Burgundy Jacquard Dressing Gown

Hubby and I have been long overdue for a vacation for over 5 years now.  A few weeks back we finally went somewhere for a few days – Chicago!  Our hotel was the historic Knickerbocker in the heart of everything, along the Magnificent Mile.  To cut to the point, we explored the hotel in the evenings, and we found the secret door to the speakeasy upstairs as well as seeing some of the unique, original 1930s and 20’s posters which lined the hallways.  All of this made me glad I had taken this as an opportunity beforehand to sew myself something special for the occasion!  I figured (correctly), that by the evening, I would be dog-tired, and not want to stay completely put together, yet stay elegantly presentable while being comfortable.  A vintage 1936 dressing gown was the perfect answer…

It seems a true dressing gown is something that rides a fine line between opposites.  It is not purely utilitarian and overly warm, both of which better suits a housecoat.  Yet, at the same time, a dressing gown is much more restrained than a tantalizing, sexy boudoir robe and not flimsy like a negligee.  It is a garment with practical, chic elegance which is unashamedly luxurious and feminine.  It is meant to be cozy in the way of being light yet chill-busting, because a dressing gown is generally flowing (and very classical Grecian in influence especially for the decade of the 1930s).  This vintage page (below) from a “Good Needlework Magazine”, year 1937, describes the ideal dressing gown.  See how it recommends satin, rayon, silk velvets for the best materials.  A modern robe is no match in opulent charm to a full dressing gown.

Unlike both a housecoat and a boudoir robe, a dressing gown is something to be seen and worn in somewhat private settings, such as a secluded hotel lounge (my immediate modern purpose) or to host late night card parties with friends or answer the front door (traditional recounts of their usefulness).  However, the name immediately implies that a dressing robe is a garment for a stage in-between dressed and undressed…like a “wrap dress sort of a housecoat” for when you would just have your slip on to do your hair and makeup before going out or for doing the opposite actions unwinding in the evening.  Even still, a dressing robe isn’t so much about action, as it is for inaction…especially for any time after the 1930s.  Most homes have had decent central heating since then, as well as leisure time being an attainable part of life, and with the frilly details and scant warmth to a dressing gown, this is something perfect for not doing anything, and completely treating one’s self to a little bit of luxury under the excuse of usefulness.Making this gown was somewhat of a leisurely luxury…it was so easy to whip up!  I used a great, small Etsy shop reproduction of a year 1936 German pattern and some luxurious mid-weight jacquard that seems to mimic a very nice rayon for the ultimate dressing gown for myself.  I am not one to wear reds all that much, but this burgundy jacquard was like a magnet to me in the fabric store…something I wanted to use in some way.  I couldn’t see it as anything but nightwear, for some reason – even though my dressing gown idea meant I needed a whopping total amount.

THE FACTS:

FABRIC:  The fancy exterior is 3 ½ yards of 60 inch wide mid-to heavy weight jacquard, 98% polyester/2% spandex (which feels like a rayon), from Jo Ann’s fabric store.  The lining is a crepe finish (buff, non-shiny), lightweight, matching burgundy poly lining, also from Jo Ann’s.

PATTERN:  a German year 1936 pattern re-produced in PDF form through “Repeated Originals” Etsy shop  

NOTIONS:  I had thread, ribbon, and clasp closures on hand…this needs only very basic notions!

TIME TO COMPLETE:  This gown was made in about 10 to 15 hours and finished on August 9, 2017.

THE INSIDES:  …what insides?  This gown is fully lined…

TOTAL COST:   This maybe cost me about $30 or $35, all coming from purchasing the fabric…

Perhaps I only pictured the jacquard in nightwear because I was thinking of the rich red robe of Scarlett in the movie “Gone with the Wind” or Whitney Frost’s robe in Season Two of Marvel’s Agent Carter.  Both ladies wear some dressing robes I crush over but I credit Whitney Frost’s gown to give me the idea to use two metal, gold-enameled filigree clasp buckles from on hand for the asymmetric chest closing.  An elegant robe with a luxury fabric which is not seen that much anymore deserves even more fancy touches…because I can!  Any garment can have buttons.  My gown has something to close it as unique as it is, and there are two less items in my notions stash, too. One of the unique details which are part of the design itself is the pointed, arched front waist seam.  It perfectly complements the gently arched neckline, in my opinion, and both provide a nice ‘frame’ for the asymmetric bodice closing.  The arched, pointed waist is on both sides of the front wrap, and amazingly do line up when the dressing robe is closed.  The waistline does have double tie closings to anchor this flowing robe in place – a pair of burgundy satin ribbon ties for the inside, and a pair of self-fabric bias ties for the outside closing.

