A Smock-Frock from 1938

Today, a smock is understood as a variant of an apron – it is a loose over-garment worn to protect one’s clothing.  A frock is a now outdated term for a dress of any length or style.  Both terms may sound like something quite frumpy to wear.  Yet, I have the contrary to show as proof that a smock-frock can be fashionable.  Our modern understanding of many items we take for granted in common living are often sorely lacking in a realization of full historical context.  “Dig a little deeper” is my intuitive response after being an academic researcher for many years! 

In sewing, using vintage patterns is a good practice for opening one’s eyes to facets of fashion history previously either unknown or forgotten, as they leave enticing trails of interest in bygone definitions.  Recently, an old original 1938 Marian Martin pattern design I acquired and used for my early spring sewing has made me realize a new term – the smock-frock.  For as simple and unassuming as this newest dress project is (daily wear vintage clothes in comfy cotton are so handy to have in my wardrobe), it has certainly led me to discover yet another aspect from the annals of fashion.  Nevertheless, whether or not this dress taught me something along the way to completion, any dress that ends up being as easy to wear as a nightgown yet looks street worthy chic – with pockets as big as a small purse – is a winner in my estimation!

THE FACTS:

FABRIC:  a printed cotton

PATTERN:  Marian Martin #9602, year 1938

NOTIONS NEEDED:  all I needed was thread and some bias tape for some simple neckline finishing

TIME TO COMPLETE:  This was a quick project, made in about 7 hours and finished in February 2022

THE INSIDES:  I merely stitched over the edges a few times to prevent any fraying, and trimmed any fly-away threads from the fabric for clean but semi-raw edges

TOTAL COST:  On sale at my local JoAnn Fabrics store, buying 3 yards of this fabric cost me about $27

Happily, the seller that I purchased from studied up for the listing and included information from an old newspaper ad which was selling my same pattern.  Thus, that person’s amazing preliminary research is the only reason I know why Marian Martin no.9602 is called “a smock-frock” design to begin with.  Now, to appropriately continue my terminology tirade from above, a smock-frock is basically a centuries old garment primarily worn by British laborers and working class people.  Only in the last 150 years did it turn into a comparatively decorative garment to wear on its own for children’s play and ladies’ housework.  Smock-frock garments often had extensive embroiderd hand stitched work (for an alliteration of the word) to control the overall generous fit in precise places  on the garment.  This type of embellishment became highly decorative between the Victorian times and the 1930s, being more ornamental than a pure design element, and its popularity muddied the understanding of the term smock-frock.  

To make things more confusing, in the history of the clerical world, a frock is an outer garment…but so is an apron.  The Wikipedia page says, “It is uncertain whether smock-frocks are ‘frocks made like smocks or ‘smocks made like frocks’ – that is, whether the garment evolved from the smock, the shirt (or underdress) of the medieval period, or from the frock, an over garment of equally ancient origin.”  All this boils down to the fact that this late 1930s smock frock was a meld of the words, besides being a relatively modern take on two very ancient type of garments.  I am surprised this garment-related form of the term was even still in use enough for 1938 to add it onto the pattern description.  It is so close to what I would term a plain housedress, or even a hostess dress (which I explain in this post here) if sewn up of a decently nice material.  Smocking – as a style of stitch – has continued to be popular beyond the 1930s primarily on cultural inspired clothing or novelty designs as well as children’s clothes.

I am wondering if the use of this term here is because Marian Martin designs were something catered to smaller, rural town residents even though the parent company to the pattern line was based in New York City.  Living away from a big town can be someplace where old terms are still commonplace, so a smock-frock would have been well known amongst agricultural worker’s families of the 1930s. I do take note that the cover illustration portrays a young woman modeling.  I wonder if the design of this pattern would have been something that the older generations would have gravitated to before the youth of 1938 would have.  You can clearly see the Depression Era thrifty sensibilities in the fact that this pattern could be used to make several different designs – dresses with two differing necklines and closures, or an apron.  There are many possibilities here!  Marian Martin is a distant cousin to the lines of Anne Adams, Alice Brooks, American Weekly, and Laura Wheeler (needlework) – all patterns were owned by the same parent company at one point or another (see more info on that here). 

