Living with Coral

Personally, I don’t ever put much weight or mental thought into the chosen Pantone Color of the year.  I kind of think it is some sort of gimmick or ruse to ‘sell’ a certain dye lot, besides being rather silly, if you ask me.  Fashion chosen for the populace through those companies higher up who run the money and production is not an organic trend by the populace, no matter what advertising makes it out to be.  Anyway, never mind my conspiracy theory rant because I am weirdly head over heels for the 2019 Color of the Year choice…”Living Coral” (#16-1546).

It is described as “an animating and life-affirming coral hue with a golden undertone that energizes and enlivens with a softer edge.”  Subconsciously this color is not a new tone for me to sport, but the chosen Color of the Year has opened my eyes to see it is already in my wardrobe and has been part of my fabric choices more than I realized. (This can be clearly seen in this 20’s style dress, my 1954 qipao, ’57 striped sundress, my convertible 40’s pinafore, or even this 80’s style outfit.)  I do love a good bright color but this 2019 color is something with more pop than a pastel but not overly confident.  I feel a softened orange-borderline peach tone highlights my light olive skin.  So, Pantone’s “Living Coral” announcement only gives me a reason to bring out an old favorite color and find original and absolutely awesome way to wear it with my classic vintage panache – with this post’s dress as my first example.  Made with THE goldmine of rare fabric, this dress’ lovely true vintage rayon gabardine shows a unique and special way circa 1949 to incorporate “Living Coral” into more than just summer frocks (a default item made of the color).

The gloomy side of such a happy shade is the facts that the real world living creature of coral is dramatically dying in growing numbers.  I’m not meaning to be melodramatic here, but nature is the original, pure form of color in all its most breathtaking and inspirational sources.  Fashion is a major world polluter and this year’s color is sadly ironic if it is not also used as a source for awareness.  Man-made colors do not level up the bright and glorious shades of nature.  Just think of a Birds-of-Paradise, a butterfly, and a show stopping sunrise or sunset for only a few examples.  What good is it to have the shade of “Living Coral” paraded in paint cans, on garments, and stationary if the real living coral is becoming so bleached out it is now only drab and sickly?  I’ll step off my soapbox now, but as one who is staunchly emotional about sustainability and thoughtful fashion choices, I had to share my two cents.   Let’s turn this Color of the Year trend around to actually do good rather than just promote sales for once.

THE FACTS:

FABRIC:  a rayon and cotton gabardine blend vintage original fabric.

PATTERN:  a New York brand sewing pattern #867, a “Louise Scott” design, circa 1949

NOTIONS:  I only needed thread, a little interfacing, and a zipper (I used a vintage metal one).  All items were on hand

TIME TO COMPLETE:  The dress was finished on November 15, 2018 after at least 25 hours put into it

THE INSIDES:  SO nice!  All French seams

TOTAL COST:  This dress cost only about $20…I got a great deal on the fabric!

What is so special about vintage gabardine?  I don’t really know why it is so rare, but I do know quality modern (as in no polyester) gabardine is hard enough to come by.  Yet I have found some primarily made of cotton over the years and it can be found in many of my sewing projects.  Gabardine fabric is defined as “a smooth, durable twill-woven cloth” and I love how it is durable yet soft and flowing at the same time with an interesting texture when you look closely.  It is one of my favorite fabrics but this vintage gabardine absolutely takes my breath away with its high caliber of excellence…why, it actually has a satin sheen and is not just a solid color!  It is so silky and wrinkle-free.  It was a dream to work with and is fantastic to wear and touch.  The underside is a smooth solid grey and the right side is a very detailed floral pattern with the twill weave showing through.

Looking at the inventory of vintage fabric sellers who can authentically date their products, I have been able to roughly date this material to the late 40’s or 1950s, one of the reasons I chose the pattern I did for it.  Also, American post war fashions did not need the 4-something yards that a Dior style dress would require and I didn’t have much more than 2 yards to work with!  Nevertheless, I did want to pair two lucky finds together – the pattern had been found for a steal of a price during our last trip to the fashion district of Kansas City, Missouri, and the fabric had been a lucky gamble for a reasonable deal bought to support a “Makerspace”.  What went into making this dress could be counted on a “Top 10 Best Finds Ever” list, if I had such a thing.

This dress might look simple at first glance, because it inherently is just that…which at the same time only shows off the smart, quality style of it.  It has details – they just aren’t flashy.  This is to me the lovely epitome of post-WWII New York fashion (and I don’t mean the pattern brand).  American late 40’s styles were so much more sleek, slimming, and subtle compared to the strongly padded, statement silhouettes of French fashion so often used to define this time.  Both had impeccable tailoring and lovely design lines, and I know (as and American) I am no doubt biased, yet to me it seems that there is a great art in being understated.  Dior styles overemphasize both hem width and the hips to create a tiny waist but many American late 40s fashions preferred slimming skirts, longer hems, simple design lines, and relied on details (such as pocket flaps, peplums, pleats, etc.) to softly visually widen the hips.  This latter I see as more universally flattering and working for more body forms versus the former.  I think I can personally work both sides of the post war profiles, but I appreciate the low key appeal and practicality of late 40’s state-side vintage while also enjoying creating it.

So – can we take few minutes here to let me detail the fine points that a camera doesn’t seem to capture very well?  Of course the double hip pleats on each side are the main event, even though you might have glanced over them.  They were drafted as part of the skirt side panels making for two very long and skinny cuts of fabric.  They stand in for a true peplum.  Post war 40s peplums, especially ’48 to ’51 were very low on the body line at and just below the hips much like the pleats on this posts dress.  I was afraid that the print would drown out the detail, so I made sure the hip pleats were not ironed down flat but kept their rolled edge appearance.

