Shopping at the Old Arcade

Most people generally know twenties clothing as being tubular with drop waists.  Many also frequently think of the twenties as having beading, sheer fabrics, and fringe, but that was for evening and special occasion.  However, do you know what the turn of the decade, year 1920, actually looked like for everyday wear?  When I started doing research on this I was surprised.  Very high waists, overly exaggerated hips (many with ruffles and ridiculous pockets), slightly awkward long mid-calf length hems, and loose but lovely bust-less blouses.  Yes – this was the year 1920, when women were wearing fashion which was both a carry-over from 1918 – 1919 that was also finding its way for changing up styles in a new decade.  Here is my sewing creation interpreting the year 1920, as a woman in her nice, almost sporty, and nothing-too-fancy clothes to go do some window shopping.
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Actual teens era/1920s hand painted glass buttons (close-up picture here on my Instagram) were included on the blouse I made, as well as several hours of decorative hand stitching on both neck and sleeves.  My hat is a thrift store purchase, which already had straw flowers, but I piled on a wide lace band and silk flowers for an old fashioned style.   I also made the skirt and the purse, as well as some of the authentic lingerie I’m wearing underneath.  This ensemble did not look right (silhouette speaking) until I had the correct undergarments, so I will definitely show you what I wore (and made) in a future post.

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Period authentic doesn’t have to be old-fashioned or un-wearable today.  Because it is all cotton and not body figure conscious, this is really quite comfy to wear.  Sure, it’s different, but yet lovely and tasteful enough for me to only receive kindly smiles from strangers who saw me.  I love the subtle complexity, the understated richness, and the odd femininity to the style of my 1920 pieces.  The ideal of beauty and the popular silhouette for women has changed so much throughout history, and this is just another incarnation that I am glad to have learned to appreciate through sewing it for myself!

THE FACTS:McCall 9412 & Pict.Review Overblouse, both ca. 1920, fm Past Patterns

FABRIC:  100% cotton specialty twill for the skirt, 100% cotton for the blouse, and a tapestry remnant (mystery content) for the purse lined in a burgundy Kona cotton leftover from this project.

PATTERNS:  Past Pattern’s No. 8268, Ladies’ Overblouse, from Pictorial Review circa 1920; a Past Pattern’s No. 9412 “Ladies’ Skirt with Hip Pocket Effect” from McCall Company circa 1920 , and a Vogue 7252 year 2000 patternVogue #7252 from the year 2000 for the purse

NOTIONS:  The notions for this came from everywhere.  The detailed, Art Nouveau-style brass buttons were a Hancock Fabrics’ store brand item, bought when the company was closing, while the old vintage blouse buttons were from our favorite antique store.  Most everything else needed was on hand – I even had the tassel for the purse in my stash!  

TIME TO COMPLETE:  The skirt was made in about 6 hours and finished on October 21, 2016.  The blouse took 8 to 10 hours, with 4 more hours for the hand embroidery, and was finished on February 26, 2017.  The purse was made in about 2 hours on February 28, 2017.

TOTAL COST:  The skirt’s fabric was bought at the now defunct Hancock Fabrics for less than $2 a yard…and I only needed 2 yards here.  I have 2 something extra yards still left for another (upcoming) project.  The blouse’s cotton was bought at JoAnn’s fabric recently for maybe $10.  The brass buttons were expensive even with the Hancock Fabrics closing clearance – maybe $17 – while the old buttons on the blouse were only $5.  The tapestry brocade came from I don’t know where from I don’t know how long ago, thus I’m counting it as free, but the cord handle was bought at JoAnn’s for about $4.  So, my total is about $40 something.

DSC_0232,p,a-comp,wWorking with patterns this old presented plenty of unknowns, but the primary one was in regards to fit.  What kind of body, what kind of peculiarities, and what ease do these patterns account for?  It’s one thing to get something to fit, but historical garments need a particular fit (as well as the right underwear) to be authentically worn.  I did have the assurance that my pattern came from Past Patterns Company…every single garment I have made from what they offer is a wonderful success I am most happy with.  No wonder they’ve been in business almost 40 years!

Let me start by talking about the bodice.  After some figuring, my estimated bust measurement of the blouse pattern as-is (in the size 38 to 40 bust) is 45 inch around.  This led to my figuring the wearing ease to this blouse was about 5 inches over and above the bigger of the two sizes (bust 40).  I can see that the bust is supposed to be bloused and roomy (over a flat chest) so I went down to a generous measurement for myself and ended taking out a total of 4 inches around hoping to end up at what would be the next size smaller for this pattern.  The side seam allowance is 1 whole inch so I figured I had plenty of room to fix a wrong calculation is sizing, but still…it’s easier to  take out some extra than it is to be stuck with a garment which ends up too small.  I totally feel like I nailed the right fit!

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I realized that this is an overblouse that I am not wearing as an overblouse.  This is not the first time I have made an over blouse only to wear it tucked into a skirt – see this 1958 project.  When I received my pattern in the mail Saundra Altman kindly included a tutorial page on how to add in a stay-belt inside the blouse.  As I am just getting the feel for teens and early 20’s dressing, I kept the construction of my blouse simple from the waist downPerry, Dame & Co Catalog, New York styles, fall and winter 1919-1920 because for now I plan on only wearing it as you see it.  At some future point I hope to make a year 1920-style pleated skirt and wear this same top as a proper overblouse, and at that point I might come back and add the welt pockets and a stay-band to the waist.