The hardest and most time consuming parts to having a finished dressing robe were two things.  I’ll start with the first in the order of being made – assembling the PDF pattern.  I believe we have an extra ordinary amount of open floor space in our living room (where I cut out projects and assemble PDF patterns) and still I was almost completely out of space, so the large size of the connected pages into one full set of pattern pieces might be the biggest drawback for anyone else.  Take note – this pattern is similar to many PDF patterns, especially from Burda Style, where there is no seam allowance given.  It must be added in by you, in the width of your choosing.  As the size for this dressing gown’s original measurements are (bust 38”, waist 30”, hips 42”) technically inches above my body size, I did not add seam allowances so as to easily cut down on the excess.  In reality I could have added little seam allowances because this seems to run small in the overall fit.  It just fits me, without any room for bulky clothes, but I do not think I would like this any bigger because a sloppy fit would make all the fabric to this ankle length robe overwhelming.  So I guess I succeeded in a good fit after all.

Turning all the edges out all around so I could have a fully lined gown was the second challenging part that took up most of the relatively short time I spend on sewing this.  I didn’t really want to bother deciding on a seam finish (bias, French, or raw) and a dressing gown’s inside is seen much more than any regular wearing garment.  Thus I went all out and fully lined my robe, except for the sleeves.  Whenever I want to make something nice, going the extra mile to make that special touch, even though it’s probably a bother, always ends up so very worth it in the end…at least for me!

I know the pattern shows cuffed sleeves, but I can wear that on my every day long sleeve shirts – I wanted the drama that wide bell sleeves add to my dressing gown.  Besides, many, if not most, of the various other dressing gowns I perused on the internet (both patterns and extant garments) have similar bell sleeves, especially the 1930s ones.  I did find the original pattern sleeves to be a tad short when I checked before cutting out.  I am on the smaller side of average for my arm length, and I added 1 ½ inches, so everyone else interested in this pattern take note!

Many of the 1930s dressing robes also tend to have a neckline frill or ruffle, too, I noticed.  I do have a vintage one yard scrap of some sheer, black, mechanically pleated 3 inch wide trim that would mimic the collar on my pattern’s drawn image cover.  I was sorely tempted to add that trim to my dressing gown, but the trim is vintage and uniquely lovely, so I really think it deserves to be seen on a 1930s street dress or nice dress.  I actually used up all of my jacquard fabric on the gown, so a self-fabric neckline ruffle was out of the equation, anyway.  Having something frilly, fussy, and complicated around my neck doesn’t sound like anything but a bother on something meant to relax in, and I like the simplicity of the elegance to my robe as it is.

You really can’t see my slippers all that well, but I am wearing my prized vintage late 1930s to mid-1940s Daniel Green slippers.  They are mine because of an even trade with a local shop of some vintage heels I wasn’t wearing, so I count myself as lucky to have these because they are something I probably wouldn’t have bought otherwise.  They are in pristine condition and just so amazing, I had to bring them on the trip and wear them with my dressing gown.  House slippers have changed so much since these beauties – another example of how modern versions of things cannot stand up to vintage when it comes to class and personality.

Please – do yourself a favor and find a dressing gown pattern for yourself (maybe use the one I did) and make one, too.  Like me I believe it will come together quicker than you imagined, and you will want to wear it more than you expected.  Just find that luxurious fabric that speaks of fluid elegance in your mind, and go for it!

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My “Naomi” Dress

Many times when I want to try something experimental in my fashion, I like to start with something I’m not as completely invested in as a sewn ‘from-scratch’ garment.  Therefore, if I don’t find something unwanted from my existing wardrobe, I often resort to re-sale and thrift store offerings.  They are low-cost, there are a plethora to choose from, and I feel like I need to do my part in making a dent with the unwanted and uninteresting leftovers from our modern fast fashion industry.  Here is my latest re-fashion attempt, made for a special family occasion.  As a frequent vintage wearer, I am rather surprised how taken I am by this…it makes me feel so on trend with all the latest off-the-shoulder looks this summer!DSC_0923a-comp,wMy husband actually thinks it reminds him of the character Naomi from the television series “Mama’s Family”, although my dress is green and not her favorite shade of yellow.  For some reason, this attribution to Naomi makes me sigh, half-smile, and feel ever so slighted even though I know she was a great character in her own right.  Hubby is right, though, this is something she would totally wear!  I mean, she even wore an off-the-shoulder dress for her wedding to Vint!  Yet, do I think this dress reminds me of the peasant and hippie styles of the 1970s and 80’s especially with the hem ruffle, but maybe it’s the vintage lover in me which only wants to find a past decade to associate with.  I have a whole Pinterest board dedicated to peek-a-boo shouldered garments, starting from the late 20’s ‘til now, as well as a board for the Peasant look, if you’re interested in looking at more past twists on this modern trend.

