The Grid: A Digital Frontier

     …at least for 1982!  In the fantasy world of TRON, computer programming did indeed feel like a brand new frontier, especially when it came to video games.  “I tried to picture clusters of information as they moved through the computer” mused Kevin Flynn, the creator of TRON, played by actor Jeff Bridges.  “What did they look like? Ships? Motorcycles? Were the circuits freeways?”  The legend of Tron has had a small but staunch following for over 40 years, with a long-term franchise that continues fleshing out the storyline via comics, movies, a television series, and geeky chat forums.  I am proud to count myself as part of this “fandom”, now reignited by the release of a third film this past weekend, TRON: ARES.  There isn’t a much science fiction that I geek out over quite like TRON, so even if you don’t fathom my excitement, please understand this subject is a big deal for me.  Over the years, I have sewn some garments tied to the theme, so I hope you enjoy finally seeing this first glimpse of the merging of my fashion with my fandom!

     Tron is a storyline about Kevin Flynn, a game programmer, attempting to regain control of his technology from Ed Dillinger, an ENCOM Corporation executive, who pirated his operating system.  Dillinger’s corrupt Master Control program digitizes Flynn, forcing him to fight the games inside the computer world with Tron to help protect and free the grid.  TRON is the name for an arcade game based on Flynn’s experience inside the computer as well as the name of his system’s security monitor program.  In the digital realm, Flynn finds the programs in the computer mainframe take on character traits and duties of their corresponding users in the real world.  The original movie, as well as the two sequels which followed in 2010 and 2025, portrays these programs with circuit boards on their bodysuits.  They live, fight, and work amidst futuristic cityscapes and combat in arenas that are stunning visuals of an imaginary world on the other side a digital screen.

     When TRON first came out in 1982, it was thought provoking about the future of gaming and computers, besides offering the novel idea of a free and open system.  Access to “The Grid” was at first seen as a new frontier full of exciting potential for the future.  The subsequent films prompt a consideration of both the responsibly of the “Users” and the risks behind humanity’s questionable pursuit for perfection. These topics are especially important in the era of AI and algorithms, particularly so for the Tron franchise.  It has remarkably managed to stay loved and relevant for over four decades while also staying true to the established storylines, so important to die-hard fans across the world (like me)!  It is truly Disney’s underdog.  I could go on a plaudit here, but I will spare you and jump right into my fashionable expression of my fascination.

     An all-around favorite feature of every Tron story involves the lightcycles, fictional body-encompassing motorcycles that trail neon tracks of light.  In the first two movies, the lightcycles were used to run programs through the deadly racing games along a pre-established grid.  With new lightcycle generations changing as the overall stories of Tron unfolded, these fascinating means of transport were eventually able to travel off grid and be useful for more than games. 

Besides identity discs, Lightcycles are one of the most easily recognizable icons of Tron for fans or casual follower alike, as well as an integral part of the entire franchise.  Both users and programs alike have hopped on one in almost every Tron story.  Thus, the lightcycle chase along the grid is what this post’s dress is paying homage to. 

     A few years after the TRON: Legacy movie of 2010, my local fabric store had a novelty stretch rib knit that reminded me of “The Grid”.  I picked it up immediately!  The fabric has a black undertone with a ribbon of light blue along the top of the ribbing.  This gives the fabric a glowing effect at close sight.  Its geometric properties change into what looks like swirling lines from afar as I move and stretch the rib knit.  This makes the fabric look like a tech material, such as something 3-D printed, and unlike ‘normal’ fabric.  Blue and black are the two main colors found in the digital world that Kevin Flynn built in the Legacy film.  Every different color of light has a meaning on the Grid, and blue is a tone that means the program or the system which carries it either answers to Flynn or at least is an uncorrupted neutral.  Cool light is good in the world of Tron, and blue is the most common.  This fact will come into play for the next Tron inspired sewing project I will post in a few weeks (around Halloween). 

      As amazing as this novelty rib knit is for its unique appearance and Tron-like references, it was also the biggest frustration to sew.  Being so different, it presented unusual challenges.  I have previous experience with rib knits (from sewing my white 1979 tee and a Burda Style top), but this fabric did not handle the same way.  It is utterly weightless and sheer while the ribbing gives a weird rebound in the same way that a Slinky toy is springy.  It was the ultimate battle to tame the stretch of the knit into the form of the dress without bunching up the ribbing.  I chose to sew my seams with a tight zig-zag stitch to give the fabric some limited stretch while also maintaining shape.  The pattern’s pieces were kept available while I was sewing so I could check the measurements of the tissue to my finished seams, just to make sure my dress would be accurate.  For a few spots (such as the shoulders), non-stretch mesh seam tape was stitched into the seam with a straight stitch for stability.  The sleeve hems were left raw, but the hem slit needed to be finished off by hand.  This was one of trickiest knit projects to date.  My odd fabric find ended up being great for fulfilling a creative vision, but it was a struggle to get to the finish line.