I did use my oldest (1930’s) sewing machine to do all the button holes along the front opening, but I also splurged and used all cotton thread and self-fabric bias tape for the neckline.  After I had made the button holes I decided I really didn’t want to subject the buttons to the wear and tear of pushing them through every time.  So, I still sewed two at a time connected like link buttons but they’re on there permanently for now, and if I want them off I’ll just cut the linking threads.  I did try to make these buttons linked by a metal loop with a connecting chain but I had disaster strike doing that.  The back loop on one broke by cracking right off, but it is a molded part of the rest of the button so it cannot be fixed unless I glue some loop or such on it.  I never guessed these were as fragile as they seem to be.  Until I figure out how to add something to the back of this broken button, I will sadly made-do with one at the top closure.  This is the risk of working with, or even wearing, old original items from many decades back – they are unique and fragile, but deserve to be seen nonetheless, so using them is a risk that also could only garners appreciation.

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My decorative hand stitching is I know not the best compared to many others, but this is so much better than I used to be able to do.  Whatever my skill, the stitching does take my blouse to the next level, I think, besides show casing an old time-honored practice that modern garments are so far from.  Hand stitching was very much needed here because of the rather plain color of the blouse’s cotton.  I made my own design, and after several unsuccessful Art Deco drawings I settled on the softer more feminine floral on my blouse.  After all King Tut’s tomb would not yet be discovered for a few years from 1920!

The skirt probably would’ve fit me pretty much as-is, but I did add one extra inch to the waistband only to be on the safe side for fit.  I did not change the rest of the skirt because I wanted the gathers to be a bit looser.  Looking back I wish I had made no gathers across the center front of the skirt – the pockets and the hip panel would look better.  No matter, I like it just the same! DSC_0297a-comp,w

The skirt did not need any special closures for the left side opening – the placket kind of conceals itself because of the side seam pleat overlay.  Only hook-and-eyes keep it together at the waistline.  The waistband is quite neat.  It is a two inch band against my skin on the inside, with a 4 inch waistband gathered horizontally on the outside so it looks like a cummerbund belt.

DSC_0220a-comp,wTrue to the era, the back of the skirt is just a long rectangle for a small taste of the slim and skinny.  What a contrast for the front!  Along the front geometric pocket edge I made my own self-fabric “ribbon” to decorate, finish, and stabilize the edge.  At first I tried a brown velvet ribbon for the edge, but, no – I didn’t look good so I took it off and went with the matching fabric.  This pocket edge needs to be stiff enough to stick out on its own and define the hips so I was tempted to add interfacing.  My skirt’s twill fabric was thick enough that three layers along the edge (1 – the skirt, 2 – the ribbon edging seam allowance inside, 3 – outside of the ribbon edging) was plenty good.

Needless to say, as much as I love pockets, these take the cake! My skirt’s pockets are like mini suitcases.  I can keep everything in them and it doesn’t even make a difference the skirt is so roomy and meant to be billowy.  Yet, the only thing that mystifies me about my 1920 outfit is the pockets, mostly because the purses and hand bags were so tiny!  Pockets and purses were still relatively new items to 1920, and both signifying the independence and progression of women, but to go overboard with such a contrast between the two in interesting to me.  As you can see, I did take a slight shortcut and have the pocket opening close with a snap rather than a real working button and button hole.

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Patterns for both the skirt and the blouse both seemed to run very long.  I made the shorter length of the overblouse, which was just over 10 inches shorter than the full-length option, and it is still falls about mid-thigh on me.  For my skirt, I took out 4 whole inches from the length because as-is the pattern falls to floor length (I’m about 5’ 3” height).  Now, take into account the fact that these two garments are meant to have deep hems, especially the skirt.  My skirt does have a wide 3 inch hem to it which helps to weigh it down properly besides bringing it to the proper just-below-calf length for the year 1920.  Skirt and dress lengths of 1920 seem to be just enough to show the ankles, just enough to move freely in, and a tad shorter than just a year or two before (1919-ish).1916 purses

My purse is something so easy but I’m so tickled at how lovely and cute it turned out.  The pattern I used is a real unknown gem with lovely designs straight out of the teens and 20’s.  I remember my mom and I being so excited when this came out!  Look at this comparison between a 1916 handbag poster for comparison.  In a 1926 catalog, I’ve even seen a strikingly similar version to “View C”!  They are all really quite simple designs but I like the fact they give the tracing designs for all the beading and decoration.  My purse doesn’t hold much but came together so quickly.  Trimmings and de-luxe materials seems like the way to go with this pattern and a remnant was all I needed.  I will definitely be using this again!

In the 1920’s, handbags were often just enough room for a few small essentials (including lipstick and keys) and often geometric in shape, like my own vers ion.  Mine is probably way too stuffed than what a 1920 woman would have carried, yet as it was I didn’t have room for everything I needed!  Also in the 1920’s, handbags weren’t necessarily meant to match with an outfit but carry their own tasteful, individual, and often ostentatious flair…quite different from modern times!

