Mermaid Out of Water

Following up on the heels of my last post, a 1954 qipao, here’s another Mandarin dress inspired by the 1930s era from the modern designer Andrew Gn.  “From the Paris catwalk directly to my wardrobe” thanks to Burda Style, this is home sewing at par with the designer world.

This is much more elegant than my first qipao, definitely meant for evening wear with its train.  The fabrics are much nicer and higher quality, too, than the printed cotton of the last qipao.  It’s also much more sensual and body-conscious, just like the original mine was inspired by – Nicole Kidman’s “Charity Ball” gown from the 2008 movie “Australia”.  It was the year 1939, and Lady Sarah Ashley was auctioning off herself (to dance with, I must clarify) to benefit the Missions for children, the “Forgotten Australians” as they are known, so she definitely dressed the part for that evening to win a large bid.  This is my third (and probably my last for this year) submission to the Unfinished Seamstress’ “Sewing the Scene” Challenge.

This evening dress is my very first mermaid shaped garment, and I am head over heels for what this does to my curves.  Why have I not worn something like this before?  Where has a mermaid gown been all my life?  Whatever – I have one now that I am very happy with…in fact I hate having to take it off once it’s on, especially as the first layer against my skin is lovely silk!

For more about the culture, history, and meaning to a qipao dress, please visit my previous post.  This one is admittedly designer, so it is linked more to the fashion scene than a pure culture garment.  In fact, the designer Tony Ward now appears to be knocking off Andrew Gn’s Burda release with some of the neckline on the gowns in his Spring/Summer 2018 collection (see Look #33 of his Couture garments, and see this look from his ready-to-wear)!  However, the Singapore-born Andrew Gn does have the privilege right to make a fashion qipao more than Tony Ward, and besides Gn did it first with his Fall 2017 Ready-To-Wear collection.  The designer Andrew Gn, as described in the Burda magazine, is a cosmopolitan designer who is heavily influenced by art and antiques.  He respects the worth of a good vintage item and finds creative expression universal.  Personally, he is ¼ Japanese and ¾ Chinese, but studied at London, New York, and Milan before opening under his own label in 1996 after being an assistant in Emanuel Ungaro’s atelier in Paris for just a year.  Ungaro is one of my modern designer icons, so it comes as no surprise to me that I like the work of his pupil Gn!  Traditional meets modern, and East merges with the West under Andrew Gn.

The pattern for this dress is only to be found in the monthly magazine issue and unfortunately not online to buy and download at all.   This edition of the magazine (February 2018) is totally worth buying, though – this is the best Burda month I have seen in a long time, there are so many patterns that are unique, lovely, and attractive.  Besides, nowadays how often do we get a copy to make for ourselves of what is seen is the catwalk?  This outfit counts as my August make to the “Burda Challenge 2018” for which I pledged a garment a month.

THE FACTS:

FABRIC:  a combo of both polyester crinkle chiffon and rayon challis for the dress and true vintage all silk crepe for the under slip

PATTERN:  Burda Style #123 Gown, from the February 2018 magazine for the dress (see it on the runway here) and a vintage year 1942 pattern, Simplicity #4352, used once before, for the slip

NOTIONS:  All I really needed to make this set was really thread – lots of it – and some little scraps of interfacing for the Mandarin collar.  The neckline buttons are modern and were also on hand along with the scrap 6 inches of thread elastic.

TIME TO COMPLETE:  The dress itself took about 15 hours while the slip took maybe 6 hours.  Both were completed on August 20, 2018.

THE INSIDES:  Clean due to the serged (overlocked) seams on both pieces – there were too many very long princess seams between the slip and the dress to do the insides as a French finish!

TOTAL COST:  The vintage silk was part of a trade at a local shop, and the dress’ fabrics came from my local JoAnn’s fabric store, maybe about $60 for 6 yards. 