I used Vogue no.1336, year 2013, by Sandra Betzina. The sizing is in letters, not numbers, and runs large. I sized down for a perfect fit.

     The properties of the fabric were an important part of the dress’s construction because my chosen pattern is chock full of seam lines.  This is a pattern that could show off the ribbed ‘stripes’ in an unexpected way to mimic both the mathematical precision of “The Grid” and the dizzying, directional course of Tron’s lightcycle race course.  I approached this pattern with the intent to make every panel in the opposing direction of the one next to it!  At first, I had thought my idea might be “too much” when a vintage 1950s paneled dress employed a micro striped cotton in a similar manner for its bodice.  Vintage items always are the best source of direction for my fashion choices.  The pattern makes it as easy as possible to sort out the different layout, with each piece numbered.  Pattern piece numbering was meant to make it easy to use different fabrics, but this worked out well for changing up the grainline as well.  The knit had an equal amount of stretch either horizontal or vertical, so my idea worked out after all.

Notice the little lightcycle pins on my dress!!

     I couldn’t resist pushing the lightcycle theme a bit further on my dress.  Picturing those clusters of information trailing glowing ribbons of light moving through computer circuitry was hard to translate onto fabric.  Some big ideas were in my head but it was important to have my dress stay uncomplicated and washable.  Two colors of some foiled metallic material, which had been bought at the same time as my dress’s rib knit, filled in pretty well for my lightcycle idea.  I cut small strips of those fabrics to make the thinnest spaghetti strap tubing possible.  Then, those tiny tubes were stitched down by hand to the dress from inside (so the thread would not show).  This was a process that was very exhausting and time consuming, complicated by the weird stretchy properties of knit, as addressed already.  Nevertheless, it was also the coolest, most exciting part of this dress.   

     The bright blue piping was pretty appropriate for the theme, and pink was the next best color to pick from with the same material.  Several old original TRON posters and concept art renderings from 1982 do show pink light on “The Grid”.  Next to the underrated TRON: Uprising animated series, the premiere movie of the 80s presented the most vibrant world of all the franchise.  Originally, the colors of both the environment and vehicles did not always match with the glow on the programs.  I am blending the creative license seen in the original movie with the overall blue theme associated with its sequel, TRON: Legacy.  The part of my piping where the two colors “crash” together, like the violent end of a lightcycle race, is my favorite part of this additional detail and really ties my specific idea together. 

     I am thrilled to have the opportunity to have so many amazing local background settings frame my handmade fashion in my blog photos.  This time, it is an extra special location I have been waiting to highlight, something that was ahead of its time.  This illuminated glass block floor is over 100 years old and a historic part of my hometown’s downtown train station.   It was built in 1894 as part of an impressive front lobby to the adjacent hotel.  Just think of how impressive the sight of this must have been back in that day!  Oh, how far have we come…here I am wearing a dress inspired by computers on a floor which was made when even artificial light was incredibly novel!  This space really made me feel like a part of TRON because it mimicked the way the sets were built for the 2010 Legacy movie and the newest ARES movie.  The directors of both pictures opted to limit CGI and have lighting be internal to everything during filming, adding electricity in the costumes, props, the furniture, and especially the floors.  This hotel was considered first-class back in 1894, but even today the unusual design of this lobby still has me in awe, even if I did not see it as something out of TRON.

     The TRON franchise is good at taking interesting perspectives on modern technology, but the newest ARES movie has made me considering even more relevant topics than before.  I definitely recommend going to see the new movie…or the previous two for good measure!  Hopefully, even if you have never enjoyed anything TRON and do not plan on doing so, you still found yourself liking my unusual dress even a fraction of the amount I do.  This post gives you an insider’s peek at my personal life interests.  I hope to have transmuted my excitement without completely dragging you down a rabbit hole of sci-fi geekiness with me!   

