Windows

A different view into a space apart from our own is essential to human existence.  We crave, we need an alternate vision, whether that view is into another living space or outside of our own quarters.  Windows keep us attuned to nature, in touch with society, and help us realize a bigger picture.  At certain times of our lives, we need to take advantage of a window in time to the schedule of our life and grab an escape, which is deeper and more lasting than a mere distraction.  “A distraction is momentary – an escape helps you heal.” (Quote from “We Look to You” in the Broadway musical “The Prom”.)  That process of reaching out – even if it’s as short as pausing to soak in a lovely picture, or as long listening to an orchestral piece, or as animated as a phone call with a friend – can be an opportunity to learn, grow, love, and find refreshment.  Such a train of thought is important in our world today, when the living quarters and life possibilities for many of us have become more limited.  Yet, it is also an important reflection for “Multicultural May”.  Take a trip with me then, into the wonderful world of India.

The Indian culture has as many grand architectural entrances as it does interesting open-back sari blouses for the ladies.  The bare-backed bodice of my tunic is my interpretation of the “chaniya choli” traditionally worn by Kutch women, a style which became prevalent throughout India beginning in the late 1940s.  My loose hipped, tapered leg trousers are in reminiscent of the kind of bottoms, called churidar pants, worn underneath an Indian tunic, the western words for what’s called a kurdi.  Together, I have merged a casual, all-occasion style (the kurdi and churidar) with a features of a garment for fancy, special occasions (choli, aka sari blouse) into one creation of individual interpretation.

My main accessories are fair-trade, handmade Indian imported goods bought from a local market.  My bracelet matches in the way it is a small window of itself.  I was so excited to find it!  It is a raw hammered brass wrist cuff.  My necklace is a combo of aqua grass beads and more brass with the excess of chain.  Finally because one’s treasured, best gold pieces are an important contribution to any Indian outfit, my hoop earrings had been a sweet Christmas gift from my husband and had to be included here!

THE FACTS:

FABRIC:  I used 2 yards of a printed 100% rayon challis direct from India for the tunic, and fully lined it in a buff finish polyester lining. The pants are a Telio Ponte de Roma knit in a 65% Rayon, 30% Nylon, 5% Spandex medium to heavy weight opaque material in a spruce green color.

PATTERNS:  Burda Style “Cut Out Back Dress” pattern #124 from June 2015 for the tunic, and a true vintage McCall’s #5263, year 1959, from my pattern stash

NOTIONS:  I just needed thread, two zippers, and a small bit of interfacing for both projects.

TIME TO COMPLETE:  The tunic was finished in late last year (2019) in about 15 hours, and the pants were made this May of 2020 after only 8 hours.

THE INSIDES:  The tunic, as I said, is fully lined, and the pants inner edges are left raw because they don’t unravel

TOTAL COST:  The Ponte knit (from “Sew Stylish Fabrics” on Etsy) was about $25 for the one yard I needed, and the material for the tunic was about $15 (the rayon was on sale at “Fibers to Fabric” on Etsy and the lining was a discounted remnant at JoAnn).  My total is $40.

Kutch district is in the Gujarat state is the culture of India that I am most familiar with through some close family friends who are like family to us.  So it’s no wonder that I chose it as my influence once again (see this post for reference)!  I will be exploring more regions of India in my future ethnic-influenced self-made fashion…I did already touch on the central region with my “homage to the Rani” vintage dress…and Gujarat is west.  Goodness, I acknowledge there is such a richness of traditions, artisan crafts, environment, history, and special people everywhere you look, but especially India has such fabulous fashion to boot!  I greatly respect how every detail to traditional Indian clothing has a reason, symbolism, and meaning.  Yet, I also love how the India of today is not afraid to merge modern renditions of clothing with a homage to their traditional past.  Personally I like to take a 20th century vintage twist on India’s fashion, on top of all that!  That’s a lot to take in, right?!  So you see there are many ways to interpret Indian clothing with proper provenance.