THE FACTS:

FABRIC:  a rayon knit big-box store sundress 

NOTIONS:  nothing but some thread…

PATTERN:  none – this was all my own inspiration!

TIME TO COMPLETE:  Making this dress took me about 2 or 3 hours and it was finished on July 5, 2017.

THE INSIDES:  cleanly overlocked (serged)…more on this below.

TOTAL COST:  I only paid $2 for this dress about 2 or 3 years ago

I have been waiting for the perfect re-fashion idea to hit my mind for the few years since I bought this dress.  After simmering on the back burner of my projects list, it was only recently that I suddenly came up with this idea which felt ‘right’.  I went with it (as you can see), and was so pumped to dive in that a picture of the original sundress was forgotten before it became re-fashioned.  Oh well – it was very boring and basic after all.  The original dress was just an empire, under bust sundress with spaghetti straps and very long skirt which had two ruffles at the bottom hem.  There were inseam pockets – one on each side – at a very awkward, low hip spot.  It was pretty much shapeless and uncomplimentary, but the fabric is a wonderful rayon knit with a nice color and print, so I figured it was worth saving.

My first step was to cut off the bottom of the two large hem ruffles.  Most of this became the shoulder ruffle.  I couldn’t have asked for an easier refashion here – I kept the gathers at the top of the ruffle when I cut it off, so all I had to do was hand tack it to the spaghetti straps and the neckline front and back centers.

There was just enough left over from the shoulder ruffle to make a new, wide, middle body waist band so I could have more shaping than just the high empire seam (which gets covered by the ruffle anyway).  The skirt was cut off at the empire seam and my new middle waist panel was sewn in there instead.  It extends down to my natural waistline so the skirt could be re-sewn on at that point.  I did cut off an extra several inches from the top of the skirt portion, just so the inseam side pockets could be at a natural height for my hands at mid-hip.  Next, this was stretched while sewn onto the bottom waist seam of the middle body panel, giving the dress a nicely controlled and loosely gathered skirt.

As this is a ready-to-wear item originally, I departed from my normal dislike of serging (overlocking) seams and thought I would give it a go again just to match with the rest of the finishing inside the dress.  This is a knit so I figured I probably would not need to really change, adjust, or otherwise tailor this too much in the future…but hey, this was cheap enough to buy and no skin off my back if it didn’t turn out.

Since I do not have a serger, I made a visit to my wonderful neighborhood sewing room.  It’s a place equipped with every sort of machine, notion, fabric, pattern or necessary supply I could ever want sewing-wise and the best creative, happy, and friendly atmosphere one could ask for…with a kitchen and wash room to boot.  I pay a ‘per hour’ rate and get sewing done while relaxing and enjoying the company of interesting, fellow sewing enthusiasts.  There are many such places popping up all over – I suggest you search and see if there is something like this in your town…if there is, please support it; if not at least do what you can to connect with other sewing friends!  Apart from my diversion in topic, I now had the perfect reason to spend more time at my local city sewing room, and used the sergers and large cutting tables there to make and finish my dress.  I totally had much more fun making this dress than it is to wear it.

Don’t get me wrong.  My dress is great, and I do like it, but I am not just 100% won over by this off-the-shoulder trend.  I plan to try some more versions yet, to find one I like the best.  As elegant and airy as it is, I feel like I’m always loosing something down the sides of my arms…apparently I’m not used to it.  For those of you that do wear these off-the-shoulder fashions, I need to ask you some questions.  Do your ruffles ever happen to have their hems roll up on you when you lift your arms up?  (This is a “problem” with my dress.)  What do you do if you are chilly – do you like sweaters, loose shawls, or jackets over your off-the-shoulder ruffle fashions?  (I haven’t yet found something I like to cover my arms against some air conditioning which is cranked up like the inside of a refrigerator.)  Also, to get technical, does anyone know whether an off-the-shoulder ruffle is really a sleeve or not?  Just wondering.  If anyone can let me know what they think or know, it would be much appreciated.P.S. – Does anyone else (like me) get the biggest kick out of the character of Naomi from “Mama’s Family”?  I just couldn’t achieve her second season massively fluffy hair the day of our pictures, unfortunately…

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India’s independence, 1947

What better way to celebrate 70 years since India’s independence than with a culturally-influenced vintage 1947 dress which commemorates that momentous year.  Not only did I find a lovely, symbolical, amazing border print rayon challis for my India’s tribute dress, but I came up with (what I’ll admit) my most creative use yet of both a sewing pattern and fabric print.  More often than not, the ideas that pop in my head surprise myself,   especially when they come out as planned!