     In a world dominated by an overwhelming presence of digital systems, it is more important than ever to make sure to add a powerful dose of reality to our lives.  The digital frontier needs innovative people with principles to be good “Users” but that can only be had by living outside “The Grid”.  Find your own creativity by digging into the depths of your imagination and use some real tools as a medium to express the spark you find.  Reach out to someone and enjoy having a genuinely social interaction…away from your phone.  Read a physical book, take an undistracted walk to enjoy nature, enjoy an art gallery, or write a letter on some stationary.  Cook a meal.  Sing a song.  The things that make us human are at risk of being taken away from us with the technology that promises to help us have more free time, give us limitless assistance, and perfect our efficiency.  Go get off “The Grid” today, and use technology wisely.

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The Most Iconic Wrap Dress of Them All

     Wrap on dresses may be considered commonplace today.  Yet, let’s look back to a certain pioneering woman of the 1970s to thank for this – the fashion designer Diane von Fürstenberg.  Wrap dresses were not new before she stepped into the fashion scene, but they became such a modern wardrobe staple on account of her fresh ideas for this type of garment.  October marks one year since I had the great opportunity to see this remarkable trendsetter myself.  I luckily snagged a ticket to eyewitness a personal interview of her when she came to visit my town, and this post is to commemorate that special occasion.

Diane Von Fürstenberg in 1976

     Diane Von Fürstenberg was featured on the cover of Newsweek magazine in 1976, and the accompanying article declared her “the most marketable woman since Coco Chanel.”  One million of her wrap dresses were sold in her first two years.  The recognition she garnered so soon after diving into the business of fashion is in no small part due to the wrap dress styles she released 1974, now Furstenberg’s trademark designs and classic pieces cemented into the annals of fashion history.  Fürstenberg first envisioned her iconic dress as being a two piece set (skirt with a wrap blouse) in 1972.  Yet with some tweaks to the design, the perfect connections, and good marketing, Fürstenberg found the right combination to launch her into the worldwide acclaim she found by 1976.  Just think – where would women be today without the ease and comfort enjoyed from wearing a knit wrap dress?

     It is her most popular dress version of 1974 which I have had the opportunity to sew for myself via a true vintage “Paris Original” pattern.  I was not able to sew this dress to wear for the interview event, but I am glad to have waited until afterwards to take up this project.  I wanted to get a feel for the designer’s personality first and study her rich history further before making my own version of such a legendary 70’s design.    

     I interpreted her design in a way which tells the story of the dress itself.  My version’s fabric choice gives the look of being a separate top with a skirt, so as to call to mind the beginnings of the design in 1972 when it was imagined as a two-piece.  Yet, this is an easy-to-wear one-piece, made according to her famous dress design of ’74 which Vogue officially released as a pattern in 1976.  My bodice’s fabric is in a geometric print that mimics the popular chain print for her brand products, besides calling to mind Furstenberg’s signature accessory of gold link bracelets.  My dress’ skirt portion is a novelty rib knit to reference her business in the fabric making industry, through which she has designed her own unique innovative knit material for her designs.  Altogether, I feel this dress gives off the correct polished, professional, timeless, and classy air that is the idealology behind the Furstenberg’s garments.  She often says her brand is about empowering women and facilitating a confidence that encourages success, and I can now see why.  In a dress like this, I do indeed feel I can do anything!

THE FACTS:

FABRIC:  The skirt half is a cotton blend rib knit from JoAnn Fabrics, and the top half is a rayon knit

PATTERN:  Vogue #1549, a year 1976 vintage original pattern from my personal stash

NOTIONS NEEDED:  lots of thread, some interfacing scraps for the collar and cuffs, and two buttons for the wrap closures

TIME TO COMPLETE:  To retrace the pattern, cut, and then sew this dress took me a total of about 18 hours to do.  It was finished in December 2022.

THE INSIDES:  Neither knit unravels along its raw edge, so the insides are left simply unfinished.

TOTAL COST:   I bought 3 yards of the rib knit skirt fabric at a sale price of $30 (with 5/8 a yard leftover to go towards something else).  The bodice’s fabric was a 1 ½ yard cut of material that I have been holding onto for over 20 years now…so I am counting this as good as free at this point!  All the notions I used were already in my stash on hand so their cost is pittance.  I am estimating my total here to be no more than $30 which is a fantastic deal as her brand’s classic designer wrap dresses go upwards from $800!

      At the interview, Diane Von Fürstenberg came across to me as a very confident person who seemed relaxed and in the moment.  She was a matter of fact with her answers, while also speaking with a calm passion about her charitable work, her interests, and her drive to create.  She was relatable, interesting, and intriguing to listen to.  I didn’t know what expect from someone whose name has been a brand famous worldwide for almost 50 years!  She was stylish for the occasion and ironically wore one of her brand’s knit pantsuits for the event (see picture at left, above).  You can watch a video of the interview (linked here) to experience the event virtually for yourself!

