A trip to ancient Egypt with or without James Bond calls for the right dress, wouldn’t you say? Even if I’m only dreaming, and even if I never really leave town, my newly made “Bond Girl” dress is still a wonderfully chic way to channel the “safari” fashion of the late 60’s and early 70’s. Following the lines of my inspiration – Barbara Bach from the 1977 film “The Spy Who Loved Me” – my dress pattern was adapted to be more ‘explorer’ oriented while still keeping a pocket-free, clean silhouette to be suited for a warm weather environments other than the land of the Sahara.
The perfect vintage accessories were on hand to make my outfit so very “Bond Girl” matching. The imitation alligator leather briefcase is vintage from my mom, circa late 60’s early to mid-70’s when she was beginning her professional career. I love how it compliments my outfit in so many ways, especially in era appropriateness, besides being similar to what was used in the movie. It really was my purse for the evening, not just a prop, and the nicely divided pockets inside made it very handy! The earrings and necklace are also 60s or 70s era, from my Grandmother. My shoes are my longtime standby comfortable wedge heels, Sam & Libby brand, although much more restrained than Barbara Bach’s high heeled Mary Janes. Not everything is carbon copy to the movie – my buttons are a bit darker and I did wear my hair in an ultra-high, fluffy ponytail just like it was drawn on the pattern envelope cover!
FABRIC: 100% linen – soft, slubbed, off-white, and near handkerchief weight – for the main body of the dress and 100% cotton sateen in a rich ivory color for the belt, collar, and front buttoning placket.
NOTIONS: Nothing but thread, some interfacing remnants, and a card of vintage wooden buttons from my Grandmother’s stash were all that I needed, and were all on hand.
TIME TO COMPLETE: This was a two evening dress project – very fast and easy, even with my changes! I spent maybe 5 or 6 hours in total, divided between two evenings. It was finished literally as I was getting ready to go out wearing it – October 6, 2017.
THE INSIDES: So nice! French seams with the rest covered by the collar and button placket.
TOTAL COST: My dress’ two fabrics were bought at JoAnn’s a few months back for under $30 (as best I remember). However, I did not use all of each, I have 2/3 yard of linen left and 1/3 of sateen, both of which will go to other projects. Thus my total price for this dress should be about $20 or less. Since when can a woman have a linen dress of this quality and design for such a price?! Awesome stuff happens when you can sew…
Afar from the dusty regions of the world, the safari style mostly finds its place in the grimy urban jungle. Hollywood’s choice of subject matter of the times helped popularize this style idealism – Born Free of 1966, The Extraordinary Seaman of 1969, Mississippi Mermaid of 1969, and Hatari of 1962 to name a few examples. Catherine Deneuve and Faye Dunaway became the poster girls for the style. The real credit, however, to the fashion icon Yves Saint Laurent for his expedition line of clothing. It was supposed to bring a powerful sort casual class, that’s comfortable with an air of Amazonian confidence and capability to women. 1967 and ‘68, the year of the McCall’s pattern I used, were when his safari designs were in the limelight, with several famous pictures of both him and two models wearing his creations at the doors to his groundbreaking Rive Gauche prêt-à-porter (ready-to-wear) boutiques (one picture here). It was his “Saharienne,” or Safari jacket, that was part of his first wave of RTW in September 1967. However, this branch of culturally influenced clothes branched out into laced up dresses, pocket-laden suits, one-piece rompers, and now this Safari look has many forms and is in perennial popularity. Visit my “Safari” Pinterest board for more inspiration!
My expedition dress has a gentle nod to the Saint Laurent style with its simpler style. It seems most safari styles are in hue of tan or khaki, and have a plethora of patch, pleated pockets and fine details. My own Bond girl dress has details but with more of a flawless sophistication I appreciate, no doubt because I associate myself from the woman who wore it in the movie. Barbara Bach and I both have brown hair and a darker skin tone, and this is not my first dress from this movie, so forgive me! Egypt does have sand and heat like Africa, but a slight twist on the style – bringing it to a glowing ivory – seems to put her above the elements (as if Bond girls are angels!), in a deceptive play with perception, rather than an earthy tan like true safari styles. Ancient Egyptians would have frequently worn clothes in undyed linen, anyway, especially for sacred functions. For me, the ivory brings it out of the casual side more easily, depending on how I style it. Not that this dress isn’t comfy as if it were a casual dress, because the relatively wrinkle-free linen and the fit makes this effortless to wear. I guess you can tell I just really think the costumes are first rate in “The Spy Who Loved Me”. As this project is my second time around, I also think I definitely have another style icon in Barbara Bach.