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By making my purse (a ‘reticule’ style) from tapestry I am harkening back to a popular type of “daytime” purses of the 1920s – ones made of richly complex fabric carpet bags and delicately flourished needlepoint.  Handbags from these materials seem to either be meant to show the wealth of the one possessing it or the talent of the maker, as many of these types of purses were often handmade by either the woman herself or someone for the company that sold it and some were quite expensive.  By having a decorative tassel at the center bottom point I’m aiming to narrow this to a primarily early 20’s piece.  To read and see more, this “Vintage Dancer” page has a wonderful overview of all the ways 1920’s women carried what they needed.  There is so much history to this littlest part of my ensemble!

All the materials I used for this outfit are just a dream to wear and were wonderful to sew.  The twill for the skirt is a lovely weight and hand – almost as heavy as a denim, slight body, but drapey and soft enough to hang nicely.  The low-key design of the fabric adds interest and keeps the olive and brown tones to it from being too drab.  The cotton of the blouse is so soft it doesn’t really wrinkle all that much and it’s just sheer enough to be pretty.  The tapestry of the purse is so rough, textured, and stiff it provides a nice contrast to the blouse and skirt.

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The place of our photo shoot is something quite special.  Not only is it a city landmark and the town’s best example of Gothic Revival architecture, but it is a National Historic Landmark.  I’m talking about the St. Louis Arcade/Wright Building, opened in year 1919 as one of the very first indoor shopping areas of its kind in the country, a very early, but much more elegant version of the modern American suburban, indoor, covered “Mall”.  Just think how extraordinary this is from a historical standpoint – plans for this steel and stone skyscraper was begun in 1913 before World War I and many of the materials needed for this building were rationed.  Federal officials closed and postponed many construction operations during WWI.  It is rumored that the principle contractor apparently had a simultaneous deal with the government at the time, so I suppose he was able to pull a few strings.  The Arcade was the tallest building in the world for a number of years.  Besides, the architect, Tom Barnett, was something quite important nationally.  This multi-story hall was recently renovated (after being vacant for several decades), preserving much original pieces so that the Arcade can still give visitors a taste of what it might have been in its heyday when people came here for high-end purchases such as jewelry and fine china.  Being able to walk through and visit places like this in period authentic clothes makes sewing this outfit a very worthwhile experience.

DSC_0295aa-comp,wP.S. Good news…you don’t necessarily have to sew if you want this ‘look’!  ReVamp vintage has re-made an amazing year 1921 oversized pocket skirt very similar to my own, the “Prudence” with brownish olive twill and lovely details!  Although, there are a few ways to wear a modern take on such a style – “Dress Romantic” on Etsy marketplace has a neat version that’s my favorite!  As for ready-to-wear 1920 style blouses, ReVamp has lovely options but any loose modern blouse with lace and/or feminine details would work – my favorites are this Anthropologie yellow blouse, this J.Crew cream colored pleated neckline blouse, or this sheer smocked neckline top.  There’s always old originals out there, too, (like this one) for a taste of the real thing!  Will you be channeling the early 1920’s for yourself, or have you already?

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Going Rockabilly in a Pair of Simple Denim Cut-Offs

After last week’s first episode of the television series “Sun Records”, I’m totally in the mood for the 50’s, especially the rockabilly style (what I see as combination of both early rock and roll crowd and the spirit of a rebellious but fun loving teenager).  Enjoy this while it’s here because you won’t see much rockabilly here on my blog.  Thus, here’s a quick post on some easy denim pants sewed using a popular Butterick ‘Gertie’ pattern.  This post of these jeans is my monthly submission to the March 2017 “Wardrobe Builder Project” at “Petite Passions”.

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Kind of like flappers and fringe of the 20’s, I personally don’t regard the Rockabilly branch of the 50’s as a mainstream part of the decade’s fashion although it has taken over much of modern “vintage” culture.  From what I have read, the rebels, pin-ups and the tough crew have had far more attention due to Hollywood, the ‘shocking’ factor of what they were showing off, and modern perceptions than the position they really held in everyday dressing of the 1950s.  However, it is an important, if small, niche in fashion that boldly shows how culture, music, and clothing styles go hand in hand throughout history.  To read more, visit this page at The Vintage Fashion Guild.

My pants are worn with a store bought tank and a thrift store belt and shoes.  A lovely ruffled authentic vintage 50’s blouse (given to me from a friend) completes my rockabilly look with its red plaid.  The flat heeled shoes mellow the outfit a bit, hopefully, but I did like sporting a bold pompadour roll with a ponytail!

THE FACTS:butterick-5895-cover

FABRIC:  100% cotton lightweight chambray denim

PATTERN:  Butterick #5895, a ‘Gertie” pattern from 2013

NOTIONS:  I bought the bias tape as I generally do not sew with red and therefore do not have much in my stash except for a few vintage packs.  The zipper, interfacing, and thread needed were on hand already.  