This set is half vintage really.  As “The Facts” show, I used a true vintage pattern and a modern Burda Style pattern together.  Modern or not though, the tunic is strikingly similar to vintage – especially 1930s – styles.  In the depression era, many styles of fashion for women – mainly evening wear – were all about making a grand parting by sporting a “party from behind”.  I am all for that trend!  I have a whole Pinterest page here full of eye candy for the open-back trend.  It is a common feature to women’s Indian cholis (see this post or this post for some modern examples)!  Luckily, Burda keeps offering designs every so often with such a feature, too.  Now, I have sewn many open-back garments before (look under my “Modern” and my “Burda Style” pages to see them) but this one was by far the trickiest to find the right fit.  This is the main reason why I chose a 50’s pattern for the pants, because let’s face it…I find the fit of vintage patterns to generally be spot on for me, especially when it comes to pants.  Something guaranteed to be an instant success was welcome after the many issues I had with this Burda Style tunic.

I had to resize both projects due to them being in petite sizing.  Firstly, I’ll address the wonderful pants!  The “multi-sized” pattern were supposed to have three different proportions, but the ‘regular’ was missing from the envelope, the ‘tall’ was uncut, and the ‘petite’ was cut down to shorts length… ugh.  I had to retrace the pattern onto sheer medical paper and add some width for the smaller size to be my measurements, and then I was good to go.  No other adjustments were necessary and so I doubt a new pattern could offer better than this – it’s just what I had in mind!  Too bad they are mostly covered up by the rest of my outfit but no worries!  As basic as they are, I will certainly be wearing a lot of these pants with plenty of other tops, though.

Secondly, the tunic was the first time I had worked with a Burda petite pattern and I wasn’t quite sure how much to add horizontally to bring it up to regular proportions.  As I was sewing it up, I regretted adding in any extra allotment because this pattern seems to run long in the torso (very weird for a petite sizing).  I did do a tissue fit beforehand, but paper cannot quite account for the give of the bias grain, and there is a lot of that in the design of this tunic, especially when it is cut of something as slinky as rayon challis.  Thus, I had to take the garment in along the ‘kimono’ style (non-set-in, cut on sleeve) shoulder seam, which threw off the neckline, which messed with the proper bias.  Now do you see why this was a problem project?

I do like how changing the neckline forced me to be creative and add details to the tunic that I like better than the original design.  There was a lot of extra room in the chest because of the fit adjustments I made everywhere else.  I needed to bring that extra fabric in to fit by using a means that looked intentional, and not just what it was – an adjustment on the fly.  The best I could come up with was to make a soft, slightly angled pleat on each side of the neckline to shape the bust from across the upper chest.  It reminds me of a frame for the face and my necklace, as well as adding symbolical angles to the “window” theme of my outfit.  It’s so funny how a “mistake” taken with the right outlook can add so much good to the originality of what you create.

There were quite a few small tweaks I did to both pieces, as well as lessons learned.  I did not really need the zipper up the back of the back waist to the tunic – mine fit loose enough that I only wasted my time on a perfect invisible closure.  I did get rid of the back neckline button to less complicate things, then sewed down a hanging decorative tassel instead (sari top/choli reference).  How this pattern works as a dress I don’t know because the bottom hem was so confining and tight, besides being so short (I lengthened it by several inches for my version)!  I did plan on opening up the one seamline to be a thigh slit anyway so the snug hem width didn’t really matter too much anyway other than figuring out the pattern’s original design fit.  The pants originally called for a sewn-on set waistband, but I found them sitting high enough at my waist as it was.  I used the interfaced waistband piece to instead make a facing to turn inside so as to have a smooth edge for a very simple, streamlined style.

In case you noticed, I have been calling my upper garment a tunic in this post, as I feel it is a modern hybrid of a traditional cultural garment.  Kurdi are usually a bit longer in length than this, at least to the knees in my understanding, but I was short on fabric to make it any longer in length.  The tunic I made still makes the ethnic reference I intended and has the general properties of a kurdi the way I am wearing it.  A good churidar pant has its stretch coming from being cut on the bias grain, but modern Western-influenced young people often wear leggings or skinny pants as a substitute and so my bottoms are along that vein.  I do like the subtle reference to the May of 1960 split in the Bombay State along the Gujarat-speaking north by using a vintage pattern from ‘59.  I absolutely love the high waist, comfy fit, cozy body-hugging Ponte knit properties, and the slightly tapered but still full enough to be easy-to-move-in legs.