This dress deserved the trip to visit and appreciate our town’s Hindu Temple, one of the largest of its kind in our country.  It is a stunning piece of architecture and the most appropriate place I could think of locally to observe an event that impacted the religion and culture of India.   For those of you reading that know about this point in history, yes, I know it technically wasn’t just India that received independence (due to Jinnah), and yes, I am fully aware of the strife, turmoil, genocide, and hard times that both preceded and followed August 15, 1947.  I enjoy history and learning – it is the opposite of a chore – so I have read and researched an overwhelming amount of information regarding all areas relating to India and Pakistan’s freedom.  But don’t worry – I will not fill up this post with all of that here.  I only want to let you know how much depth and appreciation for a culture and an event from their past has went into this dress.  Designing, sewing, and posting about my Indian-influenced 1947 dress is not just about a creativity I am proud of doing, it also a manifests my deep amazement at what determination and a belief in one’s convictions can do for people…in this case, India 70 years ago.

THE FACTS:

FABRIC:  100% rayon challis, bought from “Simply Fabric of Oakland” Etsy shop

PATTERN:  a Marian Martin pattern #9208, year 1947

NOTIONS:  All I needed was thread, a bit of interfacing in the form of cotton broadcloth scraps, and a zipper – noting odd or out-of-the-ordinary, so it was all on hand already.  I’m still on the fence as to whether or not to add in shoulder pads!

TIME TO COMPLETE:  The dress was made in about 15 hours and finished on September 2, 2016

THE INSIDES:  Nicely French seamed

TOTAL COST:  As you can see on the site, 3 yards of fabric (I bought plenty extra to have more of the border print) cost me $18 – so reasonable for as silky the quality is and how unique the print is!For some reason this pattern seemed to run very large.  Most of the mail order and now-defunct companies such as Du Barry, Hollywood, etcetera, frequently seem to run generous, but this pattern was technically an inch smaller than my real measurements (32 bust), and it sewed up as if it was a 35 or 36 bust with a very long waist.  I had to take out almost a whole two inches off of the bodice bottom just to have the waistband come close to my true waistline…and it still is not as high as I would like.  Of course, rayon challis is so drapey and flowing it can make a garment seem a bit bigger than if the same was sewn in a cotton or some such stable woven.  However, this one was a true oddity I believe, and as cool as the design is, the sizing and some of the balance marks were just plain off.

Mail order patterns I see are rarely officially dated.  Most of the times I go by postage stamp codes and style lines, with the occasional notes scrawled down which sometimes have a date.  From my research, the postal stamp is mid to post-WWII, with this asymmetric paneled style being so very specific to circa 1947, as well as very frequently used for Marian Martin line.  (See my Pinterest board “Asymmetric” for examples.)  There are some dresses and patterns similar in the years 1946 and ’48, but the average year comes back to ’47 and with my India-theme going on, I am going with 1947 for this project.  Besides, the silhouette is lean and elegant to this dress, and the full, quarter circle bias skirt in the front only (yes! so lovely) is something obviously later post WWII, when fashion was gearing up for a whole ‘new look’ of the 50’s.  The ‘straight off the heels of rationing’ patterns of 1946 would never have a skirt like this one…the likes of which are not to be seen since pre-WWII, year 1939 (such as my Whitney Frost “Superior” dress).  I originally had the notion of making this dress pattern a full wrap-around button down designer-knock-off design, like this one in the book “Forties Fashion” by Jonathan Walford.  But, no, not this time around…This dress is sneakily not draped even though it looks like it – it is actually asymmetrically paneled, sewn like that with the borders facing in.  The only true drape is in the back – a separate sash attached and hanging down from the one shoulder to anchor at a loop in the opposite side’s waistband.  This I added…it was my own idea both to use extra fabric (practical level) and to make it closer to a true Indian garment, one that would be appropriate for religious occasions (culturally respectful level).