TIME TO COMPLETE:  If I hadn’t needed to do unpicking these jeans would have practically made themselves up!  These were made in about 5 hours on May 13, 2016.

dsc_0132a-compwTHE INSIDES:  So fun!!!  Every raw edge is individually bound in skinny bright red bias tape. 

TOTAL COST:  Under $10

These denims are simple because they are like a bare bones version of real jeans – closer to plain pants really.  No bootie cheek pockets, rivets, and contrast stitching here, my dear readers…and I like mine this way.  This makes them ultra-versatile enough to work with anything under the sun from modern to vintage of many eras (speaking of which I did wear them a layer under my 70’s shirt dress).  In the summer these are my favorite bottoms to my 50’s bra top.  Of course, this pattern is wide open ready for personalization, such as adding on one’s own pockets and details or even sewing this in a stretch rather than a woven!  I love the possibilities of this pattern and will definitely be using again…maybe with a fun colored denim next time for a really modern look!

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As basic as they are in style, they were just as quick to sew.  However, the real shocker to this pattern was the excellent fit.  This Gertie pattern is the first modern pattern for pants/trousers that I have found to have a truly vintage type of fit.  I didn’t do one single fit adjustment (besides my normal grading up for the hips) and they’re like they were made for me.  I found true-to-life bootie room, and a comfortable inseam, as well a good room for my power thighs.  This doesn’t hide the body, but fits the body in true rockabilly spirit where the women showed off their shape through a skimming fit (think of wiggle dresses) and peek-a-boo features of their clothes (like the tie off crop top included in the Gertie pants pattern).  I think Gertie’s pattern has the perfect balance of close fit combined with enough ease to be comfortable.

The high waist is much appreciated here but for some reason my waistband has the aggravating tendency to roll and wrinkle.  I used a stiffer interfacing but the waistband continually needs straightening out unless I’m wearing a belt.  And yet, a belt doesn’t work too well on its own because I don’t have carrier straps to keep it in place…at least not yet.

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As much as I love the pockets I do find a weird pull at the side seam corners of them.  The pants have such a snug fit I can’t really put anything bulky inside the pockets either, but there is enough room for a to-do list or a handkerchief.  Some of the weird pulling could be because of the zipper in the side seam.

The pattern originally called for (of all things) a zipper down the center back bootie seam.  I have seen this in a few vintage pants patterns, and I did put it in that way at first but found it just too weird, odd, and embarrassing.  This is why I buckled down to unpick (something I hate doing) so I could sew the zipper in the left side instead, like conventional pants.

dsc_0050a-compwWithout being rolled up higher, the original length of the pants’ hem is ankle skimming on me.  I like the cuffs better mostly because it shows off my fun bias binding and is more rockabilly, anyway.

Now, where’s my opportunity for a motorcycle ride?!  Can I ride with a young Elvis please?  Maybe, I’ll just have to settle with some good listening of some 50’s Memphis blues music or old time Patsy Kline country classics – always great, anytime.

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Star Wars, Pinball, and Year 1974 Cozy Layers

The title might seem like an odd combo, but bear with me here…it is all connected, at least to me with this newest outfit.  In this post, I’ll proudly reveal myself to be a big fan for the decade of the 70s and its amusements – something that many vintage bloggers as well as those who lived in that decade seem to generally not share in common with me.  As one who is at the age to have totally missed that era, I can feel a connection to the decade of disco music, pinball machines, bell-bottom pants with platform shoes, and Star Wars because all these things played a big part in my parents’ lives.  What they were “in to”, I saw in old pictures, records in the basement, and clothes or memorabilia in a forgotten closet – and all that was cool and interesting to me.  Parents are interesting anyway, right?  Reasons given, I’ll move onto what I actually made.

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Inspired as I was to make things for Allie J’s “Cozy Layers” Social Sew #8, I might have went a bit over the top here.  Anyways, let me present my 1974 waterproof jacket, easy 1974 knit flared jeans, and a draped sweater vest.  Whoever says winter dressing is no fun hasn’t worn these kind of garments!  These pieces are so fun and warm…and handmade;)

THE FACTS:butterick-3914-late-1973-or-early-1974

FABRIC:  Pants – a cotton polyester blend brushed double knit in what looks like a denim finish; Jacket – a olive green snakeskin print vinyl with a knit backing, a poly micro suede and a basic polyester for the lining, and a fleece sandwiched in between; Vest – a poly cotton blend sweater knit for the draped front and the leftover poly micro suede for the back

mccalls-4052-yr-1974-cover-compwPATTERNS:  Pants – McCall’s #4052, year 1974 (love the whole play suit separates – lots of options here); Jacket – Butterick #3914, late 1973 to simplicity-1588-view-aearly 1974; Vest – Simplicity #1588, view A, year 2013

NOTIONS:  I only used what thread, interfacing, and other notions from on hand.  The pants button came from the stash of Hubby’s Grandmother so it might be vintage.  I only bought a metal jeans zipper for the pants.

THE INSIDES:  Most seams are bias bound on the vest, the pants edges are left raw, and the jacket seams are covered by the lining.dsc_0777-compw

TIME TO COMPLETE:  The vest was finished first on November 21 after only 3 or 4 hours, the knit jeans came second being finished on November 22 after 3 or 4 hours, and finally the jacket was done on November 28, 2016, after about 15 hours.