Coming directly from a designer, I sort of find it oddly ironic that I became my own designer for this dress and slightly adapted the armscye to mirror my inspiration dress from the “Australia” movie.  Of course, looking at the original dress and its line drawing, you can see I left out the sleeves.  I do love them, and would love to make a winter velvet version of this dress just so I can see this design with those sleeves, but they did not fit in with my ideal of a visually obvious “Australia” movie copy, or even just a Mandarin dress for the summer.  It was a very easy adaptation.  I redrew the pattern tissue so that the center front and the center back panels’ curving seam kept going up to graze the outer end of the shoulder line.  The effect is like a pared down cap sleeve all-in-one with the dress. I also dipped the bottom of the armscye under the arm to be lower and more open, ending in a V-shape for both beauty and full movement.  Besides, the sleeve change, I shortened the front third of the hem to the dress so that the hem would graze the top of my feet with heels on.  I left the back and side hem original length.

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 inserts in the magazine issue, and most Burda Style Designer patterns are only in the magazines, but most other patterns are available online as a downloaded PDF that needs to be printed out and assembled together.  What works best for me is to use a roll of thin, see-through medical paper to trace my pieces out.  It’s at this preliminary step that you pick out your proper size.  Some people add in your choice of seam allowance width directly to the pattern while some as they are cutting out the fabric pieces.  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.

I did find the sizing for this dress to be spot on, very exact.  I made my ‘normal’ size that I choose with Burda patterns, based off of their measurement chart and this finished out perfect for my body.  Granted there is a good amount of shifty give in the dress between the fine crinkled chiffon and random bias.  This is part of the reason I get by with leaving out any closures (except for the neckline, of course).  Yes – there are no zippers, hooks, or anything to the waist of both the dress and slip.  This is a pop-over the head outfit.  I didn’t want a zipper to awkwardly pucker or bubble the fabric out, and with lowering the cut of the neckline by a few extra inches, the dress goes on me just fine with all seams sewn up.  An all silk slip is smooth and slippery, like a weightless second skin, and it has similar seaming so it slides on easily as well with no closure either.

As wonderful as this turned out, it was almost the project that was never made due to the unexpected amount of material needed. Be prepared to have lots and lots of yardage on hand in order to make this dress because I soon realized this is a total fabric hog of a project.  I rather disregarded the instructions in disbelief when they called for 6 whopping yards of fabric, in 60” selvedge width. Really?!  The pattern pieces were very skinny (and very curvy, I must add, for a proper mermaid fit).  The bottom flared out very wide though.  The pattern segments were also unmanageably long as they are all one-piece princess seams from neckline to hem.  I felt that ‘surely if the pieces are staggered, and laid out oppositely I can make the dress work’ out of the 4 yards of chiffon I had on hand.  Four yards is really the most of any fabric I have on hand or generally buy.  There is only one other fabric in my stash that is a cut of 6 yards, and it is a winter brocade saved for a fabric hog 1950s dress pattern.

I really wanted to use this butterfly print as there was something about it that I felt needed to be an Asian influenced, 1930s inspired garment for evening elegance.  I don’t know how that approbation works in my head but some fabrics just naturally get designated to certain patterns without much of a though, like the two are meant to be together.  This time, there was no seeming way to make things work.  Four yards of fabric is only enough for three pattern pieces.  The dress has four pattern pieces in total, so I needed more for one last piece.

My husband is the one that saved this project by finding the exact same print, at the exact same JoAnn’s store where the first fabric was bought, only this time it was in an all rayon challis.  As long as it was the same print I had something to work with…thank goodness for JoAnn’s repeating a print design!  As the rayon would be heavier and also opaque compared to the chiffon. The most obvious pattern piece to designate this for was the two center back panels.

This way the train is weighted down nicely and the sheer effect is tamed by having the front the primary focus while the back is only simple lines without the slip being seen there to distract.  Also the back panels are the longest piece out of the four with the train – the biggest fabric hog.  The hemline is a full almost 10 inches longer than floor length on my 5’ 3” frame.  Two yards was just enough of a cut from the rayon for the center back panel, that’s how long it is!  As it turned out, I am glad to have used two fabrics for this dress.  How often does something like this happen, though – the same print in two different materials?  I love the feeling of how the train floats and flows behind me as I walk if I let it down (see a short video here on my Instagram).  If I hold it up it looks like I have wings, like a butterfly myself, or like a mermaid tail.  However, I wouldn’t have a mermaid tail out of water now would I?!