My fusion of western and cultural influence in my dress is not just something from me – it is something that the most well-known (native, non-British) ladies were doing at the time in post WWII India.  One of the most inspirational women of our modern times actually gave me the idea for this outfit – Maharani Gayatri Devi, princess of the Indian princely state of Jaipur.  Many of her most well-known pictures (such as the early 40’s ones by Cecil Beaton or the one I’m including from The Calcutta Telegraph, 1945) show her wearing a sweetheart neckline dress, with a sari sash across the front, a look I sought to imitate by having the border print swoop directly parallel with one angle of the neckline.  She was a successful politician (winning in a Guinness recorded “world’s largest landslide”), and a supporter of the cultural arts and learning for girls, so she was much more than just a pretty face, although she was known for her beauty and fashion sense.  Also, post 1946 saw a boom, a resurgence of the already steamrolling Bollywood business and famous actresses such as Nargis all could be seen post WWII wearing dress styles very similar to my own – especially in the 1949 movie Andaz.

The border to this fabric was lovely – multi-layered like a sedimentary rock and therefore very useful for many purposes and fun to play with.  The border started along the selvedge with the dark green strip, which I used as the waist band for high contrast.  Small snippets of the green can be seen on my one shoulder and at the bottom asymmetric hip seam, but I didn’t want that color to stand out as much anywhere else besides the waistband.  Next, come layers of dizzying, fanciful, decorative scroll work and relief images, such as one would find on a building.  These layers were lined up with one side of the sweetheart neckline, and the asymmetric front dress panels.  Boy, was this step tricky!  I actually miss cut, and luckily I had just enough extra fabric to make a new bodice piece.  The border on the upper bodice piece dissipates down, while the lower hip panel has the border going up towards my head, making the whole of my front middle appear as if it’s a swath of a sari wrap.  The only full border is on the long sash that I made.  This sash come from the one shoulder which has the border print, and it can hang down loosely, but I mostly like it when it drapes across my back, made possible by looping into a small bias tube casing I added in the waist of the opposite side, where the side zipper closes.

The fabric’s background is equally as lovely and intricate, but the toned down colors of khaki and white hide the print which adds to the symbolism of the dress.  If you look closely there are ceremonial decorated elephants in white!  Elephants definitely one of the animals of importance to the culture of India, partly – no doubt – due to the fact Ganesh, one of the best-known and most worshiped deities in the Hindu pantheon , has the head of an elephant.  However the pachyderms on my fabric are so fancy they are they look like the ones paraded through festivals, such as the Dasara festival at Mysore or the amazing Tysar Purim festival.  Elephants are at the entrance of the temples and were heavily used for construction of large structures such as temples and palaces.  They represent some wonderful attributes, such as strength and prosperity, and the rare white elephants (like on my dress) actually represent rain to India’s culture.  Luckily, it wasn’t inclement weather for our pictures, only a lovely sky to match the “Krishna blue” on the Hindu temple behind me.

To match the rich, dark colors in my dress, I wore my B.A.I.T. “Violet” peep-toe heels in forest green.  This is a killer 1940’s style heel that is synonymous with Agent Peggy Cater, used (in a navy blue) for the first season of the Marvel television show Agent Carter.  These are not that comfortable at all, and the ball of my foot aches and my toes sort of go numb after only several hours of wearing…not good, I know.  However, I got a good deal for these and they do match with a lot in my 40’s wardrobe, so, for relatively short periods of wearing, these shoes are awesome.  I put a lot of thought and detail into my hairstyle, too, although you can’t really see it in the pictures.  It is a mix of ethnic and 40’s, just like my dress – each side has a twist up which ends on top my head, with victory rolls and pompadour rolls front and back, sort of like this picture of the actress Brijmala.  With my ethnic brass hoop earrings, my outfit is set!

Sadly, I do not have enough places or reasons to wear my Sari inspired dress as often as I would like.  It is not something that fits many general occasions.  I think I will just have to put it on and wear it when I want to – there is no sense making something I love otherwise!  Often times, the vintage pieces I wear get people I meet and even random bystanders around me to make comments, ask me questions, and get a conversation going.  I like this, even welcome it – it is an opportunity I enjoy.  Hopefully, this dress will give off the same mojo as my other vintage outfits (whatever that is…) and get me and others talking.  We do have some very good friends that are just like family – they have parents who lived through the years of change in India, as well as distant relatives still in India – so this dress, and my research associated with it, will hopefully lead me to have an understanding of their culture like never before next time we talk.

I hope this post has inspired and informed you a bit regarding a little known facet of history which has had so much to do with making the modern world be as we know it today.  Please take a few moments on this anniversary of India’s independence to look up some extra info if you’re really motivated!  Let me suggest the short and sweet “Rarely Known Facts About India’s Independence and Partition” or the chock full of videos and pictures “Five Things You Didn’t Know About India’s Independence” for starters.