Having sewn a handful of patterns from this group of mail order patterns (my previous Marian Martin posted here, an American Weekly dress posted here, and an Anne Adams pinafore posted here), I have found them to generally run on the larger fitting size.  This one did not disappoint.  It was marked as a bust 32”, hips 35” and so I graded in 4 inches to bring it up to my size according to the instruction’s chart.  As it turned out, I had to pinch out a total of 4 inches overall as I was fitting this dress to myself during construction.  The realization of that blows my mind at just how large this pattern’s size was…lucky thing I was able to save this project from drowning me in fabric!  The hemline even came down to the ground on me according to the “dress length” as given by the pattern.  Refitting all the princess and side seams, as well as re-cutting the neckline and armscye made this easy-to-make design a bit more time-consuming.  It was still pretty simple to sew these adjustments because there was no pattern matching to worry about and I was fitting it along the way to completion. 

I knew ahead of time that the busy print would conceal the smock-frocks details, but they are simple and few so I was okay with that happening.  There are princess seams which divide the back and the front into a six panel dress.  There are big, generous pockets tucked in between seams to the front side panels just at hip length.  Then, the sleeves have puffed caps and a box pleat at the outer centered hem.  Finally, two ties come out from above the front princess seam just above the pockets so as to bring in the waist and shape the dress by tying in the back.  The attached ties make this dress reminiscent of a hostess dress, as I mentioned above (and posted about here).  It is the fact I have the ties – and the way I gave up fitting the dress to me any further after bringing it in by 4 inches – which lets me get away with no zipper or buttons or closure.  Contrary to the pattern, I cut the center back on the fold and lowered the V neckline so that this was an easy-peasy slip-on garment. 

A word or two needs to be said about my ascot neck scarf.  I made that, too!  It was cobbled together into being a long, tapered rectangle of two scraps leftover from making this sheer chiffon 1950s redingote.  A small French seam goes down the center to connect the two scraps, then went to my local sewing room and used their serger (overlocker) to stitch a tiny rolled hem edge finish.  I love making my own scarf!  It is yet another little but very useful outlet I recently discovered to use up scraps of lightweight material.  My neck is often chilly in both air conditioning and cool spring or fall days.  Also, my hair styles need protection from wind and rain, so I use sheer scarves a lot in all seasons.  This handmade version was just the thing I needed in lieu of a necklace or contrast belt to give my dress a splash of something extra.  It kept my neck cozy for these pictures, too, as the sunshine was warm that day but spring is still slow in coming here.  The neckline is pretty basic otherwise.  A vintage stick pin keeps my scarf in place on my dress, here tied in the manner of an ascot.

My fabulous shoes bring my dress way above its original humble smock-frock designation, but they are such a fun pairing here I couldn’t resist!  They are part of my latest and greatest shoe splurge purchase.  Miss L Fire Company was going out of business a few months ago so I *had* to snatch up several styles I have longed under deep clearance prices.  These are the popular Miss L Fire “Clarice” heels, made of color blocked leather suede panels with tie ankle straps.  These color blocked beauties make me forget I have heels on, but really elevate my outfit, as well as anything else I pair with them.  Just as I did with my scarf, I wanted to channel everything I love about the panache that 1930s street wear displays with killer accessories.  Even if this is just a homely cotton dress, I can show how versatile it is my making it fancier than it really is!  A great pair of shoes always helps in such a situation.  Believe me, there is no better company for statement footwear with high quality and superior comfort. Miss L Fire’s offerings are so well made and so comfortable but so standout chic, it is a true loss that they are relegated to the second hand market now. 

There is so much more I could have written in regards to smock-frocks, but I didn’t want to end up boring anyone and end up with too long of a post.  I have just found so much depth of interest in the history behind this basic little dress I whipped together!  What I didn’t mention above, is the irony of how it combines the masculine (through the working man’s shirt smock) with the feminine (a frock dress) in such a unique way.  Even still, the supreme mockery to my 1938 incarnation of a house-frock is the fact that it turned out so appealingly cute.  It is meant to be so utilitarian as to not give a darn about keeping it pristine yet I will be sad the first time it gets marred.  I don’t want to destroy it too quickly, but I also don’t want to let that hold me back from enjoying this dress whenever I want.  This is why I made it – to be worn, appreciated, and practical.  The print is so busy it shouldn’t be too noticeable when I do eventually end up staining, tearing, or otherwise using my dress as the pattern intended.  If this was going to be a true smock-frock, it was going to have to live up to its name and be a practical, work-horse kind of piece for me.  I always need these kind of clothes.  They truly do take a beating, though, but I think appear none the worse for their wear.  This mid-1940s dress is my go-to well-worn housedress, next to this cranberry cotton shirtdress, and my “Dust Bowl” Burda dress.  I am happy to have a real-deal 1930s house dress now, as I have only had ones from the 40’s until now!