TOTAL COST:  The denim knit was something I bought about 5 years back so I don’t remember where it came from or how much I spent for it.  All of the rest of the material for this outfit was bought about 2 years back when there was a Hancock Fabrics store closing, so it was incredibly dirt cheap.  In all, not much fabric was used here – 2 yards of each fabric, except for ½ yard of the vest sweater knit, and voila!  Look what I came up with!

I won’t bore you too much detail in this post about sewing and construction details because not only are there three me-made garments here, but also one of them was tricky and complicated (the jacket) while the other two (vest and pants) were super easy.  I must say I am very pleased with all the patterns, especially the vest and pants.  The jacket is great, too, don’t get me wrong, and surprisingly warm for being a not-too-heavy of a weight.  My only reserve is that I am doubtful whether or not I paired the right fabric (the vinyl) and pattern together.  My hubby makes me feel better by saying that the material would have been hard to work with (and it was) no matter what pattern I’d have chosen, but this style is uniquely neat especially with the raglan sleeves.  The vest is more of a novelty item, but I am realizing it will go with more than what I first thought, mostly because I like it so much!  However, one can never beat an easy creation that looks so good and fits so great, so the jeans are the ultimate winner, especially for being so basic and versatile.

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dsc_0796a-compwI will go over each item briefly to comment of the fit and anything I changed.  First comes the vest.  I made a straight size small and found that I should have graded a size up for the hips the same way as I do for regular garments such as blouses and dresses.  The neckline of the draping were taken in by an extra inch to make for less of a droopy wrap, purely personal taste.  A facing of the micro suede used for the back was drafted from the pattern for the neckline edge.  I found the back of the vest to be quite long, ending at the bottom of my behind…not flattering.  So, to vent my frustration waiting for our Thanksgiving guests to arrive, I unpicked the bottom hem and re-sewed it 2 inches shorter in the back of the vest.

I love the texture and interest of this vest, besides the fact it is a wonderful weight to wear.  It keeps a chill out of my middle but yet the lack of sleeves keeps me from rey-in-the-force-awakenscropover-heating inside stores and homes.  I’ve always associated vests with the outdated 80’s things (like boxy front-halves of a weskit) that I wouldn’t be caught dead in, but now that I have a fashionable vest, I may have to re-think the value of this kind of garment for winter layering.  The funny thing is, this vest made in this desert sand khaki color, with its rough texture, and criss-cross design totally reminds me of the outfit for the lead character “Rey” in the 2015 Star Wars movie, “The Force Awakens”.  I know it’s not exactly the same thing but I believe you can definitely tell where I see similarities.  This vest, though modern, also reminds of the creative and interesting, bold but relaxed style that see in 1970’s dressing.

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My idea to whip up the pants was spawned of all my ideas from and of the vest.  All of my previous pants have all been made of woven fabrics so I went for a thick denim knit sitting all lonely and forgotten in my stash for the last 5 years.  Now I’m glad I never sewed it up into a dress like I had originally planned because these 70’s pants are way hotter…oh, and comfy.  Everything I love about vintage 1940’s trousers is combined with my love for the 70’s here – full and wide legs, true waist, chic styling, and perfect fit.  Add on a body skimming booty and less excess fabric around the thighs and welcome to the disco era.  My favorite part is the lack of both the conventional waistband and the front placket here, replaced with a simple loop and button above the zipper.  It makes for a very clean look that’s so easy.  The instructions showed to sew in a ribbon waist, but I used some wide non-roll navy elastic instead and I think this turns out much better and is a better (and more forgiving) fit.  The best part?  These pants are a perfect fit for me without a hair’s breadth of change…go vintage patterns!

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These pants make me feel very tall, skinny, and all legs.  This was the 70s ideal body type anyway, and I like the feeling because in reality I normally think of myself as short, not skinny enough, and definitely not very leggy.  I kept a very long hem on my pants so as to wear my new 4 inch platform strappy heels.

After making year 1974 pants, I remembered a project waiting in the wings downstairs for the last several years.  This, together with the thought of another cozy layer to add to the 70s gloriousness, and I reached for the jacket project.  This was rather an exhausting project that I don’t know I was ready for, but it should see much use in the next few months, starting immediately.  There are some things I wish I could have made to work out better, but I am just proud at my first official coat and my first sewing with this kind of vinyl.  I do love the slightly golden sheen to the snakeskin print and the waterproof protection without looking (and sounding) like a plastic raincoat.

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The most stressful part of sewing this coat was the thought that I only had one shot to get things right…unpicking and re-stitching wasn’t really possible here because once a hole is made, it’s permanently going to be there.  Also, the vinyl was sticking to all the metal parts of my machine so I had to sandwich a layer of wax paper around the coat’s seams at almost every stitch so it would glide under the presser foot.  This wax paper method worked like a charm, and was easy to take off, it just was something else to add to the difficulty level.  So, in total not only did my stitching have to be accurate, and I was limited to my use of pins for seams (reverting to clothes pins), but I had to sew between wax paper.  This coat must have given me at least one grey hair.  My only change was that in lieu of gathers under both the front and the back yokes, I made my own pleats – two ½ inch ones on each front and one giant box pleat down the center back.dsc_0776a-compw

My two giant pockets are lined in a remnant of a 1970’s curtain which I had on hand from a buying someone’s small fabric stash at re-sale store.  It was so bold and fun, I also added bright green bias tape to finish in inner edge.  No one will ever really know it’s there, but I like how the print makes me smile whenever I see the funky brightness inside my pockets.