As always, thanks for reading!

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Totally Reversible 1967 Suit Dress Set

How does one maximize a garment’s wearing options with style?  By not deciding!  Before you tell me I’m crazy, listen.  You see, when I was planning to sew a 1967 suit set, and I had set my heart on two fabrics for it, I thought why not just go all out and make it reversible?  I had equal amounts of a lovely lavender linen and a fleur-dis-lis printed cotton, both of which I saw as meant for one another.  I wasn’t willing to hide one or the other to use as a lining, and using them separately just wouldn’t have the same effect.  Making a reversible suit set sure solved the problem of which fabric to choose, and it also gave me a darn good challenge, to boot…especially since my pattern was lacking instructions!  I had to count on my sewing smarts to get me through!

Yes, I know how to make things hard for myself, but it gives me a goal to accomplish which can make me feel proud to complete successfully.  There are so many ways of wearing a reversible suit dress set, so each picture practically has a different combination and different details to show.  I love how this set ‘suits’ my body, yet I mostly enjoy the ability to pop into a bathroom and come out looking different as if I’ve changed what I’m wearing when I really haven’t!  He, he.  It’s never dull around me apparently 😉THE FACTS:

FABRIC:  The one fabric is 100% linen, in an open woven blend of the lavender, lilac, grey, and purple.  The other fabric is a 100% cotton in lavender, with a purple geometric Fleur-dis-lis print which has a slight metallic silver sheen printed over it.

PATTERN:  Simplicity #6957, year 1967 junior’s pattern

NOTIONS:  Believe it or not, everything I needed for this project was already on hand  – thread, interfacing, a zipper, as well a vintage buttons from the stash of hubby’s Grandmother

TIME TO COMPLETE:  The set was finished on May 24, 2015, after maybe 25 to 30 hours spent.

TOTAL COST:  Everything for making this project was stuff languishing in my different stashes for many, many years, so I’m counting this project as free!

I will admit that I had ‘support’ for my idea from a major fashion figurehead – Chanel – and an outfit of hers with a dramatic story behind it.  I’m talking about a suit set that she designed for her Patrimoine collection which was showcased in Marie Claire magazine No. 181 in September 1967.  It looks like a dress in a violet tweed with a reversible, or at least contrast lined, jacket and hiding helmet-style hat.  This Marie Claire magazine article was part of a daring and little known contest they hosted between Andre Courrèges and Chanel.  Thus, the violet tweed outfit that was my ‘splashboard’ was the best of what made Chanel, well…Chanel, still presenting appealing yet classic designs in the crazy decade of the 60’s and setting her apart from her modern peer Courrèges.  A woman’s suit, traditionally a man’s garment decades back when she was beginning her career, is Chanel’s specialty, along with that elegant “distinction” which her designs have.  The youthful, bright designs of Courrèges (such as the go-go boot or mini skirt), by the very way they fit, are cut, and worn, bring the body close to one’s sensibilities and contrast in bold terms with Chanel.  (More info can be found in the book “The Language of Fashion” by Roland Barthes, Chapter 11, pages 99 to 103, you can read some of it here.)  More or less, Simplicity was offering a very high class design here.For some reason, I feel that my reversible suit dress set from 1967 is an unorthodox mix of both Chanel’s dignified tweed design (with her soft feminine colors to boot) and the youthful, arm baring, modern aura of a Courrèges creation (my cotton print does have shiny silver, his preferred color besides white, and it is a junior’s pattern).  We were at a contemporary art museum for these pictures after all, yet many of my poses are dignified for even more contrast.  Hopefully, in my 1967 set, the contest between Chanel and Courrèges from years back is now a tie.

To the actual sewing, I more or less made the entire dress and jacket in double, with all edges inside itself.  There was so much turning of edges, pinning, top-stitching involved!  I eliminated all facings (of course) and instead ironed on interfacing inside where facings would have been.  Luckily this dress did not need any adjusting to fit me other than the changes I made to the pattern already at the cutting out stage!

The two biggest challenges to making this suit set reversible was the shoulder pleats to the dress and the button closing to the jacket.  The dress’ shoulder pleats are more akin to an overlapping fold, or technically a knife pleat, which runs right along the outer sleeve edge.  To make this work on a reversible dress, I did these folds last, and stitched them down individually.  There are four in total – one on each shoulder and one on each fabric side – and make things only slightly bulky (nothing a good ironing can’t fix), but at least the original design lines are kept intact.For the jacket buttoning, I went with a method which was popular in the 1930’s when delicate closures could be smashed through rough treatment from roller style wash machines – removable buttons!  Both sides of the jacket opening edge have button holes.  This way my buttons can be placed in the correct side, whichever that may be, for the right and the left change up when my jacket is reversed!  Vintage 1930’s buttons had a metal look which used a ring or a pin to keep them in place in the buttonhole openings (see pics of that in detail on the “Vintage Gal” blog), but I didn’t have that advantage here.