The sleeve cuffs mirror the hip pleats.  However the cuffs are slightly pointed under the arm in front of the elbow.  This little drafting point actually helps the cuffs stay folded up and keeps them from catching on things as compared to other cuffs on clothes I have which are straight cut in circumference.  That is smart engineering there!

The skirt is similarly fine-tuned.  I noticed it at the ‘cutting out’ stage when the sides of the center front panel had a concave bottom half, like a very gentle slope outward.  This way the center skirt panel flares out and rolls over the side panel seams from mid-thigh downward…just beautiful and unique.  Such a little difference in pattern shaping does so much!  Not only does this feature make walking elegant and easy-to-move in, but also it’s not every project that the finished garment actually turns out to pretty much have the same drape and qualities as the cover drawing.  Many drawn garment examples (both vintage and modern) only prove to be an idealized or a lame version of the actual draft on paper of a design, and it frustrates my detail-oriented brain to no end that the two don’t match up more often or not.  New York patterns sometimes do get a bad rap (from what I have read) for only offering a colorless sketch on their envelopes, but here, the drawing captured the exact small nuances of this style.  Needless to say, I am impressed.

Hopefully, this dress could fool a fashion historian or curator.  I wanted nice finishings to please myself, but also I felt the special fabric deserved to be made particularly well.  Hardly ever do I sew with true vintage fabric, so I wanted to only use notions and techniques which could be seen on a dress of the era which I was creating.  The only thing glaringly modern is the shoulder pads and maybe the thread I used, the second of which could only be ascertained by someone trained to know.  Otherwise, the French seams, the cotton interfacing, and the vintage metal side zipper do not date this dress as current.  The design certainly won’t!  The edges of the neckline and sleeve cuffs, the zipper, as well as the hem, were meticulously hand-picked for invisible stitching, adding to the subtle high detailing and because the wonderful fabric deserved it (saying it again).  These might also confuse anyone looking to date this garment.  All of this was something of an experiment, and the result brings just making another garment into something at a whole other level.  I actually get giddy just thinking about it.  Reliving the past isn’t old-fashioned or second-rate…it is really fun and a very nice treat.

After all my raving about how the dress turned out, what was not lovely about this was the sizing.  I have made New York patterns a few times now and they have consistently had small shoulders, long hems and very small hips and waist.  This dress’ pattern was the opposite fit.  Of course, the difference is they have been pre-mid 1940’s.  But it is surprising that just 5 or so years later could show such a marked difference.  I have nothing to back my theory up, but I wonder if the New York pattern company had new owners or at least new body standards after WWII.  I know the company did make it to the mid-50’s.  The dress had a very long waist (common for 1950’s dresses), very wide hips, and normal shoulders.  I had graded down to my body size but I had to take out in the waist and below what accounts to two sizes smaller still.  Any vintage pattern never ceases to hold a fitting surprise, I suppose.

Sadly, I have not been able to find out anything on the purported designer of this dress, Louise Scott.  I did find several other Louise Scott New York patterns (from 1950, some of which I passed up) along with this one, and any Internet search I have tried so far only shows New York pattern envelope covers.  Thus, I’m guessing she might have been an independent, small designer hired by this one brand of sewing patterns to get her fashion concepts out there and help their company, which was in its last years of business, step things up.  She might have just been their in house pattern drafter, too, even.  I don’t know, but it is distressing that for as many patterns as Louise Scott offered through New York Pattern Company we know nothing about her wonderfully classy and meticulous designs.

I wore 1950s accessories to emphasize the fact that it could even be a design from early in that decade, or make it an obvious late 40s style at least.  My Grandmothers vintage 1950s black glass jewelry set (bracelet and necklace) pairs with some older, some modern pieces – mid-1940s gloves, a 50’s velvet beaded head topper, me-made sterling earrings, and my decade-old favorite strappy dress heels in black satin.  I believe my handbag might be from the 1980s but it has that classic 50’s style.  Of course, I had to play up the “Living Coral” color in my dress by tying a vintage 40’s silk scarf to my purse.  It also doubled as very pretty neck scarf that day.

“Living Coral” is such a versatile and cheerful color, more adaptable than many might imagine, almost like it’s a neutral.  Here, it goes with a blue-undertone grey and the black with cream flecks are a complimentary muted contrast.  “Living Coral” tones were often paired with a ‘dove brown’ or ‘avocado green’ in the 1950s.  Of course, I think  bright royal blue pairs well with coral, too, after making my 20’’s style “The Artist” dress mentioned earlier.  Please, just don’t forget that the real living coral in our oceans need to stay just as bright and just as much in the limelight as 2019’s fashion color is!  If you have another interesting color you’ve paired coral with, do let me know because I’d love to try it!

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Revamp

It’s a new year, and there are another 360-something days to come of fresh memories, novel occasions, unexpected changes, and general happenings to be made for 2019.  In my experience, where we begin the year is normally quite interesting and different as compared to when it ends.  Thus, I thought it would be appropriate to start a new year of posting with a project similar to the way the world rolls from one year to the next…a refashion.  Every refashion is a new beginning for something from the past which is remembered in a different manner by the time it is reworked.  A refashion is a fresh start.

This particular refashion is quite basic and fancy at the same time.  It has been – and now continues to be – my basic “little black dress”, which now takes a very classic vintage spin from the basic modern piece it had been!  This is my fanciest refashion yet, I believe, as well as my most used.  It is comfier than it ever has been thanks to my re-vamp, and it is versatile enough for a funeral, wedding, night out, or fancy party (such as this!).  You name it, and in all probability this dress can step up for the occasion.  To think…all I did was use something I already had on hand!

Of course, the happenstance of finding matching material was the only reason this refashion was possible.  What I needed practically fell into my lap.  This good luck does not come around often!  When such an event does pop my life, I listen and act.  It’s these good chances that help let me know I’m on the right track, especially when they come without my trying too hard to make things happen.