     The night before the interview day, there was a “trunk show” set up locally where you could browse through and shop DVF products.  This was an experience that I also did not miss.  Even though I did not buy anything (because – wow – are her pieces an investment), I loved being able to see a wide variety of coats, dresses, and accessories from the brand and examine the seams, the fabrics, and overall details up close.  There is nothing comparable to experience designer pieces in person!  The trunk show gave me good ideas for my own dress and was the best introduction to the world of Fürstenberg. 

     The skirt material pairs wonderfully with the soft knit print on the bodice in a dual contrasting and complimenting way.  Its pleasing warm brown “root beer” color brings out the dark tone in the print in the best way. Yet, the rib knit is also different enough that it makes this dress look like two separates.  The ribbing adds a fantastic element of low-key texture to the overall look, but doesn’t over-stretch or cling like your average rib knit.  The mostly cotton content keeps the material soft but stable so it is lofty in a way which is similar to a scuba knit.  I didn’t even hem the skirt but merely trimmed it cleanly (again, like a scuba knit).  The skirt material was an important silhouette base for the bodice.  Its soft structure keeps this dress looking professional and gives it a defined profile.  Yet, it is lightweight enough to not weigh the bodice down.  It took a lot of looking around to find such a perfect pairing.

     There were a few weird fitting issues which were not hard to correct.  First, I found the sleeves to be extremely wide – I had to take in the wrists (and the cuffs) by about 6 inches.  I have larger upper arms, but my wrist circumference is rather small, so most sleeves end up small.  This sleeve had weird proportions which threw me off.  I am glad I tried the sleeves on before I sewed them into the dress and put the cuffs on.  Secondly, the bust darts were very high.  I know different lingerie was worn years ago to achieve a silhouette which varies from the one modern brassieres give.  However, the pattern’s original fit was extreme.  I needed to give a new angle about two inches lower to the bust point.  Finally, the dress had a long bodice (for me, being near petite) but shortening it to my proportions helped the hem length turn out just right.  

     Other than what I just mentioned, the dress came together wonderfully.  It was tricky to ease the knit into the sections of the dress which get interfaced – the cuffs, collar, and neckline edging.  The collar and cuffs are so very 70s in their obnoxious size, so they were cumbersome to work with, yet did fit into their corresponding pieces very well.  I interfaced a scrap of poly satin (leftover from making the contrast for this Agent Carter dress, posted here) as a pretty pop of color…pink and brown are so good together!  I added in woven seam binding to the waistband so it would not stretch either, but be a stable support to the rest of the garment.  A Fürstenberg knit wrap dress may be easy to put on, yet in construction it is still designed to be tailored like a man’s fine business shirt to get it looking this sharp and well-made.

     For as much is going on here, my finishing choices were hard decisions.  My cuff link buttons are just for decoration but certainly add yet another touch of craziness.  They are funky 70s era notions that remind me of a swirl of icing atop a cupcake.  Their colors match the faded beige in the bodice and add one more element of texture and busyness to the overall dress. 

     To control that same busyness, I added buttons – rather than ties – at the side seam points to close the wrap ends of this dress.  Where the wrap ends come into the waist there is a button and a thread chain loop opposite that.  Happily, this dress has a full closing wrap front so it made it easy to stabilize the button closing.  A wind gust will not flash a view of one’s legs and the bodice will not reveal any cleavage in a side-to-side closing wrap dress, and I love it!  Mass produced ready-to-wear wrap dresses are now made so cheaply that it is telling to see how finely tuned a designer wrap dress can be.  A full front closing wrap dress seems like such a luxury, and gives a gal like me peace of mind that my dress will be securely closed (especially with buttons rather than ties).  Once you make a DVF wrap dress for yourself, it is clear to both see where modern knock-off versions fail in comparison and realize why her designs were winning enough to blaze a new fashion craze. 

     I am proud of the fact I used a Diane Von Fürstenberg original pattern – not one of the many reprints available – and I feel my choice is a statement in itself worth noting.  My review of the pattern – it’s sizing and fit issues – have all been for a true original Vogue from 1976…not a reprint or re-issue. 