Again, my indecision saved the day for my outfit!  As I couldn’t choose between some large satin finish pale pink buttons or fancy deep purple shell ones, I used them both, connecting them underneath with a ribbon tie.  Making the buttons reversible actually worked out very well, because the second button behind whichever side I use acts like a backing to keep them in place in the button hole opening.  Next time you make something and want to use some precious or fragile buttons, or even if you want something reversible, remember to make both closing sides with button holes and make your buttons removable in one way or another!  A little ingenuity can go a long way to solving problems.

Even though my fabrics are not busy, I’m disappointed at how they hide the graceful style lines to this set.  You can’t really see, but the dress has these shaping side bust panels that arch down from the back neckline darts, swoop under the bust to head into and around the back just above the waistline.  So lovely!  This way there are no darts or other means of shaping besides a well-tailored panel which brings in a curve over the chest and high waist, unlike many other fashions for juniors from the same time (mostly non-body conscious A-line dresses and loose “baby doll” styles).  With such a shaped dress, a short and boxy jacket (which has French darts and an arched side seam hem) actually works much better than I’ve ever come across before.  I’ve always tended to dislike boxy jackets – I find them hard to pair with most of what I wear or have in closet, and never before found a way to like one so much on my body.  I love it when utilizing both my sewing and vintage styles opens up a way for me to like something on myself I’ve always avoided before.  It is hard for me not to like anything in any shade of purple, anyway!Oh yes, I can’t forget to talk about the back zipper!  I’ll confess I made things hard on myself here by using a “normal” modern zipper.  I know they make reversible zippers, but buying one 22 inch length would get pricey and finding one that match would be more challenging, so I merely used one that was on hand.  For the first time I switched to the lavender Fleur-dis-lis printed side out, it originally was quite tricky to zip closed the dress on myself grabbing the pull from the inside…a bit stressful, to tell the truth.  To make things easier, I later used my jewelry making skills to attach a double jump ring to the small zipper pull so I could add a decorative metal Fleur-dis-lis charm.  This charm makes the zipper pull easier to find and grab so I can close my dress no matter which side I wear without freaking out, stuck in a bathroom changing, with the back of my dress open (it has happened, can’t you tell).  Besides, the charm hanging at the back of my neck is quite, fun, and quirky.  Also, in my opinion, and there is no such a thing as Fleur-dis-lis overload.

There was a storm blowing in when we took these pictures, and as my hairstyle did not hold against the humidity, I resorted to using a vintage scarf which actually worked out quite well.  I think it conveys modernity, youth, and movement (Courrèges influence), as well as keeping my outfit from being too stiffly dressy, although I am wearing pearls…so very classic Chanel!  My shoes and gloves are vintage pieces, too.  The gloves have a scalloped edge, much like my suit jacket, and I think my shoes are very similar to the ones drawn on the middle model of my dress’ pattern cover!

I really enjoy reversible garments – I love how they offer optimal wearing options, and prompt me to nicely cover up all edges for a nice finish!  Not too often do I come across a garment with more than one wearing option – changing up one’s look with a single garment isn’t an option that I see in ready-to-wear, unless it’s travel-themed clothes.  I now have many pairing options for the effort of sewing one relatively simple suit set.  I feel like I’ve maximized some of my time and the space in my closet without compromising style.  Yet, reversible clothes doesn’t have to mean simple design…I’ve just proved that with my crazy sewing experiment.What do you think of reversible clothes?  Have you worn anything reversible, or made anything reversible?  Do you prefer the style of Chanel or of Courrèges for the 60’s?

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“Retro Forward” Burda Style – V-Neck Jersey Top

True 1930s patterns can be expensive, fragile, simplistic in instructions, and in a size that will not instantly fit – therefore not appealing to everybody.  Thus, I love it when a modern pattern comes out which is sneakily a true vintage design.  This Burda top is one that falls in this category, which is why it is part of my ongoing “Retro Forward with Burda Style” series. On its own it is a great design.  However, if you look to the past for verification (see this board for that), and add in an awesome sleeve adaptation (like I did) to suit both the 30’s styles and the 2017 “Year of the Sleeve”…you have modern does vintage (or is it the other way around) so seamlessly.  Yet this is not stuffy.  It’s every bit as elegant as it is as loose and comfy as a relaxed summer peasant tunic.  I’m extremely happy with this project!