A little bit of the rayon form of my dress’ butterfly print also went to the Mandarin collar.  I was planning on laying cotton between the sheer to make the collar opaque and not see-through before I realized I had to use the rayon.  This made my work easier.  I doubled up on the interfacing and ironed it to the wrong side of both the outer and inner collars.  This way at least something holds the dress together because the rest of it certainly isn’t going the help.

I realize that most the dresses with this wide open, almond shaped neckline which dips down to Timbuktu do not have anything but skin (and cleavage) showing.  I do not care for how blatantly this sensualizes such a style of dress too much for my taste.  This is an opportunity to make a superior quality slip in a contrast color to fill in that void in the front.  The sweetheart neckline is one of the most universally popular and flattering, and a visible slip is a more discreet yet still tantalizing detail, so I prefer such a gown worn this way, not just because it is like the movie original.  It is really much more wearable this way anyway.

My basic everyday vintage slip pattern got the deluxe makeover here!  The way I made it first using basic rayon challis has it my go-to wardrobe basic.  There was no guesswork sewing this up as I had done it once before and made notes of my grading add-ons, but I took more time on the small details.  First, I added 12 more inches to the hem of last time to end up with an ankle length slip. Then, I hand stitched the self-fabric bias facing down by hand.  Skinny self-fabric bias spaghetti straps are over my shoulders.  I don’t have many long gowns to match but I’m hoping to get good use out of this slip.  After all, I did splurge and use true vintage fabric.  I am not one to use that fact as a reason to completely save this garment – no, I want to totally enjoy it, so maybe this would make a good nightgown too, if I want to wear it but have nowhere to go.

My accessories were carefully curated to make sure this was an outfit all about me – my take on a runway trend, my personal skills to make what else I needed, and some old favorites from on hand to compliment.  Following the trend of Andrew Gn’s Fall 2017 collection where the models mostly wore tassel earrings, I found mine at a local shop, handmade in three layers of gradient colors from out of my butterfly print.  My hair decoration is made by me, with three plastic flower heads attached to a hair comb with floral wire and floral tape.  My florist’s training came in handy here and I am so happy and proud at how this turned out.  My shoes are “Lola” peep toe strap heels from Chelsea Crew, the same as what I wore her for my Grace Kelly dress copy.  My bracelet is actually a hair scrunchie from when I was little, but it always used to pull my hair out so it’s always served me better as a bracelet.

This was a bit of a hard project to handle, as dreamy as it is to wear.  Between the struggle to find enough fabric for the dress, the “sacrifice” of multiple yards of vintage fabric, and all the large scraps which were leftover from the making of this outfit, it was almost painful.  I am very thrifty (as much as can be expected) with my sewing, making use of every scrap, getting only fabric that I have an idea for, and squeezing patterns on cuts too small for an easy layout.  Not too often am I liberal with my sewing, but extravagance is just that – an indulgence, a surrendering of practicality for the ideal of beauty, the effort towards a creative reality.  This is closer to how couture works, or at least designer productions, as well.

The outlook, the artistic vision is priority along the creative process, and then the special someone who gets to wear the finished product, and the resulting feelings upon wearing, are then the pride and crowning glory after the last of the finishing touches have been made.  This is a designer dress, after all, and I’m using my best vintage fabric to complete it as a ‘copy’ of something from Hollywood, inspired by the decadence of the era of elegance itself – the 1930s.  Why was I expecting something sensible here?!  Sometimes making (and wearing) the extravagance of what exactly you want, what you feel great in is intoxicatingly enjoyable.  I am sensible enough to not do this all that often, but with this dress it is so nice deep down.  Can I use the excuse that my birthday is in August?  I may just have to find as many excuses to wear this as I possibly can, too.