I really hope to sew with this pattern again in the future using yet another charming cotton print, so this is not a one-hit-wonder here.  Perhaps next time I will choose the short, hip-length smock version that buttons down the back and has the Peter Pan collar.  Maybe I will just sew another dress version because it so handy and darn comfortable.  I also want to try out the “Edith Smock” from “Pattern Union”.  It is a zero-waste design with amazing details and a style strongly reminiscent of working smocks of old, only with large roomy pockets and billowy sleeves for the modern romantic in you.

I hope you enjoyed this little post on my smock-frock, and learned about a new facet of fashion history.  Please, give this post proper credit if you share elsewhere what you learned about here.  Also, remember to stay inquisitive and keep finding answers to the interesting questions of your own making.  Perhaps you will uncover something that will fascinate, teach, and entertain you just as much as I have found in the process of creating and wearing my smock-frock!

My Husband’s 1950s Raglan Sleeved Cabana Shirt

I secretly suspect my husband likes sporting the vintage shirts I make for him more than I like sewing them (which is saying a lot).  Either way, the mid-century has some fantastic offerings for menswear and with Father’s day just this past Sunday, it’s time to show you what he received as a present for the holiday a few years back.  So here’s yet another 50’s shirt I crafted for my man, sewn in a cool-toned Madras cotton plaid.  

If I’m going to sew him something, I am determined that it not only will be vintage but also something different (and better) than what can be found RTW in the stores.  Luckily, my man happily obliges me in this.  How often will you see raglan sleeves on a man’s button front shirt?  Honestly, very rarely, if at all nowadays.  This is sad because they are comfy to move in, easy to sew in, and so fun to match when using a plaid fabric.  You see, just because a style feature isn’t done any more doesn’t equate to it being a bad idea. 

Take the fact that the pattern I used is for a “cabana set”, to present yet another example of a clothing feature that should have never disappeared (in my opinion).  However, as is the norm for hubby’s projects, there was barely over a yard left of the material he chose…only enough for one piece and not two as a “cabana set” implies…so this might not be the best example in actuality.  Let’s just stick to the origin pattern labeling for his shirt, though!  The FIDM defines cabana sets (see post here) as “a marketing ploy begun in the early 1950s with multi-purpose sportswear, suitable both on the beach and off, which had a matching or coordinating set of man’s swim trunks and sport shirt or light jacket.”  It was “an outfit suitable (for the) relaxed, yet sophisticated, indoor/outdoor lifestyle closely associated with Southern California.”  In the post-war period, as men found themselves with the time and means to sit by the pool or on the beach with their families, there was a booming business in leisurewear (info from here).

Cabana clothing was often in bright, fun colors which were the opposite of the bleaker toned, more formal men’s work wear of the era.  This pastel plaid is not as crazy as many true vintage cabana sets for men, which got into almost neon colors and very novelty prints as they continued to be promoted into the 1960s.  Some cabana shirts were lined in terry cloth to be a pool-side cover-up, as the pattern cover shows.  Even still, my husband prefers the breathable, lightweight, sweat-wicking Madras cotton for his summertime shirts that do not get worn at the office, so this is his perfect warm-weather, vintage sportswear for today. 

Some manufacturers even took the guys’ cabana sets a step above by offering children’s and women’s sportswear that would match his own as well, although I think this is a bit too over the top.  I will admit I have matched him before to take advantage of scraps (see this post for his, and this post for mine) although we do not wear our shirts together but only on separate occasions.  Either way, his new cabana shirt was first worn to enjoy some weekend afternoon miniature golfing as a family, thus fulfilling a 1954 advertisement for Arrow brand cabana sets, which declared them suitable for “dad’s loafing, puttering or beaching.”  The mini golf place had a Southwestern flair with lots of waterfalls and water traps, so this is sort-of close to a California resort for us land locked Mid-Westerners!