THE FACTS:

FABRIC:  some sort is polyester knit, thick like a Ponte with limited stretch and more of an open mesh finish at close inspection

PATTERN:  the few skirt pieces I added were based off of a year 1948 vintage McCall’s #7226

TIME TO COMPLETE:  several hours were spent on one afternoon in the summer of 2017 to do this refashion

THE INSIDES:  The original dress was serged stitched (overlocked)…but even my new additional seams were finished to match

TOTAL COST:  $5 for one yard of new knit – the dress I’m counting as free!

The original dress was something that my mom had bought for me through a ready-to-wear catalog when I was in late teens.  I appreciated the fancy neckline and the dressy but forgiving fabric that washes, wears, and packs like a breeze.  She correctly figured that a “little black dress” was something I would find indispensable going into young adulthood.  Now that I am a full-fledged adult (and mother to boot!), these last few years I realized my favorite dress now longer fit me as well as I remembered, but I loved it nonetheless.  Thus, after coming across the perfect material, I took the ‘cue’ given me but still hesitantly cut it open and put it under my sewing machine to make it work for the “me” I am today.

Luckily, the bodice still fit so it was the only part of the dress (besides the armscye) that I left alone for my refashion.  It is an awesome, well-designed upper half, anyway, for being an affordable RTW item!  The square neckline was made with the pleated front middle that I have not seen the likes of again.  The whole bodice was double layered, fully lined in the same fabric as the rest of the dress, and ends at an empire height.  The skirt portion was an incredibly basic two piece skinny and short style which fit like a second skin, probably at least two sizes smaller than the bodice proportions.  I suppose having kids really makes ones hips fill out – I remember the dress fitting like a nice pencil skirt when I first had the dress!  The sleeves were also very basic and extremely small fitting for a ¾ length.

Firstly, the original skirt was cut off (keeping the bodice seam).  I needed – wanted – a skirt that actually sits at a waistline for my idea to work.  Thus, I drafted my own midsection panel to be the in-between connection to the bodice and skirt.  This way there is a defined middle which is more complimentary and classic than an empire dress.  The midsection is double thickness like the bodice, because it has to support a lot…this is a pull-on garment.  The dress is all knit so a zipper would only mess up the fabric, anyway.  I stitched everything in a zig-zag “lightening” stitch so everything wouldn’t pop – only stretch – putting this on.

Next, I cut a whole new skirt back half using my newly bought fabric from the most available vintage pattern…McCall’s #7226 happened to be out at the time so I used it.  It has the basic, common 1940s three-piece skirt rear which I wanted for my dress’ refashion because such a design provides wonderful booty room and hip shaping.  I re-used the original front half cut off of the dress and, after sewing the sides and hem, the new skirt was sewn to the bottom of the midsection.  Now the hem falls at my favorite just-below-the-knee length.  The skirt is the same length as on the original garment but between the better fit and added middle panel, it suddenly hangs better and has more swish in it.  Perhaps this can be a swing dance dress, too!

Finally, the sleeves were shortened.  The original ¾ sleeves were uncomfortably confining around the elbows and the length seemed weird compared to the rest of the dress in its partial refashioned stage.  However, to match the little bias edging along the pleated neck front, I added the same detail to finish the sleeve edges.  The sleeves were cut to end at the horizontal middle between the top of the midsection and the pleated front neck detail.  It’s my mathematical geekiness coming out, sorry!  The short sleeves really make this an all-season dress.

Accessories worn with this dress change literally every time I wear this, but for this picture I chose items I have from some of the people dearest to my heart.  My husband had given me the amazing vintage hat you see on my head last Christmas.  He picked it out from my very favorite vintage shop in town, which happens to be the same place my vintage Cordé handbag is from, as well.  My hat has the label of the esteemed Henri Bendel brand, a women’s accessories store based in New York City which was open between 1895 and 2018.  There is an amazing quality and design to this hat, but it also happily happens to be in pristine condition.  The rich red velvet wraps around, over, under, and through the hat so that it looks different but still lovely from each and every angle.  The thick, black wool is a wonderful contrast to the velvet, lending a richness to the whole hat.  Of course, I did a twisted, complex, fancy hair up-do to match the hat and help keep it on my head!  My necklace and silk scarf (filling in as my bracelet) are from my dearest Grandmother on my dad’s side.  My mom had bought me my earrings (black jet in the middle of a twisted gold rope) as a Christmas years back to match with this black dress.

I have had plans on my backburner of sewing projects to make Marvel’s Agent Carter’s Season Two deep purple dress.  It’s the one with the lattice detail at the neckline and sleeve hems that she wears to meet Dr. Wilkes at the nightclub for some dancing and a little undercover information.  The way this refashion has turned out, however, secretly yet strongly reminds me of that dress, and although it is not the same, just might fulfill my frequent “need” for yet another Agent Carter look-alike.  Do you see the similarity, too?

A refashion holds a memory of the past yet starts off with a fresh face and another beginning. A refashion makes the most of what we have and presents a challenge which is only an opportunity for us to shine.  I hope all of you have a fantastic year ahead, with good wishes for some awesome sewing, fun fashion, and creative enjoyment as well.  I have some exciting projects lined up for the next few months, not just for myself either, so I have a feeling my sewing skills and personal style will be taking an interesting turn this year.  You might not see it on my blog just yet, but I wanted to let you know that it’s there and I’m excited.  What are some of your inspirations and motivations for 2019?