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Being a Spectator

“Being is always a two-way street: as soon as you are aware that you can see, you will also know that you can be seen – and judged.” (From “Why is Caring About Fashion Considered So Unserious?” by Madison Moore.)  Now this is a rather harsh way of looking at a basic human reaction, and it does make us sound rather vain and self-conscious, but it’s unavoidable.  All the way back to Adam and Eve in the Bible story, who covered themselves because they were afraid of being seen by God, clothing ourselves is intertwined with self-awareness, personality (hidden or manifested), inner or outward expectations, and scrutiny under the sight of others.  This is all the more prevalent today, in our world of Instagram and Pinterest, which feeds off of and provides a seeming endless sea of images.  There’s no harm in such digital age resources, in my opinion, provided one gets out to see and experience real people in real life more than one spends the time to observe remotely via a computer or phone screen.

Public events happen to be the best places for bystander watching.  This sounds bad, but let’s face it – we’re a curious race.  It’s where people come to be entertained by the main attraction of the moment as well as find amusement in turn watching those who are present.  Everyone’s a spectator.  This makes me think – is there a style for being a spectator?  Why don’t many people even bother to dress our best anymore when going out in public, especially for fancy, special events?  How much do we dress for ourselves compared to how much we dress for others or for society?  Whatever does this have to do with my normal fashion-history-sewing blog postings, you may be wondering, too.

Well, there is a style of vintage garments and footwear which is labelled as “Spectator” fashion, and I have taken the Marvel’s Agent Carter interpretation!  In the very first episode of Season Two to the television show, “The Lady in the Lake”, she sets off the plot with a bang in a very striking, post WWII year 1947 rich red dress outfit.  She wears this fully accessorized set to the ultimate place and event for the sport of both being a spectator and watching them – horse racing!  To mirror her location, I had my own visit to a Clydesdale horse ranch.

Most people know the shoe version of Spectators – what we also call “Two-Tones”.  Perhaps the most well-known spectator style footwear might be saddle shoes or the quintessential “Lindy Hop” lace up flats of the Rockabilly 1940s and 50’s youth.  But Spectator styles were for fashion too, mostly in the form of a nice, collared dress, which was comfortable yet tailored and easily fancied up or down as needed.  I cannot find anything more definite than these consistent trait details, besides the fact they seem to have been quite popular in 1950 (here’s one example), petering out by circa 1954 (see this pattern), and are seen mostly in solid colors or low-key prints such as tiny polka-dots, for one example.  I need to do more research digging to be more specific on Spectator fashion, but it was certainly “a thing”.

Each piece to my whole outfit is very much a red and white, two-toned spectator-style item.  My only real variance from my inspiration was gladly changing the details to a more authentic and personally pleasing hat and shoe style.  Yes, I could have done a mirror-image “copy”, but opted not to follow exactly the Agent Carter outfit as seen in the program.  As with the rest of my Agent Carter “copies”, I ride a fine line between adhering to the movie inspiration and being true to history, but being authentic to my own taste for the 1940s always wins out for me.  I work so hard to find true vintage patterns that are strikingly similar, capturing a recognizable essence of my inspiration, and luckily the costumes are generally so good at being authentic themselves I really don’t have to sacrifice much at all to have the best of both worlds!

My Spectator dress is completed by one of my favorite millinery hat making projects.  A dingy, stained, and unwanted true vintage late 30’s or 1940s hat was rescued, refashioned, and spruced up into a new, bright life as a dramatic late 40’s/early 50’s style to match my outfit.  Hats, after all, are something not to be without when it comes to showing up at the horse races I know, such as Churchill Downs in Louisville, Kentucky.

My shoes are – of course – spectator style in red and white.  The ones seen on Peggy (of Chelsea Crew brand) are more of a 1920’s style spectator with the T-strap and pointed toes and quite expensive to buy everywhere they are found.  I personally prefer the likes of a true 1940’s heel on my feet, so for myself and for the outfit’s sake I went with a platform, peep-toe, and sling back heel from B.A.I.T brand footwear.  I think these are much more of a power shoe to bring this outfit up to the commanding and flashy woman that Peggy Carter needed to be for the occasion of her visit to the races.