This outfit is very fun as well as quite different and very freeing.  I enjoy wearing it!  It is a unique garment combination for me to sew, too.  As out of the ordinary this set is for me to make and wear, it is a more ‘common’ Indian ethnic outfit for my wardrobe (versus dressy dresses and my fancy Sherwani coat).  I do love variety in my wardrobe, but variety is more important to help us to being open and understanding of other people and cultures.  Understanding India can be both challenging and intimidating because of its richness of history and traditions, so please never resort to easy-to-find stereotypes as a source for information.  I hope my little posts can shed some extra light on India that you never saw before.  However, don’t just stop at the month of May to focus on growing a multicultural understanding!  It should be a year ‘round effort, especially when there are so many beautiful clothes to see and appreciate!  What is your favorite “window” to a world outside of your own?

Burda’s Dupe Wrap Skirt and Tie-On Blouse

Okay, okay, I fully realize I have an addiction to anything remotely purple, but I’m definitely not going to do anything about it.  I’m just going to keep on wearing what makes me happy!  Yet, I am at least trying to find new shades of that color to love, such as the fuchsia and burgundy colors in my last two posts.  This modern Burda Style outfit which I made a few years back definitely falls in that category, and the fact that they are very useful yet elegant separate pieces makes them perfect for many seasons and occasions.

THE FACTS:

FABRIC:  2 ½ yards of a crinkled polyester print for the blouse and just under 2 yards of a crepe back satin poly for skirt

PATTERN:  Both patterns are from Burda Style are also both from their December 2015 edition.  The blouse is #124 and the skirt is #115

NOTIONS:  All I needed was lots of thread and one zipper!

TIME TO COMPLETE:  Both garments were finished in November 2017 – 5 hours was spent to make the skirt and 8 hours went towards the blouse.

THE INSIDES:  My blouse is entirely French seamed inside while my skirt has bias bound side seam edges.

TOTAL COST:  As these were clearance fabrics, bought so many years back at the now defunct Hancock Fabrics, this whole outfit probably cost me less than $20…but honestly I don’t remember anymore!

Even though my entire outfit’s fiber content is polyester, I find both pieces are more comfortable to wear than your ‘normal’ man-made material.  The blouse’s fabric has a wonderful crushed texture to it that makes ironing non-issue and keeps it from feeling uncomfortably clingy to the skin.  It floats weightlessly around my body for a very sexy slinkiness.  Even though I had several yards of fabric, and the sleeves alone took up almost a yard, I still have some significant blouse material leftover that will just have to wait for a future project to finish it off.

The skirt’s fabric is soft, flowing, and very good quality.  It has a darker, more raisin or rich wine color, with a satin side and a lighter, more purple toned, buff crepe side.  I used the satin side facing out on the lower body of the skirt, while the buffed crepe side went towards the hip panel and the waistband.  This is the fourth time I am using this fabric – the first time was to make the ‘pocket’ flaps and the belt for my 1955 Redingote jacket (post here), the second time was for this 1950s dress slip, and the third time was as the contrast for this early 1930s dress.  I truly squeezed out every inch of potential my small 3 something yard cut of fabric!

The patterns pieces and the construction for these two separate pieces was so much simpler than it might appear.  I highly recommend them.  Both have a generous fit and came together in no time, with little need for extra shaping.  For the blouse, that is understandable because it is not supposed to be fitted.  For the skirt, the loose fit is because it is meant to sit below the waist and sit around the hips.  The fact the front mock wrap look to the skirt is really only a deep pleat not only makes for full leg coverage but also easy sewing.  I could have technically gone down a size for both the blouse and skirt instead of choosing my ‘normal’ size and still have room probably.  I’m just happy with to have them and be wearing them.  For these designs, a well-tailored fit is not as important or glaringly obvious.