I still don’t know how to close the coat – any suggestions?  I don’t like it belted and it is warm enough that a little air actually feels good.  I’m beginning to think I should just leave it open and casual.

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1974 is an interesting year for me to channel.  My dad graduated that year from high school and (among other things that happened) he became a lover of the pinball machine.  Every chance we could as I was growing up, my dad and I would hover over and eye up every pinball machine, with the occasional dropping of a quarter to do a real play.  I always saw my dad as a champ at the game and he still enjoys playing when he can.  Luckily there are some game lounges around in our town nowadays that are much more respectable than those of the pinball culture 40 years back.  1974 was also the year the California Supreme Court ruled that pinball was more a game of skill than one of chance and overturned its long prohibition, opening the way for general acceptance of this form of amusement nationwide (info from here).

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So much of this outfit is due to the influence of my dad.  He still has some of his 70’s bell bottoms, though he got rid of his platform shoes, trench jacket, and elephant pants years back.  Now his daughter has her own version of what he used to wear, sorry dad!  He loved Star Wars and bought me many of the toys and even watched the movies from the roof of their house on the drive-in screen which had been up the street.  The apple doesn’t fall far from the tree I guess.  Star Wars is still around on screen, and the 70’s style is coming back today, and retro amusements are just as fun, so it’s hard to resist re-visiting my dad’s past with my own handmade twist.  This one’s for you, dad, hope you don’t shake your head at this…just smile.

And now for some Star Wars light saber fun with my own son before bed time…

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“Something Old, Something New…”

Yeah, I know this phrase is cliché, and I do not have anything borrowed or blue to show either.  Nevertheless, this set of both tie-front crop top and shorts from the year 1959, made for Allie J’s “Tried and True” Challenge, is dually familiar and yet unexplored.  The fabrics are three “old reliable” favorites that I can never get enough of – cotton gabardine, fine linen, and rayon challis.  The “Tried” part is covered.  With the garments themselves being so simple in design and construction, there wasn’t much to go wrong for the “True” section.

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Yet, everything else – the date of the pattern, the style and type of clothing – is totally new.  This was an interesting set to make despite using my well-loved fabrics.  I went out on a limb to combine opposites (new and unfamiliar) for these two pieces and I can’t believe how much I’m enjoying wearing the results.

The craft of sewing never ceases to amaze and surprise me.  I wanted a challenge while still staying to something “Tried and True” and sewing, together with one of those always amazing vintage patterns, gave me just that.  However, more than this reason is the opportunity to like something I’ve never appreciated before.  Never had I been a pants wearing person…because I’d never found any that I liked yet fit me well…until I recently made my own.  Even more so, I’ve never been a shorts wearing person, but now one pair of well fitting, high-waisted, awesome vintage shorties has quickly converted me, despite my perennial dislike of my legs.  Sewing is definitely one of the best things you can do for clothing yourself, in my opinion.

THE FACTS:simplicity-2999-yr-1959

FABRIC:  The tied crop top has a front of printed rayon challis and a back of cotton gabardine.  The shorts are plain-woven 100% linen (so pardon the wrinkles), opaque and thick like a Holland linen.

PATTERN:  Simplicity #2999, year 1959

NOTIONS:  Only notions on hand were used here, which included a good amount of vintage.

TIME TO COMPLETE:  The top took me about 7 hours to make and was finished on August 27, 2016.  The shorts came next, and after only 4 hours they were done on September 10, 2016.

THE INSIDES:  All bias bound

TOTAL COST:  The linen for the shorts was a one yard “Red Tag” scrap piece on sale for only $4 at JoAnn’s Fabric store.  Since the gabardine is leftover from this 70’s tunic, and the printed rayon was used from scraps of a 50’s shirt I made for Hubby (yet to be posted) I’m counting both as free.

It’s kind of late in the season here to get much use from this set this year.  However, in the last month since it’s been made, I have grabbed this outfit out of my closet and worn it many times in many different combos, so the future is bright next year for these pieces.  Although I have the idea in the back of my head to turn this into a full playsuit by making a bra or swim top from the 60’s with a button-on skirt, what I currently have in my closet works to make a playsuit.  I even have a pair of turquoise 40’s pants (to be posted soon) that fit over the shorts and make for a WWII-era kind of set.  Two fabric or two color blouses are often seen in the 1940’s anyway, part of the whole “make-do-and-mend” practices.  Year 1959 is a great in between date for me so I can bend the style and make it have a flair of the 40’s, 50’s, 60’s, or just plain modern as I choose.

