sewing projects and all sorts of maker supplies, states the statistic that approximately 15% of fabric is wasted when a garment is cut and made.  I do not know if they were referring to the industry or homemade clothing, but from the layout suggestions I see on modern patterns, for one example, I would personally think that percent would be much higher.  As long as grainlines are followed I see no reason for following a computer program’s suggestion for laying out pattern pieces on fabric compared to ‘playing Tetris’ to find an economical fit for minimal waste.  On average, I find I can make most patterns work with at least a half to ¾ yard less than the suggested amount needed on the envelope chart and end up with about 5% or less leftover.  Of course, all this does not apply to many vintage patterns, especially from the 1940s when they knew how to make the most of what they had on hand.

Sustainable fashion practices when sewing new from scratch might be more of a challenge or test of both patience and skill, but the results are worth it in the end.  Voracious fast fashion is ruining the world we live in and destroying appreciation for quality.  According to this article at the Fast Company, “the average number of times a garment is worn before it stops being used has gone down by 36% over the last 15 years (yay!), and yet many consumers wear their items for less than 10 times.”  This is bad news for efforts to limit waste in the fashion industry (info also quoted here @RightfullySewn)”  because over the last 15 years, clothing production has doubled.  There is a problem.

Whether or not we go through sewing projects just as fast as we might with store bought fast fashion, we sewists have the perfect opportunity to be smart about what we make, just as open to the kind of accountability we want – or should expect – from big business.  We can create with supplies that are either vintage, secondhand, or in our stash, and make items with a quality that we will enjoy for years to come.  We can mend when it is needed, tailor as our body demands, and finally recycle in one of the many modern means when all of those options are not viable.  Please, I beg you, choose natural fibers, anything other than a plastic or chemical based material.  We who sew have the answer to sustainable fashion just by our creative capability, and sustainable fashion absolutely needs to happen.  Might I suggest there is a duty attached to sewing, because ‘with knowledge comes responsibility’ as the saying goes.  Maybe we can kick start that with a change of mentality towards the good old-fashioned regard of remnants.  A good creative challenge never hurt anyone, either.

A Very Mod British Summer Sun Suit

I am truly infatuated with shorts-inclusive vintage play sets this year!  After my 1940s set a few years back (see it here), and then the 50’s (posted here) and 80’s (previously posted here) sets from this 2019, I’ve now also rounded out things by whipping up a 1960s sun suit, as well!

This set is a special oddity in my sewing – its pattern is a little known “Le-Roy” brand printed by the Associated British Paper Patterns Company out of Bletchley.  (I am rather confused by an English pattern having a French name, though!)  This is only the second English pattern I have used (first one here) and certainly the only one of the brand I have in my stash…but then again I haven’t seen many of Le-Roy designs for sale either.  I picked this one up on a whim for a steal of a price years back and I’m so glad I did.  I definitely want to come back to this pattern in the future and make the tunic length overblouse, too.

Unfortunately, the rarity of the brand makes it hard to date precisely, but the trend for this type of set and the styling on the envelope is the key.  My estimate for this is that it is possibly as early as 1964 yet no later than 1968.  Why do I believe this?  The famous actress Audrey Hepburn wore a very similar two piece sun set in the British 1967 movie “Two for the Road”  We all know how fashion likes to follow what is seen on the stars and starlets of the silver screen!  Yet, my Simplicity brand calendar of vintage pattern cover images has an almost exact two piece summer outfit labelled as the year 1964 on the page for August 2019.

So my visual proof gave me a 5 year range, and I channeled it by using the print that I did.  After all, if you just had the line drawing to reference, this play set is not all too different from a two piece summer set from the 40’s or the 50’s (scroll through this Pinterest board of mine to see).  Thus, I felt I needed the material to be the visibly identifying factor (besides the close fit) to testify to its publishing date from very modern-looking 60’s era.  As luck would have it, the FDIM museum (in Los Angeles, California)recently shared through their Friday “Unboxing” videos on Instagram a designer Emilio Pucci blouse from 1967 with a geometric, two-color green print over a white background.  Seeing that reminded me so much of the leftovers to some modern designer pants I made a while back.  I just had to make what I feel is a perfectly Mod era outfit for a British style summer!  I’ve made so many dresses from the 60’s era this is such a fun kind of a change!

These two pieces were an under-one-yard, scrap-busting project that also now gives me full outfit options to some pants I made years back from the same material.  There is nothing quite like matching mix-and-match separates to make me feel like I am both ready for a trip and completely up to rocking this summer!  This is what optimizing one’s fabric stash looks like.  The ¾ yard leftovers from these Odeeh designer Burda Style pants were just enough to squeeze in these little pre-70’s short shorts and a crop top reminiscent of a vintage-style sports bra.