THE FACTS:

FABRIC:  1 ½ yards of 100% cotton Madras woven plaid

PATTERN:  Simplicity #8659, a reprint of a year 1957 pattern, originally Simplicity #2080

NOTIONS:  The buttons were vintage from his Grandmother’s old stash, and I had all the thread and interfacing scraps I needed already on hand.

TIME TO COMPLETE:  The shirt was finished on June 14, 2019.  It took me only 6 hours to make!

THE INSIDES:  all French seamed, except for the back portion of the collar facing for which I used wide bias tape

TOTAL COST:  As this was bought as a discounted remnant length of material, and everything else was from on hand and therefore ‘free’, his shirt was about $10

It was easy and quick to sew together, and relatively the ‘normal’ amount of time to complete (for short sleeved shirts).  It would have actually been faster to make, compared to the other summer shirts I have made for him, but then it took longer because of the French seaming.  I’m not complaining!  As I mentioned above, I like to do better and different than RTW, which hardly ever has anything other than overlocked (serged) edges.  Fine finishing techniques when sewing for others really enhances the fact it is a treat and a gift, after all!

The shirt was simpler to sew, especially with the French seams, when you change the construction steps so you save the side seams for second to the last step (final step being the hem).  Raglan sleeves have softer shoulder shaping which is less defined when compared to set-in sleeves with a semi-circular armscye.  Thus, be prepared for some slight adjustments needed to the dart which runs down the center.  I don’t know who fits into raglan sleeves as-is, without needing some small tweaking to the fit of their unusual seams, but it not either me or my husband. 

Nevertheless, the greater issue I had with the raglan sleeves was attempting to match the one-direction plaid on so short of a cut of fabric.  I only exactly matched the front (across the button placket) and the collar.  The horizontal of the plaid match all the way around, even for the sleeves.  However, where the sleeves meet in the main body up to the collar was the most challenging.  I truly enjoy sewing a challenge…bring it on!  Yet I hate having to realize my “matching game” was going to have to be slightly off – so I focused on the predominant stripe color in the plaid.  It’s rather a busy plaid, and the many intersecting colors happily hide any little ‘mistakes’ I was forced to make. 

The sizing seemed to run roomy, but from what I see of vintage 1950s advertisements, old family photos, and other men’s patterns that are in my stash, it seems that is the intended fit.  He was okay with the comfy fit version, as I forewarned him before I cut the pieces out.  If you would like to aim for a snug fit, or if you’ve chosen a knit for this pattern (which I think would work out very well), I would suggest sizing down. 

Otherwise, do try this pattern for the man in your life.  It is a loose, forgiving enough fit that you might not have to tip him off ahead of time as to what present you are making by asking for his measurements!  It is still classic enough that with a great knit or modern print I think this vintage shirt would look very up-to-date.  I personally could see that this pattern would be a statement piece if it was colorblocked (sleeves, chest pocket, and collar in a contrast from the main body).  I always have more ideas than there is time.

I do have more shirts from other eras to make in the future for my man.  I have a 1930s blue striped shirt with a detachable collar to put together for him, a 1970s tunic, as well as a quirky 1980s pullover to mention just a few of my favorite “yet-to-make” projects for him in my sewing queue.  It just seems as if the 1950s are his fallback decade, for both his wearing preferences and for my sewing for him.  I just hope to eventually – one of these projects for him – have enough fabric to appease my inherent perfectionism.  I feel like I have said this before, but every very freaking time his preferred material is always too short of a cut to work with, being all that is left of a bolt, but somehow I still make the garment happen.  We will see…maybe by next Father’s day, or Christmas, or birthday I will sew him something from a different new-to-him era with a cut that is at least over two yards.  For now, this shirt is another happy success!

Gift Sewing: A Reversible 1940s Apron

My most common item I create as a gift for someone is a really cute, finely detailed apron…and if not self-drafted, there is one pattern that I use for all of them.  It’s a vintage re-issue, Simplicity #1221, originally Simplicity #4939 from 1944.  This is a true winner of a pattern, with one cut piece needed to make it and a good design that has a complimentary fit.  Not every apron is so good at being fashionably waist slimming yet with full coverage for food stain protection, too.  Neither are all aprons so good at being a one yard, two hour project!  One of these days, I need to get around to making a version for myself, especially after making so many for others.  Here’s the post on my first gift version of this same apron pattern.  This particular one was going off to my hubby’s godchild as a present.   