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For such a simple design, I had problems with making the blouse, mostly due to the silkiness of the rayon.  I didn’t interface anything except the collar so finishing the facing, keeping it in place, and doing the button holes was a challenge.  I didn’t want the tie to stick out like a poker, which would happen if the facing was interfaced, so I still can’t see how things could have been done differently.  I might come back and blind stitch the facing down by hand next year, but for now the top is good enough.  After all, I did have such small scraps to work with I had to cut the front with the trees going upside down, so – yes – it does have a fault (sorry I pointed it out) but is no less great to me.  My handmade dual stand necklace of polished agate rock also makes my outfit even better to me.

Whoo Hoo!  This top is too easy to dress into…only two measly buttons in the front and a tie front that shows off how the hem barely comes down to skim above the shorts.  I wasn’t originally planning on sewing up the shorts but I soon realized that high-waisted bottoms, whether skirts or pants and the like, are a must with the top.  Like I said earlier, I was up for the challenge of making and wearing something new.  I was actually going to use another pattern from in my stash, McCall’s 5263 also from ’59, but the silhouettes seem quite slender compared to my shorts.  I just stuck with the same pattern as was used for the top to sew a combo the way the design intended.

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Straight off, I am surprised at how short these bottoms are for 1959 and mine are a whole inch longer than the pattern calls for!  I didn’t know short shorts were a thing at that time.  Next, I am blown away at the perfect fit that required no fitting at all.  No kidding – this is like the third pattern from two decades for vintage bifurcated bottoms that fits straight off of the paper with no personal adjustments in the least.   Maybe it’s just my body type but after three tests (from 1940, 1943, and now 1959) I just think past printed patterns designed their crouches to be comfy, their bottoms for someone with a real booty, side seams for real women, and a smart amount of ease.

Finally, I am so impressed at one subtle detail to these shorts which makes all the difference – the back darts which come from the waist.  The waist has a double darts at each four quarter around, two at each side fronts and side backs, nothing unusual.  However, the back side double darts are in two different lengths.  The inner dart is longer shaping over the booty, while the outer dart is half the length of the other.  I think this shorter one shapes more of the hips, side seam, and the rest of the back.  I think this suits me wonderfully.  A very similar pattern, Vintage Vogue #9189, a reprint from 1960, is lacking the “smart darts” (so I call them) seen on my pattern…not meaning to be smug.  I’m just getting disillusioned by the modern reprints.

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Ah, and not to forget I have lovely pocket room in these shorts, too.  Granted, there’s only one on the right side for my dominant hand.  One is so much better than none though!

dsc_0345a-compIn the facts, I mentioned using vintage notions, but more than that they come from my Grandmother.  From the stash she has given me, there was this unusual golden yellow/orange bias tape matching the golden color in the printed rayon with just enough for the armholes.  It is glorious all cotton, too!  There are other colors of bias tape besides golden yellow on this set’s other seams, mainly turquoise and black…whatever worked.  However, I am most proud of the zipper.  Not only was the zipper a “Zephyr” dated to 1963 on the package, it is from Grandma as well as installed with a new-to-me and much improved method to stitch it into the shorts.  I usually save my stash of vintage zippers and use them sparingly but as the rest of the set had Grandma’s stash of notions, and the length and color was just what I needed, why not go all out?!

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My crop top and shorts epitomize to me the post war vacation wear, which for some reason this year means to me going to California.  No, we haven’t had a vacation this year, but, if we did, I would choose California.  That will not be this year, so instead I’ll have to settle with palm trees where I can find ‘em, with a top and some shorts that make me imagine I’m going to go somewhere other than where I am.

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Simple, Slim, and Sexy – a 1930’s Basic Black Skirt

Just because a skirt is vintage and a “go-with-everything” piece, doesn’t mean it can’t be a little hot number.  This project proves that point.

What comes of my making some 1930’s tops recently is also the need for a basic skirt to go on the bottom half.  This basic black skirt is the first to fill in that gap towards attaining a 30’s wardrobe of separates which mix and match.  The great thing about my slim black 30’s skirt is it has a wonderful family connection for me, together with a look that is classic enough to pass as modern.  Slim fit doesn’t mean it’s also hard to move in – side box pleats make sure there plenty of secret room for action.  Nothing like sewing up an all-around winner!  Check it out.

100_2947     Here above I’ve paired my black skirt with a resale store jacket, which is originally from Target, as well as the lacy top underneath.  The jacket, though modern, has a sort of nod to the 30’s in my opinion, with its Deco style fan shaped shell design.  My earrings are also fan shaped shells…carved mother of pearl to be exact.  I also wore my old vintage 1930’s era leather T-strap shoes (although you can’t see them in the above picture).  Enough ensemble clarifications, let’s get down to –

THE FACTS:100_3838

FABRIC:  My skirt’s fabric is a mystery content which has a textured look and feel of shantung.  You can see some of the texture in the picture at right.  I’m assuming it is a polyester, but I’m hoping there’s a small percent of rayon in the fabric.  It comes from a stash of fabric that was given to me from my Grandmother.  There was only a small cut of this fabric, and it wasn’t even a whole ‘selvedge-to-selvedge’ amount.

PictorialReview7379 1930'sTwoPieceNOTIONS:  I had the thread, lace hem tape, hook and eyes, zipper, and grosgrain ribbon all on hand already.

PATTERN:  a Pictorial Review #7379.  My guess/estimate is it is from the early to mid-1930’s.