THE FACTS:

FABRIC:  100% cotton duck cloth for the printed portion of the set, a 100% satin finish Pima cotton for the solid contrast, and a bleached cotton muslin for the lining material to each piece

PATTERN:  a mid to late 60’s LeRoy #3195

NOTIONS:  I had to custom order the little 6 inch separating sports zipper for the crop top, but otherwise I had all the thread and interfacing I needed.  The shorts have a true vintage metal zipper, painted in a lime green, also from on hand out of the notions stash in the drawers of my 1960 Necchi sewing machine cabinet.  I figured it was probably era appropriate!

TIME TO COMPLETE:  The hand-stitched zipper took an hour and a half to sew in itself, but the overall two pieces were finished on July 12, 2019 in 15 to 20 hours.

THE INSIDES:  all covered up by full lining

TOTAL COST:  Next to nothing!  As I was using scraps from another project that was made several years back this is pretty much free in my mind, excepting the $8 zipper.

This was easy in theory to make.  The tricky part was nailing the fitting.  The underbust seam had to be snug enough to stay down but not tight like a bra.  I did not want the shorts to look like any other ill-fitting RTW item I have tried and left behind.  A quick tissue fit revealed this was pretty much spot on my size, but when working with a new pattern company and aiming for a very tailored fit I always give myself some extra room in seam allowance.  Technically this should have been a bit large for me going by their size chart, so I’m assuming either the company’s designs or merely this particular one ran small.  In a few places – such as over my hips – I had to bring the seam allowance out to only ¼ inch so I am so thankful I gave myself some wiggle room when I cut.  That was not an easy thing to do.

I might have made this set on ¾ yard, but with the extra room I added when cutting, every piece ended up touching the other.  This is always a bit unnerving because there is absolutely no room for error and I have to think of everything.  I do not encourage this.  When it does work out, however, such an economical pattern and fabric layout is the source of both relief and self-amazement, not to mention the euphoric happiness great stash-busting can bestow!

Contrasting the shorts hem and top neckline with a solid was sort of a semi-stash busting effort, as well.  It all started with some satin-finish Pima fabric bought for – but no longer needed – as a lining under a sheer silk.  It has now been tentatively slated to be pleated 40’s era shorts in the future.  The edges of the cut length were sacrificed as part of an experiment before committing to a whole garment in such a color.  You see, I have never really been a fan of chartreuse, but I know it seems quite popular and a sought after color amongst vintage enthusiasts.  I do like myself in yellow and in green individually, but both combined in one shade is something that makes my skin look sickly.  However, I know never to say never!  Using a bit of chartreuse as the contrast “edging” for these two pieces was a good trial to see how if the color in small amounts is more tolerable…and I do believe it is!  Anything in a satin Pima cotton will be beautiful, though.  The true shade on the end of the bolt in the store was marked as “pistachio” but as it is darker and more yellowed than the lime green in the print, I see it as a chartreuse in person, not captured by the pictures.

The design itself was very basic.  Yet, between a good handful of darts on both the shorts and the crop top as well as fantastic real-life curves tailored into the seams I think such a simple little set ends up with a great fit I really never expected.  I like the way there was a lack of a waistband yet the shorts still hug my true waist.  The way the wide U-shaped neckline really squares up my shoulders and frames the face…and is easy to dress into with the front zipper!  Cotton duck can be rough and aggravating on the skin and the background of the print is white after all, so even though the instructions tell me to make a full lining I would have done so anyway.

I feel happy and confident in this play set in just the way I had dreamed of and only half-hoped for.  My squishy midsection makes me feel naked when I think about what I am wearing and become self-conscious.  My bigger booty and power hips and thighs have always made me self-conscious, too, in close fit bottoms, even more so in shorts.  That, combined with the fact I have never really found a pair of close fitting bifurcated bottoms – short or long – that could fit me, have made me shy away from such a thing in the mistaken belief they would not work for me.

Well, this is why I sew.  I am able to make what I want to wear and do so in a way that actually fits me and compliments me.  After a sewing a few skinny jeans that I love (posted here and here), this set was an opportunity to redeem something I never supposed I could or would wear and enjoy.  I believe fashion should be glorious fun, thoughtfully interesting, and individually personalized if anyone is going to feel truly comfortable in it.  It has to be an extension of oneself.  Achieving such a sweet spot with certain items that people are unsure about from the beginning – whether it’s someone who doesn’t like skirts or (like me) with a play set such as this – and ending up totally won over enough to feel as if you suddenly have a new type of garment that you can love your body in…that is when fashion helps you be your best self.  I am showing more skin than I am normally comfortable doing, but between my maker’s pride, the fun colors, the curious oddity of the fashion, and the joy of something new, I love myself in this Mod British summer sun suit!