This is the first time I had made a reversible apron, and I love how it turned out.  I wanted her (the recipient) to have something she would not find otherwise, something fun, and ultimately useful!  Just one layer of material (printed cotton) alone was too thin to be a useful against food splatters anyways.  As the apron design is so simple, it was easy to merely have the backing fabric become an optional, yet wearable, second side.  The entire raw edges are encased in ¼ inch bias tape so they look the same on either side, too, besides being an easy and colorful finish. 

The sizing is good for gifting, as well.  It is in loose, general blocks of measurements as small, medium, and large gradients rather than precise numbered sizing.  As long as I can estimate the recipient’s body as compared to my own, I can find the right size.  The waist of the apron should just about cover the front 2/3 of the wearer’s waist, so that always gives me a good way to choose what size to make after measuring the pattern in comparison.  The godchild is actually a 20-something who is my size body (or slightly smaller) so I made the apron to fit me.  However, it is always harder to let something go to someone else once you try it on for yourself, you know what I mean?

I made the ties as long as the pattern calls for, which is short enough for only a knot and not a full bow.  The neckline has no closures and flips over the head to lay on the neck and shoulders like a collar, so I feel the shorter ties complement the overall simplicity of the design.  At the base of the ties, I added a small name tag to credit me, the maker, so the recipient can remember who gifted it to her!

What is your go-to for handmade gifts?

Cold Shouldered

An ice queen wouldn’t really feel frigid temperatures, I would assume, so she can dress purely for beauty, aesthetics, and the power of her position, right?  Okay, we have that understood.  It wouldn’t be too assumptive either, would it, for the next step to be automatically suppose that character also has certain affectionless traits of a queen who has the capability to freeze water and produce snow?  Perhaps.  However, Disney’s animated “Frozen” movies both 1 and 2 (2013 and 2019, respectively) counter some of such widely set understandings of such a particular fantasy female character.  Ice queens are almost always given a villainess arc in other related stories and films, yet Disney’s version becomes (dare to say) thawed by love and warmed of heart yet still upholds her powers and magical capabilities.  It’s weird and kind of a disappointing change for me, but hey – Elsa does have some awesome cold-shouldered fashion in common with her fellow more malevolent ice queens, so I can definitely roll with that!

Because I am not really a frosty temperament nor am I tolerant of the cold weather, I am happy to have found a way to make an open shouldered gown warm to wear, vintage styled (of course), and practical all at once for a personal interpretation to an ice queen character.  Of course I needed the proper crown and jewelry to match the part, so I also crafted a crystal crown and ring for my set, too.  This is part two of my newest 2021 blog post series called the “Pandemic Princess”.  Part one can be found here – it is my remake of a dress worn by Anna, the sister of Elsa from “Frozen”, so this is kind of like a sequel post to that one. 

Yet, this princess post’s outfit is inherently different since I do not relate to Elsa (as I discussed at the end of my previous post).  Inspired as well by the old Hans Christian Anderson “Snow Queen” tale, I however, mainly incorporated strong references of my preferred ice queen, one who is just as enthralling as she is scary.  She jumps off alive from the pages of C.S. Lewis’ Chronicles of Narnia…the White Witch called Jadis.  She is a not a true queen of course (those who know the books understand) but she still reigns over her spell of an eternal winter with such an iron hand that there is no Christmas.  She is not a character to ‘like’ necessarily but I find her captivating as appalling in her mystery and importance to the story.  The seven Narnia Chronicles are just about my favorite books ever and the strong character of Jadis has formed my idea of a snow queen.  Disney did do a fantastic job at outfitting actress Tilda Swinton to become a great visual interpretation of the White Witch in the 2005 “Lion, the Witch and the Wardrobe” movie

One of the White Witch’s trademarks is her wearing of fur to symbolize her ruthless brutality to the creatures of Narnia.  A polar bear may be pulling her chariot one day then become a coat the next…ugh.  (See several examples here.)  After all, Jadis did wear as a collar the mane of the great Aslan the day after killing Him.  My outfit gave a further nod to the character of Jadis in a fair and humane way by wearing either my Grandmother’s vintage 50’s era fur coat collar or a cut of white polyester faux fur, leftover from a coat my mom made me as a child.  These added items were my refuge to keep such a dress with an open neckline warm to wear in the cold, anyway.  Such a style is called cold-shouldered for a reason, but it only becomes literal when the wearer is also frigid in personality.  I was doing my best at looking the part of a stern snow queen in many of these pictures, but it is really hard not to smile in an outfit this fantastic.