This is my second entry to the “Sewing the Scene” sewing challenge sponsored by the “Unfinished Seamstress” blogger.  After all my efforts to mimic my inspiration outfit, this is still more than just a Hollywood copy for me, and not cosplay either.  This outfit will gladly be worn as part of my vintage-inspired wardrobe because Agent Carter is something which is part of my everyday life.  In fact…I wore this dress to get my official driver license picture for my renewal!  How’s that for bringing my inner Agent Carter into my ordinary duties!?

THE FACTS:

FABRIC:  a polyester suiting fabric from JoAnn’s Fabric store for the dress and a poly felt for the hat

PATTERN:  a “1st Place Prize” mail order pattern No. 1993, which I can date with confidence to year circa 1947

NOTIONS:  I used two zippers I had on hand, a true vintage metal one for the back neck opening and a modern matching red one for the side closure.  I had on hand the interfacing that I needed and plenty of thread otherwise.  The piping I made myself of leftover satin blanket binding and macramé cording!  The satin blanket binding went towards the hat as well as me-made bias tape of dress fabric leftovers.

TIME TO COMPLETE:  Ugh!  After way to much hand-stitching to remotely tolerate, about 40 (probably more) hours, this dress was finally finished on July 12, 2018.  The hat was refashioned in one afternoon/evening soon after, in about 5 hours.

THE INSIDES:  All clean in either French seams or bias bound seams

TOTAL COST:  about $35 was spent of the dress fabric, about $5 for the hat felt, and $20 to buy the vintage hat.  If I count the $10 deal I got on the shoes and the cost for my other accessories, the total outfit cost is about $100.

The outfit was quite a challenge to make – by far one of the hardest outfits to make, Peggy Carter related or not.  For the dress, I blame the crummy fabric I chose for a lot of my problems.  The fabric was the right color red to be sure, readily available in a local store, with a nice slightly textured finish, and a good multi season weight.  It was just too man-made in the way it acted, as if it was such an unnatural fiber that it was fighting being made into something worthwhile every step of the way.  I had to do meticulous hand-stitching for almost everything to get the dress to turn out halfway decent and not messy or cheap looking…I mean the fabric was rather pricey after all!  I was convinced into believing anew the need to go on a personal strike against polyester and other man-made materials.  For the hat, the main issue was dealing with something wonky and beat up and trying to revive it.  The man-made felt I used is again “man-made”, yet it worked out well for this refashion.  This hat could not be cleaned and it was the wrong colors but the right shape…when looking past all of its faults from the wear and tear of time.  Polyester felt was a weight which was thin enough to not make covering the existing hat too bulky, and I don’t think it is obviously an imitation of wool.  When making one’s dream outfit, sometimes price, budget, and available materials sure does make things more of a challenge than it need be!

The pattern itself presented its own challenges along the way.  From the very beginning, though, a big chunk of the extra time it took to be finished with this set was even before I could cut.  The sizing needed such a major change (it was for a tiny 30” bust).  I traced out the entire dress onto sheer medical paper so I both wouldn’t have to ruin the original and could gradually, in small segments, add in the 4 inches I needed widthwise.  Besides resizing, the only other design change I made was to the reshape the neckline.  I widened out the top angle of the neckline so that it would be more squared off and the two corners would land at the middle of my collarbones.  I raised the bottom drop of the key-hole neckline higher by just a few inches, so it would at least cover any cleavage (unlike Peggy’s dress, which shows way too much in my opinion).  Even still, it turned out quite low.  What would the original neckline have been like at this rate?! 