Undomiel and her Numedor Knight

Fantasy worlds can be quite lifelike and believable.  Fiction can seem more convincing than reality, especially when – in book form – the writing is realistically superb.  Then the reader’s imagination is traveled through space and time by the magic of the written page.  This can be especially true of stories which have make-believe creatures that have been known for centuries, such as dragons, elves, dwarves, and wizards to name a few.  The stories of the great J.R. Tolkien stand high as a remarkable, memorable tale of very credible and well-crafted fantasy, even rising to the likes of a cult classic.  To tell you the truth I am more of a C.S. Lewis Narnia gal, but I am almost as equally ‘into’ the Lord of the Rings world, as well as my husband.

I have been wanting to recreate something from the Peter Jackson Lord of the Rings movies ever since all three were out, thus this project is very fulfilling as it has been so long in coming!  Even better yet, I was extremely happy to have my son want to jump on board with my costume and match me for yet another themed Halloween!  Recently, the film trilogy had been out again to re-watch in the big theater near us and my son has now seen snippets of them, as well, so the fire for these films were renewed for us.  With a medieval and renaissance themed event going on at our local Science Center, too, and everything I needed for my own outfit on hand (thanks to having everything ready to whip the dress up for the last 14 years), I felt now was the time to make good of an extended sewing project plan!

Besides the fact I saw the films again now, why am I just writing about our Halloween outfits when it’s almost Christmas, you may be wondering (guess if you weren’t thinking about it before, you are now).  Well, as other detailed oriented Lord of the Rings movie fan will understand it is around the middle of December that the trilogy films were always released.  Everyone who has seen our outfits always guesses my son and I are supposed to be Guinevere and King Arthur (kind of a gross pairing for us when you think about it), so I’m wondering how many die-hard fans of Lord of the Rings are out there today.  Unfortunately, Peter Jackson’s “The Hobbit” trilogy most likely killed off a good part of the fandom (those movies are SO bad, it’s no wonder).  Yet, I merely remember that the enduring beauty of the original written tales still remain and there are many more of Tolkien’s stories yet for me to read and many more costumes yet to be remade for myself, he he!

THE FACTS:

FABRIC:  My dress – crushed panne polyester velvet, red hammered-finish crepe-back satin, and a golden small mesh netting; My son’s ‘chain mail’ tunic – silver oversized mesh netting

PATTERNS:  My dress – Simplicity #4940, year 2004; My son’s tunic – no pattern but my own…self-drafted!

TIME TO COMPLETE:  My dress took about 20 hours to make and my son’s tunic took about 3 hours both were finished at the end of July 2018.

THE INSIDES:  all clean from serged (overlocked) seam edges

TOTAL COST:  Having all the materials on hand for my dress since over a decade cut down on costs, and the grommet setting machine (more on this later) was paid for with a birthday gift certificate, so the only costs were on my son’s ‘chain mail’ – about $10 or less.

These outfits were incredibly fun to make, they turned out great (better than expected, actually), and were much easier coming together than envisioned.  I actually can’t wait to dive into more medieval and renaissance garments, because these time periods are my favorite specialty to study and research in non-fashion related fields.  I’m contemplating a 14th century low class woman’s set and a 16th century noblewoman’s gown, besides more Lord of the Rings costumes that are still tantalizing me.  My son would look so cute in a jerkin and doublet, I think, and I’d love to turn my hubby into a 14th century pilgrim on the El Camino de Santiago.  There’s too many ideas in my head and too little time!  Luckily, my hometown is actually a small hub for what we call “Medievalism studies” and “Creative Anachronism” so we would definitely have places to wear such old historical fashions and reasons to study them if I want to wear and sew more! Yay!

I realize that there are many historical inaccuracies to both of our outfits.  But hey – these are costumes based on a fantasy movie, and made with the purpose to go out and have fun, so I love the fact that the craving to do thorough research beforehand, like my other historical creations, as abated and I could merely sew our outfits to completely please ourselves and have them finished sooner than later.  This is my first dive into a new era of clothing and I couldn’t be happier!  If both me and my son don’t want to have to take our outfits off once they are on, but continue to swirl around and pretend play, than that is the best sign of success I could hope for.

It might be selfish of me, but can I just start by addressing my Arwen gown?  It was the more involved to make anyway.  This was inspired by her famous “Death dress”, worn when her strength was fading away as she is becoming less elf and more human in “Return of the King”.  “I wish I could have seen him (Aragorn) one…last…time…” she says in this dress as her Evenstar falls and shatters.  That scene was so emotional in the movie.  There is a large influence of early medieval Celtic in the swirling detailing of the Rivendell elves and so I incorporated much of that into my version as well.

However, I could not reconcile myself with (nor achieve) the long and perfectly shiny and wavy tresses like Arwen, so I choose a more historical, half fictional (Star Wars, anyone?) hairstyle option of braided side buns option I liked better on myself, anyway.  The chiffon headcovering was left off for some pictures so you can see the gown better or just to make this outfit easier to play in, but a medieval woman would not have went without one!  My simple ‘crown’ (as my son calls it) is a brass sheeting strip from my father-in-law toolbox of scraps leftover from old jobs.  We folded it into thirds and rounded into a headband ring.  I have a faux leather strip taped to the inside otherwise the brass turns my forehead green.

The main body of the dress has some a-mazing shaping (see this Instagram post of mine), especially for the upper body, thanks to the multiple princess seams (which are a big ‘historical’ no-no for medieval gowns, but whatever).  I sized down so I would have a snug fit since I knew my fabric, the panne velvet, was very stretchy.  Choosing this sizing was a good idea here.  There is over 4 yards of material just for the dress body and most of it is the full, flare of the dress’ panels below the hips.  This makes this such as elegant dress with lovely, princess-like swing as I walk, but the dress is very heavy.  I had to raise the shoulders by just over an inch to accommodate the dress being pulled down by the skirt portion.  I am secretly wearing my 1905 Gibson Girl era petticoat under this dress.  “Kind of weird” you might say, but the dress looked like an awkward, limp, wet rag of a thing hanging on me without the mid-calf fullness the 1905 slip provides.  With the slip, there is a much better silhouette overall plus it keeps the back train from tangling up under my feet!