Both Elsa in “Frozen” as well as Narnia’s Jadis only wear open shoulder dresses.  The White Witch prefers dramatic, heavyweight dresses though while Elsa of “Frozen” sports lightweight, sparkling, elegant finery.  Both queens incorporate elements of the Hans Christian Anderson Snow Queen, who looked “as if (her dress) had been made from millions of star shaped flakes.  She was beautiful as she was graceful.”  (The classic Anderson Snow Queen also has a chariot and is portrayed in images wrapped in furs like the White Witch.)  All of these ladies gravitate to pastel blues, greys, and white tones (with exception of “Frozen Fever”).

Being worn with bare shoulders, I realized early on that my snow queen creation had to be a dress yet still be closer to a coat.  I wanted it out of a warm and sturdy material to channel Jadis, yet something soft and lovely in sheen to incorporate Elsa.  An all-cotton textured chenille which was found in the decorator’s fabric section on clearance at my local JoAnn store was just the ticket.  It has a white, frosty overtone to the dusty blue because of the fluffy nap (similar to a quality velvet).  Yet the substantial ‘hand’ to it, being a decorator material, is perfect to hold up a strapless dress.  You don’t see much of chenille anymore, both in stores and in fashion today, and that’s a shame.  It is lovely fabric that I remember liking a lot back in the 80’s and 90’s as I was growing up.  This flashback gave me an idea of what direction to look for choosing my pattern design.

Off shouldered vintage dresses are almost every time something super fancy, for evening wear, or not remotely utilitarian.  This was not something I wanted for my “Pandemic Princess” collection, as I said in my announcement post.  I need a “pretty princess” dress I can wear anywhere and everywhere, as often as I want!  I remembered how the 80’s and 90’s (cue the tip from the chenille) were so good at attractive avant-garde fashions which took unexpected creative spins on many ‘traditional styles’.  I found a “New York New York, The Collection” Designer pattern, a McCall’s #4442 from 1989, that hit all the right buttons for me.  It is part body fitting coat, part feminine dress, but altogether powerfully asymmetric enough to suit placing myself ‘in the shoes’ of an intense queen character.  Except for my shoulders, I could be covered up in the cold, too, in the ankle length and long sleeves – just like Elsa!

As weird as the pattern pieces for this looked on paper, the making of the dress turned out fantastic!  The fit was spot on, instructions were clear.  My dress is remarkably easy to move in, as well, and comfy.  It has raglan sleeves.  Pleated darts in the front from the neckline down which shape the bust yet open to give ease in the hips.  There are also pleated darts in the back which are sewn in from bottom to waist to give an amazing bloused back but fitted booty.  As proof, just freaking check out that silhouette the dress gives from behind!  There is a tapered skinny skirt and skinny long sleeves.  The front cover did a horrible job at portraying all of these fantastic details, and the back only gives tiny, limited line drawings.  Under the cover of the loosely sketched fashion illustration, it hides a gem inside.

I made a few slight changes to the design.  An asymmetric closure ends in a pleat which opens up into a walking slit (which I moved from being a kick open style in the back).  After all, Elsa’s “Let It Go” song dress has that infamous thigh-high front slit and sensual fit!  As I didn’t want to deal with closing all those buttons nor try to stitch in buttonholes through the thick fabric, I sewed the buttons down permanently to have the front be a mock closing.  They are silver foiled mock crystal squares to nod to the ice queens who inspired me. Then, I added a left side seam closing invisible zipper to compensate for the faux buttons.  Due to a small lack of fabric (buying an end-of-the-bolt on clearance meant I was ½ yard too short for what I needed) the sleeves are indistinguishably two-pieced along the elbow.