My only variance from the original design of either piece was to add ties to each end of the blouse and adapt the sleeve hem for a bias band cuff.  The sleeves were way too fussy and so very long the way Burda designed them, so I cut off the excess fabric and gathered the hem ends into self-drafted wide bias bands.  A mere side button closing wasn’t going to do the trick, neither was just wrapping it under a waistband, I thought. So the ties I added help add to the versatility of this blouse because now I can tie it more than one way!  The front can be crossed like an X, or one side over the other like a regular wrap top.  Many looks out of one top is further achieved by switching up what I wear underneath – especially when that is my 1950s slip made out of the same material as my skirt!

If I had been using a solid color material for the blouse, I might have chosen to asymmetrically button the wrap front much like this vintage 1940s pattern below, Butterick #3964.  Truth be told though, I think this Burda top is a call back to the 1970s era (look at Butterick 6887 pattern as an example) with its full sleeves, loose style, and the crazy blocked print fabric I used.  I can just picture a Disco dancer wearing this with some bell bottoms!  The blouse is fabulous to move around in, with full freedom of movement and a dramatic swish with every sway of my arms.

The skirt still remains controlled in shape for every movement, and is a great restrained contrast to the top.  It strikes me as quite classy, especially in such a rich color.  I love the fact that I don’t have to worry about flashing too much leg with the faux wrap appearance.  (Of course, Burda shows you how to make the skirt have a full slit if you want.)  Even though the horizontal hip panel doesn’t visually minimize that widest section of my body, I do think that the restrained skirt and the blouse wrapping around the waist evens proportions out.

The skirt also looks best with snug body fitting sweater tops in the winter or light colored, simple tops in the summer, to again both even out the wide waistband and dark tone.  Its pattern recommendations call for materials with a heavier weight (woolens or even a sequined knit) than a silky polyester as I chose, and I found through trial that it’s a good idea, after all – it would keep the skirt in place on the hips just from the weight, for one thing.  The longer, ankle length version has a silhouette even more tapered down to a skinny hem and is so pretty for an evening style.  It makes me want to revisit this pattern in the future.

This staying-at-home business is turning my mind to try all sorts of fashion ideas.  You, know, I’m always on the fence about whether or not I prefer a loose, flowing, romantic fashion or a well-tailored, precisely fitted outfit.  Through this quarantine, I’ve been going from a new fascination with the 1920s era to my good-old-standby favorite decade the 1940s, from a bold and clingy t-shirt dress (previous post) to this vintage-inspired yet modern combo of easy separates.  Sewing is one of the many facets of life right now keeping me sane, just as blogging does, and in between it all I am trying new things yet still endeavoring to not forget myself in all this craziness.  My sewing, just the same as anybody else’s, is uniquely individual and it’s my visual manifestation of what’s knocking around in my head!  What’s getting you by these last few months? Do you notice your style preferences changing at all?

A Bold Upgrade to Your Modern T-Shirt Dress

Vintage styles are my preferred ‘look’, even for a comfy everyday outfit, but yet I do enjoy getting out of my comfort zone to sew up boldly individual fashions for myself in the styles of today.  I want to make sure I am in touch with today sufficiently to still enjoy modern designs here and there.  After all, although I do not follow ‘fads’, sometimes I can’t decide what decade I want to wear for the day and just want something that might remotely “fit in” for the 21st century!   Burda Style patterns are my preferred resource for my modern sewing.

This year I might just have a dress-down Mother’s Day in my newest Burda Style creation!  It is such a bright and fun version of the American favorite – the t-shirt dress – made in deluxe rayon jersey.  This is perfect for these quarantine times when I want to be put together without a lot of effort but still just as comfy as if I was still wearing pajamas.

THE FABRIC:

FABRIC:  100% rayon jersey knit, partially lined in poly power mesh

PATTERN:  Burda Style “Dress with Waist Yoke” #110 from December 2015

NOTIONS:  I just needed lots of thread and a small bit on interfacing.