Now onto the dramatic sleeves!  It took some training while wearing to figure out how to move, think ahead, and overall deal with these kinds of sleeves, but once you learn how not to clear a table mistakenly, get your arm stuck in a door, or drop them in a toilet (all of which I’ve done), they are so poetic.  I loved finding ways of doing fight scene moves so that the hanging sleeve would swirl around and look awesome, like what the actress Bridget Reagan did in the tv series “Legend of the Seeker”.  My ultimate sleeve action inspiration is from the Chinese actress Zhang Ziyi and what she was able to do (playing a blind girl) in the beginning action scene to the “House of the Flying Daggers” 2004 martial arts movie (watch it here).  I know it sounds silly to play-act with your sleeves but movies have a strong influence and with all this odd amount of extra fabric, you have to admit that sounds entertaining, right?!

The fashion folds that are holding the top forearm extra sleeve length out of the way of my hands were directly inspired by both Olivia De Havilland’s costumes in the year 1940 “Robin Hood” movie and this Balenciaga coat from the fall of 1950.  It was a simple matter of tacking the sleeves down at regular intervals to a stable runner (like ribbon) underneath.  I think this is much, much nicer than a tie gathered casing (as the pattern calls for) and much better not having a sleeve top seam (I cut on the fold, instead).  I did make the sleeves a lot longer (by about 12 inches) than the pattern calls for, too, in order to do this pleating.  I also lengthened the hang of the sleeve bottom so it would end closer to the floor and could come to more of a point than a rounded curve as the pattern dictated.  The inner seam through the bottom sleeve drape was flat felled as it is visible.  I guess you can tell already, but I chose the satin shine for the outside and the crepe for the inside.

My sleeve’s upper half (bicep portion) has so many layers to it!  The first layer is the panne velvet, the same as my dress.  Then it is layered over with a golden mesh material.  Finally, my fancy ribbon (expounded on the next paragraph) was stitched along just on the other side of the seam allowances at my shoulder top and lower sleeve seams.  Next to the neckline – which has multiple layers of fabric with the facing, interfacing, and woven golden trim stitched along it – the upper sleeves are the thickest and most complex to finish parts to the dress.  I needed to add little snap-closed ribbon lingerie straps inside the tiny shoulder seams of this dress just to keep the sleeves from slipping off.

The ribbon I used for both my belt and sleeve trimming is the pride and joy of my whole outfit.  It looks like a reproduction of the margin decorations from the Book of Kells (800 A.D.) combined with the saturated tones of a 16th century Safavid manuscript and is amazing…quite heavy, rich in color, and detailed…woven like a tapestry.  I had about 6 yards of it stashed away since about 2004, and I must have found it at an incredible deal or else my mom would not have let me buy it (she never liked me spending a lot towards something I liked without an immediate plan to use it).  Its swirling designs are just like the crowns worn by Arwen or Galadriel.  This ribbon is subtle enough to not overpower, yet detailed enough to add a touch of complexity and finery suited (so I feel) to an Arwen inspired dress.  There is actually a heavy nail sewn to the bottom hang of my belt to weigh it down.  A snap connects the elbow of the Y around my waist.  I know a belt is not part of Arwen outfit, but just like my hair, it is a bit more of a historical touch that helps my version please me better than an exact copy.

There were no corsets but a natural look for women of 14th century dressing, and the lacing to their clothing closings were just that…closures.  From what I have seen, back then eyelets would have been hand worked or (later) metal rings sewn on along the edge for the lacings to go through.  I needed to make about two dozen eyelets and wanted the flashy prettiness of golden metal modern ones.  Only, I was not going to hammer each one of them in by hand, but that was the only way I had available.  Thus, I put a birthday gift certificate to good use, did a last minute run to the fabric store, and splurged on a mechanical hand pressed hole punch and eyelet setter.  It looks like a pliers on steroids!  I chose the “Crop-A-Dile” by “We R Memory Keepers” brand tool and it is so ridiculously easy, makes very uniform eyelets which are sturdy, and it has so many useful function options (it can even do snaps!), I love it.  In 30 minutes I did all two dozen eyelets cut and set through four layers of fabric with interfacing in between.  It was so fun to have such a helpful tool that takes any stress out of a complicated technique.  I have been disappointed by fancy tools before but this might be the one that has worked so much better than expected – best gift ever, even if I did pick it out.

Now, for my son’s mock chain mail tunic!  From close-up, the mesh material reminds me of tiny backyard fencing.  I had been looking for something for a while beforehand and this was the best, the most reasonable, and most available material we found.  I do believe it conveys the jist of a chain mail tunic well enough though, and when it gets wet (it rained Halloween evening) it only becomes all the more sparkly!  He loved his tunic, most importantly, but I’m glad the medieval event we attended in our outfits had examples of the real deal armor, weapons, and chain mail both on display and on re-enactors so he could get a hands-on realization of the genuine thing!

I traced a pattern for a two-piece kimono sleeve tunic off of an existing t-shirt that currently was a tad roomy.  This had to be a pullover so I added a bit extra room around the t-shirt, besides seam allowance.  The shoulders and side seams were the only thing I stitched (the edges don’t fray) and I’m glad because sewing such a stiff metallic material that was mostly open was a pain.  I used mesh seam tape to give the stitches something to hold onto.  Next, his hood was drafted using the proportions of and existing hood, and then changing the shape so it would cover his neck and fall over and around his shoulders and chest.  The hood was lined in black cotton to keep the mesh from scratching his face and keep the texture of the material in the spotlight.  He wore a black turtleneck top under the tunic, and quilted black pants which kind of reminded me of a fencer’s padded practice gear.