For being labeled as a “Quickie” pattern, this dress pattern is top-notch! Most other “Jiffy” and “Simple” and “Quickie” pattern I have tried have all been alright, but either they were so simple they did not need fitting or were just a plain mess to get tailored to myself…until now! It totally reminds me of what I normally find with the vintage Vogue patterns and 1940s era McCall’s. There is nice curving along the side seams and perfectly proportioned darts. This pattern is another one of those that pretty much fit me directly out of the envelope, too. I have a handful of these patterns that seem meant for my body, and it is like a seamstress’ security blanket to know you can rely on them to be easy to make and like on yourself. Once you find a pattern like this, it’s a form of gold!
It really took some math to draft my own placket here because this is the widest one I’ve sewn yet. It wasn’t really hard through, but I did have to remember to cut the dress front on the fold to eliminate the center seam. Once the placket was in, then I figured out how much longer to draft the collar so I would reach parallel with the edges of the button placket. I had the temptation to go all out and attempt to make an all-in-one collar and placket piece, but no…a “Quickie” pattern doesn’t deserve to have something added to it which would blow my brain up trying to figure it.
Both collar and placket strips were stabilized with sturdy interfacing so that they would standout somewhat from the rest of the dress and give it something to body, dimension, and interest. (Something closer to this Yves Saint Laurent dress from Winter 1967.) Granted the fact that the collar and placket was in a richly creamy colored sateen with a subtle shine already provided some contrast without clashing with the rest of the linen dress. With the stiffness of the placket, I was luckily able to get by with only 5 buttons leaving some major spacing in between. The way the collar opens up and stands on its own away from my face…I’m so in love. I do also adore the way the changes I added bring out the basic but well-tailored fit of the pattern without any add-on details to detract from it. As much as I cannot do without pockets, this dress needed to go without.
Small details unnoticed at first glance really do make all the difference here. Lovely French darts were used for the bust and waist shaping while shoulder darts (which actually end at the top of the shoulder blade) offer superior freedom of movement. For some reason I even found the sleeves and armholes to be much more generous and comfortable than most other 60’s and 70’s patterns I’ve used. I even cut to the pattern’s original hem length too, and it ends at a nicely demure mid-knee length which comes up to a more risqué mid-thigh when I sit – yay for a sneaky hot little number! The skirt rides up only because of the slight pencil skirt shaping from the hips down. This is not an A-line dress but more of a straight cut with subtle curving. My 1967 plastron jumper had the same kind of skirt, too. I often assume that most 60’s dresses are A-line so I wanted to point out that this one is a good kind of different from the era’s ‘norm’. I cannot wait to make another version of this dress for the winter in a long sleeve, perhaps slightly shorter version.
Going back to my title, it is regrettable that the thing which my Egyptian explorer dress shares in common with any kind of Yves Saint Laurent African safari dress is ivory. This time I’m not just talking about the color of my dress. Sadly, modern Egypt harbors one of Africa’s largest domestic animal ivory markets. Hippos are (surprising to many) very lethal and kill about 3,000 every year and elephants can be equally dangerous – quite a different story from the cute nursery drawings of them we grow up seeing. Many do get killed because of the encroaching of civilization upon the animals’ territory. With bone and man-made imitation being attractive and suitable substitutes, using animal ivory for inlays and carved accessories and artwork at the cost of endangering nature’s most fascinating creatures is even more irresponsible. Yet, this practice is still going on. In Africa and elsewhere, it is the elephant and the boar that are targeted. In Egypt, it is the hippopotamus’ ivory, together with imported elephant tusks which are popular. The Egyptian government has apparently been working to reduce the trade, but the illegal black market still works to both supply and demand. Sorry to include a small soap box preaching here, but facts are facts and sadly this doesn’t seem to be recognized as a world problem.
“Bond girl” or ivory trade subjects aside, I now have a great new dress to explore my own urban jungle and take on the errands and duties of my city living in a new vintage style. Maybe that’s the deeply set attraction of Safari styles – we all have some degree of desire for an expeditionary adventure of some sort which teaches us new things and enlivens the spirit. Even if it’s just an article of clothing or a book or a piece of art, a tactile thing can still give a small taste of that. Are you an “explorer” soul – in your own city or abroad?