TIME TO COMPLETE:  This was finished on May 6, 2020 and took me about 8 to 10 hours to make.

TOTAL COST:  I have no idea when or where or how long I’ve had this fabric, so let’s count this as a stash-busting winner and completely free, shall we?!

I have had my eye on this dress pattern ever since it came out, but had not yet come up with a way to highlight the fantastic seaming until now.  It was really a sudden revelation kind of idea.  You see, I have been going through my fabric and notions stash lately – taking account of what I have, what I might run low on, what I should put away, and what I will tackle.  All this is because of Covid-19 shortages of sewing supplies and the resulting impossibilities to shop in stores in person, but also a bit of “spring cleaning” is in my blood.  I am being as smart, sensible, and thrifty as I can lately!

So, in continual process of that organizational effort, I ran across this bright fuchsia rayon jersey and the navy striped rayon jersey both paired up together on the same bolt.  I didn’t realize they had been sitting out of my storage bins for so long.  Then, I suddenly thought of this Burda pattern, long forgotten in the back burner to my mind.  These two fabrics would be an unusual, experimental, and certainly eye-catching combo!  Never one to shy away from a risky project, as you can see, I just went with it.  Yes, I need crazy sewing projects to entertain me right now.

I do think this dress turned out quite well, much better than I expected.  However, I am not totally won over to a t-shirt dress, even when it’s this good.  I suppose I just need some time for this project to grow on me.  The jersey knit is so super soft and slinky – I am not used to how luxurious it feels.  Something this lightweight and weightless on my skin makes me forget what I have on…and that feels kinda wrong to a girl like me totally used to vintage fashions like the 1920s, 50’s, or even 40’s that demand a certain silhouette with the corresponding lingerie and dress padding for shaping that said silhouette.

To help me feel better about wearing this t-shirt dress and also use up my extra fabric, I did take some extra steps to make this both opaque and easier to sew.  I doubled up on the layers of all the dress pieces which have the fuchsia knit.  Rayon jersey is a super fine material and harder to sew than any silk, in my opinion.  It so very easily catches on even a small fray of my fingernails.  My first wearing of the dress created a few new snags.  This is just going to have to be part of the dress, but at least I didn’t mess up the fabric while sewing it.  One layer of jersey is quite sheer and hard to sew without creating holes (yes, even with a ball point needle).  Two layers of rayon jersey knit makes for a heavier weight dress but is much more manageable to turn into a design, more opaque to wear, and easier to place through my sewing machine.

I lined the navy striped knit panels in a nude colored power mesh.  Doubling up on this contrast fabric would only make the second ghost layer of stripes underneath appear weird.  The power mesh does an awesome job at helping to shape the most important, detailed sections – the bodice front and the left skirt flare.  There is an interesting panel under the top half of the side skirt flare to keep the skirt in its slim shape and prevent the pleated section from getting too overwhelming.  I really like the lining panel especially because it keeps the skirt from wrapping into between my legs (which can happen with any knit skirt which is full).

There is one piece that is not like the others, though.  The left waist panel I heavily supported with iron-on interfacing to keep all those gathers in check to the seams above and below it!  Luckily, this was just a small pattern piece because interfacing is almost impossible to come by today, right?!  However, I am very glad I chose to make this one piece stable.  Doing so helps define the design.  I am not exactly sure if a curved corner was what I was supposed to do instead of my very angled finishing but at least it matched up precisely to the other fuchsia skirt section over the center front (not an easy feat here!).   I rather like the angled corners because they match with the lines of the stripes.

I made the necklace myself, too! However, this is just one part to a full jewelry set I have made for a different outfit to be posted soon!