His serious face cracks me up. Anyone recognize the Monty Python reference?

His armor is admittedly cheap plastic but it really added a lot to the tunic and it makes him feel oh-so-tough.  For my dream outfit (which are quite extra sometimes!), I was really tempted to find some fake bird wings in white to add on the sides of his helmet or even a black capelet so he could be more clearly a Numedor knighted guard of Gondor (the White City).  Yet, I realized that no one would “get it” and the extra fuss would be make his costume more complicated…meaning less fun for him.  For example, when we came home Halloween evening after trick-or-treating, hubby was trying to get decent pictures and our dachshund was incredibly curious and acting hurt at being left out, so our son, with his armor on, only began using his imagination.  It’s the tale of when our “killer” dachshund came with “vicious plans” to lick to the death (ha!) and my brave 6 year old knight threatened with his sword and shield to rescue the fair maiden. My hero…

Fiction is very much intermingled with the truth when it comes to history, for better or for worse, and the older you go (like medieval) it is even harder to separate the two.  Sometimes you have to accept them both when it comes to manuscripts because some legends, whether true or false, were part of those time’s belief system and culture.  To take such fanciful understanding away would leave a blank spot in our modern understanding of ancient pictures and thought processes.  A large percent of manuscript illuminators and textual writers were monks who never left their monastery walls, after all, while the rest were mostly young students with an extremely fanciful and active imaginations (margin doodles are sometimes quite shocking!).  The difference between fact and fiction is something we still have to define and process even today with all the information availability we have at every turn.  Perhaps our modern medieval mish-mash costumes are seriously more perfect than if we had be wearing veritable real thing.  I still open up wardrobes with a playful curiosity which makes me feel I’m in Lucy Pevensie’s shoes and can clearly picture the mischievous, animated face of Bilbo Baggins!

Kaleidoscope Colors

As a child, my kaleidoscope used to enchant and fascinate me.  I would love all the bright colors changing and mixing with every spin, and the patterns it created were something which reminded me of a snowflake with personality, making the most of whatever light you directed the toy at.  Now that I know how it works and have so many things on my schedule, sadly my kaleidoscope is packed away and not seen anymore.  However, I do have this blouse, a grown-up girl replacement!

Modern day winter wardrobes tend to be so droll and dreary compared to the fun with color the late 30’s enjoyed.  That decade combined and paired the most unusual colors in the most creative and attractive ways.  Bright and crazy colored stripes, however, are so classic to the late 30s and oh-so-popular again today.  It’s no wonder – they are like a ray of welcome and much needed sunlight in the world of everyday fashion!  True vintage items in such a stripe print today get sold so fast at high-prices that sadly such style garments are out of the question for many others like myself…and true vintage fabric like it is even harder to find in a usable, stable condition.  Reprinted modern versions don’t often do the 30’s striping justice either, which is why I am so happy to have recently found a newly printed crepe which does match the old-time mix of happy colors.  Together with a tried-and-true 1940 pattern, which has been adapted to copy a 1938 style, I have what may be my most complimented me-made garment yet!

THE FACTS:

FABRIC:  a 100% polyester crepe for the fashion fabric, and a scrap of cotton broadcloth the line the shoulder panel inside

PATTERN:  Hollywood #1991, year 1940

NOTIONS:  I had all the buttons and thread I needed.  The buttons are vintage from the stash of my husband’s Grandmother

TIME TO COMPLETE:  This was made in about 8 hours and finished on October 10, 2017

THE INSIDES:  nice French seams inside

TOTAL COST:  under $15

This was really a simple blouse to make, but the fabric and the sleeves are what helps to make the blouse standout.  I got rid of the angled panels to the original pattern and cut this version in all sharp geometrics, which complements the stripes.  The collar was re-drawn to be pointed, and the wide front (as well as back) upper bodice was made completely horizontal.  I lengthened the blouse hem as I eliminated the attached waistband.  As the golden yellow stripe was missing from the color sequence across the blouse front because of the way I cut, I added the ocher tone in through my choice of buttons.

I was basing my new composition to the 1940 Hollywood pattern off of images of true vintage patterns I do not have but admire, old fashion advertisements, and past photographs of both celebrities and regular women wearing striped blouses which have a crazy assortment of color.  It seems as if this trend is concentrated in between the years of 1938 and 1940.  I can’t help but wonder if that mode of fashion was begun with the lovely “Alimony” evening gown (year 1937) from the American designer Elizabeth Hawes.  However, it seems that multi-color striped garments after that designer were frequently in housecoats or sportswear pieces.  To see more inspiration of late 30’s to early 40’s multi-striped garments see my Pinterest board here.

My very favorite multi striped garment for inspiration is in the Agent Carter television show Season Two with the character of Ana Jarvis.  Ana favors late 30’s style in her wardrobe, and her blouse in the episode 5 “The Atomic Job” is a true and striking sample of the best from that period.  The only obvious difference between hers and mine is that Ana’s is satin with a waist tie front, and mine is a crepe finish with a regular blouse middle.  She was the cheerful, hopeful, and helpful backup character that was supporting all the others embroiled in the possible-death mission of the “The Atomic Job” episode, and her wardrobe shows this fact.  I want my wardrobe to reflect my happy inside…or if my day is going badly, I want it to cheer both me and others up.  Elsa Schiaparelli has been quoted as saying, “Color gives me ecstatic pleasure” from her book “Shocking Life”.  I’m so in agreement, and so are many people I think.  It’s a shame that out of the many people who compliment me on my blouse, many admit that even though they want it off my back they really wouldn’t wear it.  I’m guessing it’s because they just have a certain color comfort level they’ve grown used to and might even be afraid of being too flashy or too different.  Whether my colorful garment flags people down or not, we all know need color in our lives and regular RTW fashion certainly doesn’t seem to realize that so this blouse’s kind of different is good!