TIME TO COMPLETE:  This skirt was quick and easy only taking 6 to 8 hours from cutting to finish.  It was done on March 19, 2014.

THE INSIDES:  All the inside seams are covered in lace hem tape.  The hem is doubled under, while the waistband is neatly and easily finished.  See the above right picture of the inside of the box pleat.  I am proud of my fine looking insides for this skirt! 

TOTAL COST:   Nothing!  This is the best part!

The pattern for the skirt is so amazingly small and economical on space.  Basically two long, skinny rectangles with small extensions (for the box pleats) turns out into this 30’s skirt.  A few tucks shape the back waist.  Thus, it is perfect for making something amazing and extremely useful out of a piece of fabric that seems too small and worthless to keep.

Like I mentioned above, since this fabric is from my Grandmother, I wanted to make something special out of it, so I made sure to make things work.  It wasn’t hard to finagle the pattern to fit – It was hard to believe.  I guess this pattern is a true Depression era design, but making clothes out of scrap fabric pieces is a very smart practice in any era.

100_2643 combo comp     Unprinted patterns suddenly made complete sense to me as I was laying out the pieces for my Pictorial Review 7379.  It literally was one of those “ah ha” moments when I felt like I was blind doing the few unprinted patterns I had beforehand.  Although the Pictorial Review patterns were marketed as “printed”, the pattern I used to make my skirt still used the hole-punched method of making darts and such, just like unprinted ones.  Basic guides for construction are printed directly on the pattern (as a bonus to the simple instructions, I suppose). Punched out holes for seam markings eliminate the need for a tracing wheel that might ruin the tissue paper, you just take chalk and fill in the holes as you did on tests when you were in school. Punched out pattern hole markings also make it extremely easy to mark the spot with thread, if you choose that method instead.  Unprinted patterns are not hard – just a different (better, in my opinion) way to do the same things as on today’s patterns.  I especially enjoy the indented balance marks on vintage patterns such as this – there’s nothing to snip off by mistake.  See the picture above to see (on the left) the marking method, and (on the right) the pattern laid out, with the center fold towards the bottom of the picture.

Grading the pattern up just a tad was necessary for the skirt to fit me.  I spread out the100_2964 amount I needed to add by placing the pattern 1/4 inch away (not directly on) the fold at the center back and front, plus making a wider seam allowance all the way along on the side seams.  This method of grading only works when adding small increments.  I must say, the skirt fits me very well – almost too well, to be exact.  It seemed like a very close call, in the way of fit, for this project.  I must say, from my experience, 1930’s patterns (and 20’s, too) do not account for curves in women’s proportions.  My being a fairly ‘normal’ size by vintage pattern charts, and finding it hard to get a whole lot of shaping in my 30’s makes, I can now completely understand how some people do not know how to wear 30’s styles.  Old catalogs show tightly shaping, slimming waist and hip girdles were worn to make the figure long and lean – without such items, vintage styles fit differently on a modern figure.  However, I highly recommend everyone having a try at making the slenderizing, complimentary designs of the 1930’s.  They possess a simple, classic character.

100_3837     My first step to construct this 30’s skirt was to sew on lace hem tape over the raw edges of the side seams.  Then the side seams get sewn together down to where the pattern indents out.  Next the outermost edges of the pleat indentation gets sewn together.  Now the pleat gets opened up and sewn down into a box pleat.  The left side seam was left open to insert a small — inch zipper.  Originally, there were only two small darts, but I made four in the shape of a fan to bring in the waist at the back above the booty.  My Pictorial Review pattern recommended something simple for the waistband, and I wasn’t sure exactly what to use.  I thought about wide bias tape, but that would not have provided support, and might stretch out of shape.  Thus, I used some wide 1 1/2 inch black grosgrain ribbon from my stash to finish the waistband.  The ribbon feels so smooth and comfy on my skin!  I left a longer extension of the ribbon on one side of the waistband to hand sew on a large sliding hook and eye to keep pressure off the top of the zipper, keeping my skirt closed.

100_2953      The edges of the side box pleats were top stitched down at the very edge of the folds to keep things in place.  I’ve done this method before for the pin tucks of my 1937 blouse and it works great to save on loads of ironing time.

Our little dachshund was needy for attention and loving during our photo shoot of my 100_296330’s black skirt.  My Flickr page Seam Racer has some successive pictures of our dachsie’s photo bombs, as well as some extra views of the skirt I made.  The afternoon was one of those perfect temperature days when being in the sun makes you just warm enough to get all sleepy and mellow.  However, as our dachsie has a thicker dark coat, he is heat sensitive, and was ducking into our nearby peony bush when he wasn’t receiving attention.  It sure made for some cute pet pictures!

100_3804     I have a cut of cotton tri-colored striped shirting just waiting to be made up into a blouse using the same 30’s Pictorial Review 7279 for my slim skirt.  Hopefully, I will get around to making it sooner than later, and blog about it here so you see the whole set from the pattern.  I already made a modern/authentic 30’s style knit tunic top (at right) that wears well with my slim skirt.   You can see the blog for the tunic top here, and more pictures on my Flickr Seam Racer page.