In order the finish the neckline edge, anchor down the piping, and accommodate the newly shaped neckline, I drafted my own facing accordingly.  This is really a dress about visible facing after all – that is the quickest, cleanest, and reasonably easiest way to do the neckline.  The whole of the dress is about the decorative chest, anyway. I made the new facing a replica of the neckline shape and made it an even 2 ¾ inches wide all the way around.  Then I made my own piping and stitched that along the outer facing edge.  Keeping the curves and corners to this step was so tricky but extremely necessary to the design.  Finally the facing was sewn onto the neckline, wrong side (dress inside) to the right side (visible facing).  This way the edges are finished (as I mentioned) and the piping is both covered and regulated in width away from the edge all in one step.

The finishing to this step was the hardest part because everything was invisibly tacked down with tons of hand-stitching which was tortuous to do.  So many pins were needed to keep everything in place in between the episodes of stitching, and my hands and arms became so scratched up and wounded.  The back neckline zipper was absolutely needed but only complicated things further with the piping ending there, too.  Sorry to complain!  In the end, though (after much steam ironing) I do believe the detailing turned out well, but not as perfect as I had hoped.  All those layers and the piping makes the neckline quite stiff, and it puckers slightly sometimes.  However, I do believe the proportions of the key-hole neckline are quite the same as Agent Carter’s dress, so I’m happy.  Yet, I feel now as if I can say I passed some sort of “trial by hand stitching”.  I definitely have a greater respect for the costume department of Agent Carter, now.

The criss-cross straps that finalize the drama of the neckline are shown to be more like a woven design right at the bottom of the key-hole according to the original pattern.  I merely repositioned them to match with Peggy’s dress.  The X over Peggy’s heart is a recurring theme throughout Season Two, as you can see in another copycat dress I made already here.  It is used when she is vulnerable – caught between needing to finish her hardest mission yet while being emotionally torn at the same time.  Love has come into her life again in a whole new way she didn’t see and didn’t expect. With Peggy however, it often seems that love is intertwined with heartbreak.  So – this dress is a strong statement of her both moving on to another chapter in life yet still staying the same strong woman as before she lost ‘her’ Captain America.  She still seems to receive more than her fair share of grief, in my opinion.  I suppose all it does is go to show just how strong and resilient she can be…though not tough enough to refuse to open her heart.

Only the year before this design, the bombshell actress Lana Turner had popularized decorated keyhole necklines when she wore several in the sultry 1946 movie, “The Postman Always Rings Twice” (see fashion pics here).  One of the only times she isn’t wearing white in the film, her black dress has white trim a few inches out from the edge to outline the shape of the keyhole neckline.  It looks all too similar!  Agent Carter was apparently only keeping up with Hollywood to wear this neckline style.

Otherwise, there is not much to say about the rest of the dress.  It has very basic shaping and almost boring darts and seaming.  That’s okay – the body of the dress needs to take a backseat to the neckline.  I kept the sleeves as they were designed, even though they are so different from my inspiration dress, because not only did they turn out cute in my opinion, but they are very easy to move in and provide a great 40’s shoulder widening appearance.  They are quite loose around my arms, but the rest of the dress also had a giant amount of ease to match.  I had to pare off about two inches from each side seams, and take off several inches from the hem.  This brand of pattern company must run really generous.  I guess I didn’t need to do all of that massive resizing after all.

Enough said about the dress – now I’ll talk about the hat!  Originally it must have been quite stunning – to me it has an almost sea-faring pirate feel and the back tassel bumble is an interesting addition.  Many late 30’s and early 40’s hats were similarly obnoxious in style with wide brims.  As I found it, there was an ugly black stain on the crown, and the brim had some rips or moth holes.  The brim edge wire was terribly twisted and kinked, too.  It needed a re-fashion, or else I cannot see anyone wanting it in that condition.

I hate seeing vintage items on their last leg, and I really didn’t want to make a hat from scratch to match my outfit…so I fulfilled both in one step!  Now I know my refashion tuned the hat into the bowl or platter style popular in the early 50’s, but it evokes the post war fashion of 1947, the year Dior unveiled his “New Look”.  It also shows how little details in shape and finishing can change a style so much!