As chenille frays like crazy, all seams are finished inside with a double zig-zagged stitch to imitate overlock stitching from a serger, while the bottom hem and sleeves has vintage rayon hem tape in turquoise.  The instructions impressively called for very fine finishing techniques similar to what I see in Vintage Vogue Special Design patterns or modern Vogue designer ones.  I felt the chenille just couldn’t handle French seams or an additional edge binding, though.  I can wear a slip in lieu of lining and the fabric is not scratchy.  It was important to keep such an odd but fantastic dress simple. 

Speaking of simple, when prepping my supplies for the making of this dress I was prepared to tolerate the possibility of adding in an internal structure (boning or horsehair trim) to either the body or neckline of this dress.  I honestly had no idea going into this if it would just end up a nightmare of a project.  Luckily, it was not – only remarkable easy.  This was so different a style, I didn’t know what to anticipate!  I soon found that as long as I properly interfaced the front placket and the wide neckline facing as the pattern recommended, as well as found a snug fit for the waist and below, the dress stays up and in place. 

The pattern called for little shoulder inserts if a full cold-shoulder is not wanted.  I actually cut out these pieces of a skin-toned power mesh and had them ready to sew in, only to try on the dress and love it as-is with a fully bare neck and shoulder line.  The pattern has a wide facing which stabilizes the ‘collar’.  It was a weirdly wonky piece that I cut out of a dark green cotton and ironed heavy interfacing to the wrong side.  As crazy as that piece looked flat on tissue paper, it did the trick.  I adore the way this neckline frames my face and is low-key drama.  Without being snug, the wide neck opening is also not sloppy on my body.  It stay perilously on the curved ends of my shoulders so perfectly.  This is a mysterious wonder of a design. Did I say enough times already that I love this dress?!? 

Unlike the White Witch in the Disney film, my dramatic up-do is ALL my own hair!!!

Mirroring the way ice forms into defined faceted, geometric shapes, I chose natural crystal quartz to make my own crown and ring set to match my outfit.  Sterling silver findings give it that cold shine.  Back when I was at my local craft and hobby store buying the crystals, I was walking around the section for findings when I saw an ad for wire wrapping.  I liked the appearance of that technique and figured it might be a way to attach the quartz stacks to become jewelry.  This was my first try and I know there is vast room for improvement but I am happy my crazy idea was a success. 

I wound the wire in and around one quartz column then wrapped the rest of the frame to become the ring.  The crown’s crystals were wrapped around the center of a necklace wire.  This way I have not only made a crown, but also something I can wear as around the neck to make the most of my time, money, and supplies.  There are screw off nobs at the ends so I can even slide off the crown’s quartz crystals and reuse the necklace if I ever want to.  I’m all about splurging on something as superfluous as crown, but at the same time I’m also incredibly practical, you see.  What carat is the rock I am wearing, I wonder?  To match, my earrings are vintage 1950’s faux diamond pieces from my Grandmother.  My dark beige boots from my White Witch inspired photos are of the 1980’s era from my mom.  

Hey, Olaf! “Do you wanna build a snowman”

All of the ice or snow queen characters are so inherently sad, so I hope my version of such a role is a much happier, brighter spirited one.  A kiss of the Snow Queen blinds the mind’s eye of the little boy Kai – another kiss from her would have killed him.  Jadis only shows a mock kindness to Edmund so that she can later kill him and his siblings.  Elsa finds herself alone internally due to her powers, even after the power of love allows her to physically touch her family and friends.  Most all of us now know the crippling deprivation of seclusion in some manner since the pandemic of 2020 hit. 

As frosty as these queens are, they have now become easier to empathize with through the bitter loss of social contact in today’s society.  This post’s pictures were taken around Christmastime decorations and after a long-awaited snowfall.  Thus, combined with my fantastic new outfit and the company of my immediate family, there was a lot of fun to be had behind the scenes.  This makes for a joyful, novel understanding of the snow queen persona I undertook by creating this outfit.  I hope this shines through to you as you read this post and enjoy the images.  Let’s not turn into snow queens ourselves, but work on finding ways to let love break through the icy solitude and cold seclusion of the world today.

“Even if there is no Narnia, I will continue to live as a Narnian!” -quote from The Silver Chair. We had fun playing out the parts from the stories with our son!