The wonderfully wide bishop sleeves with its big cuffs and puffed shoulder tops are the only thing I left as the pattern designed…and why not because they are killer amazing!  The pattern for such a full bishop sleeve with such forearm-encompassing cuffs was almost confusing because it was as wide as it was long.  Just like for my recent 1962 “Beatnik Blouse”, the sleeves atop big cuffs are so much shorter than “normal” long sleeves I am used to and it throws me off.   It also takes a good deal of both seam allowance clipping and ironing to harness so much gathering into a cuff so it stays flat.  The cuffs have dual buttons with close under embroidered thread loops along the edge.  These are rather hard to do on myself but I like how they keep the cuffs wrapped flat and snug around my lower arm verses buttonholes.

Can we set aside a minute just to gush over my jaw-dropping belt!?  This was a very lucky and therefore ridiculously affordable second-hand find for me, and is a ‘dream belt’ come true!  All in leather and detailed tooling all around front and back, it is a perfect bold and statement piece to complement the already outgoing feel of my blouse.  Actually, though – the late 30s was all about statement belts anyway, especially wide ones that had complex or unusual closings, anyway.  The only thing is, I haven’t yet figured out if the buckles are supposed to be worn at the top or on the bottom!

Yes, I realize I have been posting a good number of both blouses and shirts lately, but this has been what I have been sewing most of this year!  Separates are to me the salt and pepper of my everyday dressing.  Especially when it comes to vintage garments, having something that looks nice, yet is still casual, and definitely comfy as well as practical for whatever life throws my way for the day is what I can never get enough of.  The 1930s had this down to an art, in my opinion.

I must admit I never thought I would be wearing all those colors I admired so well in the light coming through my kaleidoscope.  I have been searching long for the right fabric to remake this now popular vintage trend for myself.  Now that I can do so, I have something to resort to for the long, dreary, chilly cold weather season we experience here…because warm weather garments shouldn’t be the only clothes which get the prettiest colors.  Do yourself a favor and don’t be afraid to try a new color in your wardrobe today!

…a Bit Beatnik

Rebellion and resistance seems to extremely popular – with movies, with culture, with the arts, and as a word or idea.  From the Rockabilly crowd to Punk fashion, from “Star Wars” to “Mutiny on the Bounty”, and “One Flew Over the Cuckoo’s Nest”, rising up against the norm never seems to be any less retold and repeated today.  The mid-century of the 1900s seemed to be ripe with unrest, but I’d like to focus on the free-spirited and artistic Beatnik culture with my newest make dated to 1963.  After all, we do have Beatnik to thank for reviving the popularity of wearing vintage styles! More on that later…

This is my November make for my monthly pledge for the “Burda Challenge 2018”.  Next up to match this blouse and give me a full vintage-style Burda outfit is the “Waistcoat Bodice Dress“ for my December project!  The model picture does show the two worn together.

The pants you see with my pictures are my 1974 knit jeans (post here) to amp up the casual and alternative style, but really this blouse goes with so much – jeans, skirts, and especially my purple 40s pants!  A beret hat is essential to the Beatnik style, and mine is me-made from a vintage 1934 pattern (post here).  My shoes are true 1960s vintage beauties as well as my earrings.

THE FACTS:

FABRIC:  a 100% cotton paisley print lined at the cuffs and collar with burgundy satin

PATTERN:  Burda Style “Vintage 1963 Anita Blouse” pattern from “The Sixties Style Kit”

NOTIONS:  I only needed plenty of thread and 10 vintage buttons

TIME TO COMPLETE:  This took a lot of hand-stitching and detailed work, so I lost count of time but I’m guessing I spent about 30 plus hours to make this over the course of a week.  The blouse was finished on November 21, 2018.

THE INSIDES:  All French seamed except for the grey bias tape over the bottom hem

TOTAL COST:  I’m counting this project as free since it’ fabric has been in my stash for a good number of years and everything else was on hand!

Beatnik subculture is loosely defined as both a media stereotype and a generational literary movement between the mid-1950s to mid-1960s.  The term “Beatnik” is said to have been coined by Herb Caen of the San Francisco Chronicle on April 2, 1958 and its expansion paved to way for the hippie culture of the later 60s.

What I find the most curious about beatnik is the influence it had on fashion through music.  One of the leading figures of the Beat Generation, Allen Ginsberg, an American poet/writer, was a close friend of Bob Dylan and the Beatles, two of popular Beatnik musical performers.  The Beatles supposedly even put the “E” in their name because of Beatnik and Beat writer William S. Burroughs was on the cover of their album Sgt. Pepper’s Lonely Hearts Club Band.  Their iconic, gaudy vintage-style military uniforms for that album were only a small part of the new awakening to reaching for past styles to standout, be unique, and express oneself that we have today.

Beatnik wanted nothing to do with anything that had to do with the eras of their parents, the 40s, and 50s and had no taste for designer trends.  The styles of the 1860s to 1890s, only 70 to 100 years old back then, were coming back with the ruffled neck shirts (of Edwardian times for women, early 1800s for men) being one major beatnik movement interpreted with my Burda Style make.  When you turn the perspective, this isn’t too different from what the vintage community of today does – garments from the 1910s, 1920s, up to the 60’s are still extant, and bought and sold to both wear and appreciate but the 70’s, 80s, and 90’s are still mostly only being appreciated by those too young to remember them.  When the London “Granny Takes a Trip” store opened in the mid-60s and stocked it with second-hand, outdated clothes, the Beatniks welcomed it and a whole new “thing” had begun.