My very first step was to unpick the stitching of the grosgrain ribbon along the edge, to then be able to unpick the millinery wire stitched on the edge.  Next, I took the tassel bumble off and stitched up the back brim slit opening.  Then the hat received an all-over steam ironing!  This flattened out the wavy brim and freshened it up in both smell and shape.  Now the hat was ready to be covered.

I started by covering the bottom underside of the brim using the dress fabric.  I made three rows of stitching from the edge for decorative looks and to keep it in place.  Then the crown was covered by gently stretching out my felt over the existing hat, and my knee was the best thing to put inside to keep in shape while I was doing this.  Stretching the felt made the two layers stick the one another better than stitching the two layers together.  If I was working with a wool felt, I would have soaked it in water before stretching it, but the polyester felt wasn’t going to work like that.

Finally, the top crown was covered with more felt, hand stitched down along the inner and outer edges, then my self-made bias tape, made from the same dress material, was stitched along the edge for the finishing touch.  The last thing was to make a tube of the leftover white satin left over from making the piping, and gently hand-tack that from the inside to where the brim meets the crown.  Agent Carter’s original hat had two different colors and textures of red just like my hat, but I just could not bring myself to copy the trim.  The original hat in the television show hat grey velvet trim with a matching bow, and to me it looks too much like a costume that way, and too over-the-top.  I like the classy simplicity of how I decorated my hat – again, not distracting from the dress, but definitely part of it by sharing the same materials.

It is remarkable how much this outfit forces me into a new outgoing spirit that is almost more than I can handle if I’m not quite feeling myself.  It’s all good stuff, though.  I’ve never really been a girl who is all about a red dress…it comes from reading the book “The Scarlet Letter” or watching Scarlett O’Hare show up at Ashley’s birthday party in the movie “Gone with the Wind”.  Besides, my mom never let me buy outfits in red when I was growing up.  I had only one fancy red dress, and that was reserved for a Valentine’s Day father-daughter dance to attend as a pre-teen.  Now, I’m rediscovering the empowerment of the color.  I even went all out with the color by treating myself to the complete Agent Carter red accessories as seen on television, too – cheaper copies of her Ray-Ban sunglasses, Besame brand “Red Velvet” lipstick (from the Agent Carter collection), her same mother-of-pearl flower earrings, and a true vintage alligator leather handbag.  If I’m going to enjoy the shade of crimson, and go all out in one of my most time consuming Agent Carter outfits yet, then it has to be absolutely awesome from my head to toes and everything in between.

Now I am truly a classic spectator…dressing up in my best, decked in a flag-your-attention set of red, sticking to two tones, and definitely realizing I am seen.  I may therefore be arbitrated, too, but then I am not afraid of it because I feel great in what I wear when I make it.  Besides – I am not afraid of others judgment in this outfit in particular.  I have a sneaky suspicion that it will get favorable opinion from others anyway.  I’ve already had someone drive buy and offer a compliment to me the very first day of putting it on.  There must be something with spectator fashions, because here I am talking about the self-consciousness, personality, and preparedness for scrutiny arising just from what I am wearing.  Clothing certainly adds a necessary complexity and interest to the human existence.

Yet Another “Leave Her to Heaven” Lumberjack Blouse

As much as I love so many old black and white movies and films, there is something significant missing in all of them – true-to-life color.  It doesn’t really bother me, and I feel no disconnect with the stories because of it, but when a really amazing outfit is spotted…well, I am racked by the mystery of what that garments must have looked like in reality.  I have a suspicion this curiosity of mine is a major factor to why I am so drawn to the movie “Leave Her to Heaven”, from 1945.  Yes, the tale also has an eerie way of getting under the skin and staying in the mind from the excellent acting of a disturbingly intriguing storyline, but the outfits are spectacular – and all filmed in full color!