     Since I first started blogging, I have noticed various changes in the sewing community, but especially so within vintage circles.  Old patterns have become a lucrative business for many and a commodity for others.  Those who have an interest in them may not be directly tied to their desire to sew making it more challenging for some who are just looking to build their own wardrobe with style which suit them.  Thus, the choice of using true vintage patterns has become an important touch point with the rise, and subsequent popularity of, re-issuing digitized, updated versions of old patterns.

     The main defense I often see claimed for the ‘necessity’ of the reprinting designer patterns in particular is that the originals are too costly to acquire.  That is not entirely true.  I was able to acquire my Fürstenberg pattern at a price which was less than a meal out to eat.  Judicial internet searching and patient waiting can work wonders.  There is a lot of stuff out there in the universe to be found, and I believe that a clever eye, persistence, and dedication will most probably bring whatever you are looking for into your lap at the proper time.  However, I also believe some things are worth a higher price point, which is especially true in the case of Diane Von Fürstenberg’s sewing patterns.

      Amongst some social media discussions about the pattern reprint market, I have seen some people say that copyrights to fashion designs should only last the life of the designer…well, uh, DVF is still alive, still prolific, and with a powerful brand that is still thriving.  In interviews, she has often said her brand is about creating a positive relationship with women and helping to inspire others – so why should her goodwill be repaid by the burgling of her designs?!?  After having the opportunity to personally relate the real-life woman behind the name to the brand, it seems more clearly in the wrong to be claiming the copyright to her designer patterns.  

     Most people probably do not fully realize that designer fashion should be different from the normal availability access.  I will not deny that sewing is indeed empowering and good when it can enable a democratic accessibility to a wide range of designs to assist others to create their dreams.  Yet, the vintage pattern reissue market has exploded to the point that there is often little to no conscience for boundaries, copyrights, or just plain ethics.  In the same breath, some of the shops who do reproduce old patterns have recently posted angry social media rants upon noticing their patterns have been reprinted in turn by other (smaller) vendors. 

     Well, I am sad – but not entirely surprised – to see reprints of the reprints by now.  I have even found modern Burda Style patterns reprinted by Etsy shops under new copyrights.  With a scary precedent like this, no artist or maker of any sort can count on the unique and individual items they offer being anything other than the mere fodder for bigger fish along the food chain of capitalism.  We are not entitled to whatever indulgence we want in life.  In the vintage market of today, old patterns can be priced as if they are a luxury…but believe me, cheap finds are still to be found if you look around.  After all, the original Fürstenberg patterns are far less in cost than her official brand designer garments, which started at $75 back in the 70s, but are more than $500 today.  Viewed through the inflation calculator, the prices of her Vogue patterns back when they were released comes to over $21 in today’s money while her off-the-rack dresses are about equal cost (holding their value).  Modern designer patterns (from Vogue) are priced starting at $35 now, so – old or not – the foundations for sewing are pricey no matter what, when you put things into perspective.

     Fürstenberg’s mother had just survived years in a WWII German concentration camp not long before she was born, so the designer no doubt learned a thing or two from her parents about being determined and taking challenges in stride.  Yet, let us have some level of respect for those who have the ingenuity and level of success to make it big in the business of fashion.  We can do that by only choosing to use authenticated reprint releases or original designer patterns, please!  I find that the more respect and connection I gain for any designer I learn about, the more I am also pained to see their designs claimed under someone else’s copyright.  Owning designer patterns the way they intended them to be released is a privilege – they didn’t need to share their designs for home or hobby sewists!  I’m sure designers never meant such patterns to be an opportunity for others to take advantage of them. 

     So – if you love this design and want to try it out for yourself, save up your money and treat yourself to whichever one of Diane Von Fürstenberg’s old 1970s era patterns.  You should not be disappointed.  This design is her classic one but there is still lots of room to change up and customize the look.  You can leave off the collar and cuffs for a simple chic design.  You can make the dress hem or sleeves much shorter, and perhaps even sew the facing on the outside so it looks like a contrast band.  The pattern itself says you either use a woven or a knit (a stretch or a non-stretch fabric) for the ultimate versatility.  A great wrap dress is hard to come by today in a world that is inundated with them.  Take it from me, making a wrap dress from the designer who started the trend in the first place will give you a standout piece worthy of your time and money that will be treasured in your wardrobe for years.  Don’t wait until a designer is no longer with us to gain an appreciation, knowledge, and respect for their contribution to our fashion styles of today.  For Diane Von Fürstenberg to have a thriving business just off of wrap dresses for the span of almost 50 years is so impressive!  Hopefully my opportunity to see Diane Von Fürstenberg has fired me up enough to write a post that will inspire you in return.