The pros and the cons of sewing this were about equal on the scales, I suppose.  Firstly, don’t forget – this was originally drafted in tall women’s sizing!  On the pattern tracing, I had to take out a horizontal swatch of two inches through the bust to make this work for me, but the jersey knit pulls the whole dress down with its weight so I could have taken out more still.  I did trace out the tall woman’s equivalent to my “normal” Burda size but ended up taking it in along the side seams by an inch or so because of the jersey knit super stretch as well.  The dress length I chose was originally in between the longest length option and the ‘short’ knee length option.  Again, the knit stretches and makes the dress longer than was expected, but I rather like the way it swishes around when I walk, so the length it is will be staying.  I left out the back zipper and opted for no closures as the knit is so stretchy.  There is no need for any hemming to the sleeves and the bottom skirt because this kind of knit does not fray.  Thus, in summary, choosing a knit for this design made certain parts easy (no zipper, no hemming) and other parts harder than necessary (cutting double pieces, adjusting the sizing).  You win some, you lose some, but as long as I have something so cute and wearable for my efforts my time was worth it.

The list of things I want to find time to make is already quite long and Burda Style just keeps coming out with super tempting releases lately to add to my list of sewing projects.  Their vintage reprints are especially enticing and in almost every issue recently.  I’m not complaining, but it does present a bit of a problem.  Anybody out there have ideas for an easy way to keep track of what patterns are in individual sewing magazines?  I have enough Burda magazines now that I need to figure out a way to organize the designs in them which I intend to sew.  I wish it was as easy to file them by garment category as it is my individual patterns in envelopes!   Any insight would be helpful.  In the meantime, I’ll just get back to my crazy quarantine sewing and cooped up cleaning efforts.  I may even do some of that in this post’s dress.  We’ll see.

“Big Apple Plaid” 1924 Frock

New York might have seen this outfit as the smartest dressing in year 1924, but it sure wouldn’t fly on streets of today.  How things have changed almost 100 years later now!  Nevertheless, I’d like to be up-to-date for 1924 and flaunt about in a more historical style for a change of pace!

For most of the 1920s, the decade did not look like the stereotypical “flapper” that everyone reverts to.  Realistically, they were quite conservative in their long length and loose fit, and almost dowdy to our modern eyes.  To recreate them in a way that makes them appear better than a costume takes a bit of a different mindset (such as understanding the underwear which gave them their weird shape) and attention to the finishing details.  This project was more challenging in the way that I self-drafted all but the three main body panels – which were from a true 20’s design – so I could copy an image from a year 1924 “National Suit and Cloak Co.” catalog which had caught my creative eye.  Having the perfect fabric and trimming on hand certainly helped convince me to make something wearable of the idea.  

THE FACTS:

FABRIC:  100% cotton

PATTERN:  Butterick #1101, from October 1926 (I know the precise month/year only because of the comprehensive Butterick pattern dating charts provided here by “Witness2Fashion”. This pattern is from when Butterick started a new design style and numbering system so that is easy to track!)

NOTIONS:  Lots of thread, interfacing remnants, embroidery thread, and extra trimming (soutache and satin grosgrain ribbon) from my stash.  The creamy yellow ball buttons down the front are vintage from my grandmother’s stash of notions.

TIME TO COMPLETE:  This was finished on April 17, 2020 after about 10 hours put into the dress.

TOTAL COST:  This project is as good as free – the fabric had been in my stash for over a decade before becoming this dress, and the trims were something I got for a dollar each years back…who’s counting after all that time?!?

I will bet that the actual inspiration dress was made just a bit differently, but I did the best I could interpreting a small image into an actual garment using what knowledge I have of the era.  My dress is a comfy cotton which makes it a great dress for a low-budget historical dress, yet I have an inkling the original “fancy checked suiting” might have been a wool or slubbed rayon.  The trim I used is modern but exactly the same as something straight out of the 1920s – soutache and satin grosgrain.  The way I layered them together they create a low-key but very complex detail that garments of the era were so good at inventing.  It can be one thing to like a dress you see in a catalog, but then ending up liking it on yourself can be a whole different thing altogether.  Luckily, I think I personalized my interpretation of the chosen inspiration image just enough for me to enjoy wearing this, no matter how odd of a style this era’s true fashion can be!