The late Beatnik trend of the ruffle blouse was not just popular because of the big names that were wearing them, but also because they were seen as a unisex item, pretty much the first of its kind.  It was part of “Granny Takes a Trip” and the artists and writers of the Beatnik trend to focus on inclusiveness and loose sexuality.  However, the limelight did help the ruffled blouse popularity.  For the Rolling Stone’s concert in Hamburg 1965, much of the crowd was said to have been wearing ruffled neck tops, and for their “No Filter” tour just last year (2017), what do you know…Jagger is wearing ruffled neck shirts for a few of the performances.  Jimi Hendrix’s famous scene when he set his guitar on fire at the 1967 Monterey International Pop Music Festival made history in a ruffled neck shirt.  More inspiration can be seen in Burda’s collage photo.  A recent Royal Mail stamp from 2012, commemorating contribution to British fashion by designers, even features a ruffled neck blouse for the 60’s!

The paisley print in my blouse is a trippy sort of psychedelic prefiguring the later 60s, yet it is in the rich, darker, subdued colors that the Beatnik trend preferred.  The busy print calls to mind old textiles and the Kashmiri “cashew print” seen through the later 1800s.  “Granny Takes a Trip” did re-fashion Industrial Era clothes and tailor garments from precious antique items (such as a William Morris tapestry)!  Many times blouses like these are loosely referred to as “Artist” blouse, “Pirate” shirt, or even “Romantic” because of the tendency to think of the covers of a cheesy paperback romance novel or of Jane Austen gentleman.  It sure does have an idealistic, bold, flair with its excess of details, in my experience with wearing one now!  The deep burgundy satin I chose for the underside of the collar and the cuffs adds of luxurious flair that reminds me of the jewel toned velvet suits of the era, or some sort of masculine loungewear of Victorian times.

This pattern was quite exhaustive in complexity, and you certainly can’t rush making this design, but I revel in succeeding with the fine points of sewing.  I took time to make sure the chest ruffles laid flat and stayed in place otherwise I knew this blouse would end up feeling like it had a fussy, built-in bib!  Each ruffle had its own draft, cut on the bias and folded in half with its own length in different measurements from the others, so everything had to stay clearly labelled until being stitched down…which happened to be the very first step.  I serged (overlocked) the raw edges of each of the neck ruffles to keep things clean and simple, with as little extra bulk as possible.  Then, I stitched down each ruffle edge in three rows ¼ inch apart, and lightly steamed the gathers down.

As if that is not time consuming enough, the invisible button placket also has to be finished before the real body of the blouse is assembled.  These are tricky, fiddly, things but this is the third one I’ve done through Burda (first here and second here) so there it was much less of a guessing game this time.  More or less the left side is a very basic shirt placket while the other (right side) gets accordion pleated four ways.  The right placket is two individual plackets cut as one.  The middle line is folded in on itself to cover the seam allowance and be stitched down “in the (seam) ditch” before you fold the inner (second) placket half (which gets the buttonholes) and also stitch that down through all layers.  As the final touch, whether it’s mentioned or not in the instructions, I find the two placket layers become one to sight if you tack (by hand) the two together along the edges for only one inch between each of the buttonholes.

Besides the preliminary machine stitching to attach the plackets to both shirt fronts, everything else where the shirt closes I did by hand.  This way I can be more precise with catching all the different seams and layers, in addition to making the thread invisible.  Finally, only then were the darts made and shoulder seams brought together so that the collar and sleeves can be put on.  I figured if I’m putting this much effort into this blouse, it deserves the extra effort to be done very well.  This is why I also top-stitched the collar and cuff edges by hand, too.  The finished look is so professional!

These sleeve cuffs are so over the top…and I thought the 30’s and 40’s had dramatic arm features!  Including the ruffles, the cuffs are 1/3 of the length shoulder to wrist.  Keep this into account when you’re making it or if you need more length, because I was thrown off before the cuff was added.  I thought I cut too short!  The most challenging part of the cuffs was to make sure the ruffles stay out of the way of the seams when you are stitching down the underside (before you turn it inside out).

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 this set of 60s patterns is a special edition publication not available through the monthly subscription, 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.

Overall, I am so impressed with the quality of this pattern.  This is probably the best Burda Style pattern I have used yet.  Some Burda patterns are quirky in fit and the instructions can frequently be either lacking or confusing.  Not here!  The sizing was right on too, and it comfy to wear.  The body shape for this blouse is very straight, and the darts are only ½ inch (or less).  I did grade up a size (as I normally do) for my hips and it looks great tucked in or left out.  I kept exactly to the pattern for everything except the button placement.  The cuffs are so wide and frilly only one button is not enough to close the sleeve ends – I have two per cuff.  I also added one extra button at the very bottom of the blouse front just above the hem.  It makes the blouse look more put together when it’s untucked.  I have a whole jar of the vintage grey buttons I used so I was favoring excess, but more buttons do help this design – a small complaint!

It’s not that I’ve made this blouse because I really love the music of Beatnik or the culture…I don’t really.  However, I do love to explore different styles, and I love a sewing challenge, especially one that gives me an in-person reason to wrap my head around a curious aspect of history.  This is an era that my and my husband’s parents lived through as late teens/early 20 somethings after all!  My mom has even said she had a ruffle blouse very similar to mine when she was growing up…I believe she said it was something she bought at Macy’s in New York City on a high school class trip.  So – maybe I’m just a fashion rebel at heart to go for what tickles my fancy and create this unusual blouse which relives my parents’ times, but maybe that’s just why I like it.  Sewing does convey a certain independence, a personal freedom, and an appreciation of details that is in the face of the powerful, overwhelming, ‘buy it on a whim to immediately toss it’ ready-to-wear culture of today.  This is my favorite kind of rebellion, one that we need to encourage and nurture today between each other and in the upcoming generation.