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This project is perfect for me to count it as part of the “Sleevefest 2017” hosted by ‘Valentine & Stitch’ as well as ‘Dream, Cut, Sew’.  I re-drafted a very boring and basic sleeve into something elegant and detailed to match and complete the garment’s design sleevefest2017 badgeand era from which it seems to harken back to.  I always admire how the 1930’s were so rocking awesome at not forgetting that sleeves can have details, too, and add greatly to the overall rest of a garment.  After all, this is the era that had patterns specifically dedicated to offering many versions of sleeve styles to choose from and make for substituting in other garment designs.  Why not have elegant sleeves when our arms are something so useful, so full of movement, and so graceful in retrospect to the rest of the body?!  Bring on the sleeve drama!

This is by no means the only dramatic sleeve I have made this “Year of the Sleeve”…I am just behind on posting so many projects, so look for me to be leaking snippets of other garments with fancy sleeves on my Instagram!

Burda Style V-Neck Jersey Shirt, 06-2010 #108, line drawing & garment exampleTHE FACTS:

FABRIC:  a weightlessly thin polyester interlock knit with a satin-finish

PATTERN:  Burda Style pattern #108, from June 2010

NOTIONS:  Nothin’ but thread was needed…and I always have that handy here!

TIME TO COMPLETE:  The top was finished on March 29, 2017 after only about 5 hours

TOTAL COST:  Two yards of the jersey cost under $10

Now, as for any Burda Style pattern, printing and/or tracing is necessary to have a usable pattern to lay on your desired fabric.  My pattern was traced from the downloaded and assembled PDF bought at the online store but if you have a magazine issue, use a roll of medical paper to trace your pieces from the insert sheet.  It’s at this preliminary step that you pick out your proper size and add in your choice of seam allowance width.  A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped.  Sorry to repeat something you might already know, but this is just an “FYI” for those that don’t know.

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My base for my re-draft was the original pattern simple sleeve, after extending it to a full long sleeve length (it is bracelet length, otherwise).  Then, I used this very technical sleeve hack plandiagram which I found off of Pinterest as my guide for my re-draft.  (You can see more re-drafting ideas that I like and plenty eye-candy images of lovely sleeves in my Pinterest board.)  I paid close attention to measurements and proportions in the diagram and I am impressed at how perfectly the finished sleeve turned out.  Please note that the gathers are not a separate panel but are merely an extension of the sleeve – they taper into it from a dart.  I actually ended up making the final version of my sleeve with a double-long cuff so that I could fold it in completely on itself.  In other words, below the gathers, the end of my sleeve is doubled up for a substantial support to the sleeve, one that beneficially weighs it down just a tad.  I love to use my sewing capabilities to achieve exactly what I want!  I know this sounds terribly selfish, but I see it as fulfilling in reality something which previously existed in my head…which gives a very satisfactory and relieving feeling for me!  What I picture sometimes and what really ends up doesn’t always match…

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Even with the sleeve change, this was a super quick and quite easy to make project, especially as I was working with a knit that needed no finishing inside.  The only slightly tricky part was the V-neckline’s bottom point – it’s also were the front panel ends.  As long as you break stitching of the bias band facing on either side of the center, and not stitch in one continuous V, it works.  It still was a bit fiddly there.  Making the front panel lay nicely required some hand stitching at strategic points and plenty of steam from the iron, as well.

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I did go up in size from my “normal” fitting number with other Burda patterns to make this top.  I felt that a form fitting top would ruin the front gathers somewhat but even with stitching a bigger side seam allowance, my blouse is still generous.  I never really found a nice in between baggy and tight fitting for this top, but I’m ok with the looseness, for it feels very comfy and drapey, as if it is really only a play/casual top.

I paired my top with my Grandmother’s vintage jewelry and a white linen skirt for a real summer tropical theme.  My Grandmother’s jewelry is, as far as I heard, something she bought one time was in St. Augustine, Florida, circa 1950’s.  However, it seems to fill   in the wide open neckline nicely, add fun colors, and even look very similar to actual novelty vintage jewelry from the 1930s.  Our pictures were taken in a tropical conservatory in town, so with the humidity and rare, exotic plants and wildlife inside, I really had a true warm weather tolerability test in my top!  The interlock knit is light as a whisper on the skin and the long sleeves keep of both bugs and the sun’s rays.  Needless to say, my top passed with flying colors, or should I say turquoise, white, and pastel colors!

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