I’ve already ‘copied’ one lumberjack shirt worn in the movie (post here).  Thus, it was not like I was actively wanting to make another outfit from the same movie so soon, but when the right fabric happens to come along and fall right under your eyes…well, I couldn’t resist!  Besides, if I can channel vintage Hollywood with my casual wear (and I can always use more casual wear) and not just fancy stuff, I’m all in!  I do love a good blouse and the color pink.  So here is a short and sweet post about my second lumberjack shirt from “Leave Her to Heaven”.

Now, my first plaid blouse from that movie was a copy of one worn by the main actress, Gene Tierney.  This one that I am showing in this post had been worn by the “sister” in the movie, an equally beautiful and amazing actress Jeanne Crain, so it did not get as much screen time.  Jeanne Crain wore it to do the gardening (see pic at left).  My version is slightly dressier I suppose from the nice shirting material I used, rather than utilitarian flannel cotton like I used for my last lumberjack blouse.  Still, the mixed color plaid will hide any stains quite well and the fabric is pretty much wrinkle-free, so this is still a perfect casual day or outdoor work blouse which will still look so impeccable.  I love it!  This is why I make my own clothes.

THE FACTS:

FABRIC:  a polyester blend shirting

PATTERN:  a combo of my old stand-by Simplicity #3714 from 1941 for the body of the blouse, and Advance #3152 (from the same year) for the sleeves and cuffs

NOTIONS:  Except for the thread and interfacing, which was modern and on hand, I used vintage notions.  The buttons are true vintage bakelite from hubby’s Grandma in a rich burgundy and the bottom snap was from my Grandma’s box of notions.

TIME TO COMPLETE:  This was made in about 15 hours and finished on October 22, 2017.

THE INSIDES:  All clean with side French seams and the rest bias bound

TOTAL COST:  This was bought at JoAnn’s at about $15 for just over 2 yards.

This was such an easy-to-make project.  I have made both patterns before, after all!  I chose the vintage Simplicity because I like the collar and body shape…and it fits me perfectly.  It had already been used to make a basic brown long-sleeved winter separate to complete this suit.  There will be a third, solid color, dressy version coming in a few months, as well!

Different sleeves were chosen out of the pinafore set for this blouse version because firstly, it is from the same year (1941) and I wanted the arms of this plaid blouse to be more structured, masculine, and simplified.  The sleeve caps are a trio of darts and the wrist (above the cuffs) was adapted to have pleats, in a trio as well, versus having everything poufy and gathered as the Simplicity pattern called for.  The blouse sleeves and their cuffs are the only thing left to that Advance pattern besides the pinafore (which I posted here).  For some reason the blouse body was not in the envelope when I got it (that’s okay…it was only $3).  The two patterns matched up like they were made for one another.

With this version, I found greater appreciation for the pattern because the plaid brought out the design lines.  I wasn’t really trying to match up anything too much, mostly the side seams.  I remember being conscious in passing that the plaid was passing through the waist tucks and shoulder darts.  The finished effect is best when my blouse it untucked.

This blouse goes with so much in my wardrobe – anything brown, tan, or maroon, which I have plenty of in both trouser and skirt forms.  In these pictures, I am wearing it with my post WWII cuffed twill khaki pants (blogged here).  I do love how the bakelite buttons bring out the undertones to the plaid, complement the pink in a very unexpectedly bold manner, and make it work for rich red tones as well.  Such special buttons deserve to be seen and standout, anyway!

As my blouse is a ‘copy’ attempt from a movie, this is my first entry into the “Sewing the Scene” challenge sponsored by the “Unfinished Seamstress”.  I had meant to make it in time for last years’ same challenge, but I ran out of time making this outfit for it.  I went ahead and made my blouse later on in the year anyway so I could get some use out of it through our cold season and am posting it now.  It’s a challenge for sewing bloggers to get their priorities lined up when juggling a lot in life (don’t I know!).  I make sure to have thoroughly enjoyed an outfit before I even write a word about it.  Sometimes some outfits are so loved I don’t exactly get around to posting about them like I want because I am too busy enjoying them – but that is a good thing!  Life can get in the way of sewing plans, but at the same time, both life and sewing is best when it is a joy and not a chore.