The body of the dress fit right out of my vintage pattern.  Now granted when I say “fit”, I mean that in a 1920s way of being very loose, unfitted, and with straight lines.  Since I am an hourglass body type and my hips are ever so slightly my widest body feature, making a 1920’s fashion means I need the entire dress to be a tube which is as wide as my hips plus a generous wearing ease of about 4 or 5 inches.  Yeah, that sounds very unappealing, doesn’t it?!  This is why sizing charts on patterns of this era are not dependable (going by age?) and not easily understood.  Even though the bust was too big for me, I needed it for the hips because you don’t curve in the side seams to find a modern fit for true 1920s dress.  It’s not intuitive to make clothes fitting like this for someone living today.  The only thing I did change up was to cut out the sleeves on the bias grain to accommodate my larger upper arms needing more room for mobility.

I traced a paper copy of the pattern to work with even though the tissue was in fantastic shape and still pliable.  This true vintage pattern copy will be a great starting point for any other early or mid-1920s dresses I have a mind to make!  Ah, the version on the cover with the scalloped, two-tiered skirt portion is calling to me.  Only, I know I would definitely add beading and embroidery along the hems if I did sew up that cover dress…and there is enough going on in my life for quite a while now for me to add in something which would be so time consuming.

Making this little 1920s cotton dress was relatively quick and simple.  It was figuring out the details which took all the thought and bother!  As I have said for most of my historical projects (by which I mean 1920s and earlier), they look like nothing but awful, ugly failures up until adding one little detail which suddenly brings everything you’ve worked on together.  For my 1917 dress, it was adding both the lace on the front piece and rosette ribbon on the sheer hems which made it appear like an actual dress and not just a concoction of fabric.  For my 1912 walking suit, it was the hat that added that extra oomph I was lacking.

Here with this project, it was at first the arrow points I embroidered at each end of the faux pockets at the hipline that made this idea work, but that wasn’t enough – then the collection of ten front placket buttons made the whole project come together.  Ah, the power of the ‘little things’ is never to be underestimated.

Figuring out what trims and notions to add was more difficult than drafting all the add-ons to that basic 20’s sack which was to be my dress.  At least with drafting patterns, it is all math and technical measurements!  Making up one’s mind about finishing details can be the hard – but fun, too!  Using the main body of the dress as my base line, and my little inspiration image for reference, I self-drafted the giant ‘pilgrim’ collar, the front placket pieces, and sleeve cuffs (which I didn’t end up using).  For the front bias flounce coming out of the placket, I used a Simplicity #Simplicity 4593, year 2005 skirt pattern for reference (such as figuring what grainline to choose) and then proceeded to draft my own according to the size I needed.

It was tricky to discern proportions.  On a 20’s dress that is over the body much like a sack, how do you properly visualize where the natural waistline and hips actually are?!  I had to make my front placket fall lower than the 1924 fashion image might show because it was hard to get the dress on otherwise (as my front placket was a workable closure, not just for show).  Once I figured that out, then I could measure the flounce piece to match, and estimate how to strategically make the most of my just under 3 yards of trim.  I ended up with only a few inches of soutache/ribbon leftover and nothing but small scraps left for the dress’ cotton, which is incredible after starting out with over 3 yards (45” width)!  Whew, I just made this idea work.

I kept the dress’ insides and construction simple – raw seam edges, bias tape in lieu of “proper” neckline facing, and all machine stitched seams.  Because the dress’ fabric was so see through, I skipped out on doing true welt pockets and did the easy ‘fake’ version.  The front placket has just five large hook-n-eyes (also true vintage) underneath because this dress hails from a time when it was still considered improper to have the means of closing one’s dress in plain sight.

You bet I’m wearing my 1920s combination underwear (posted here) underneath!  Believe me, modern underwear only brings attention to the fact that this style of dress is baggy and unfitted, besides the fact it doesn’t give the full historical effect.  Honestly, the early 20’s are super comfy to wear and not confining in the least, like a good nightgown.  If it wasn’t for all the other accessories, I would be ready for bedtime, ha!

I’ll admit, this project has been languishing as an unfinished project for two years before now.  The fact I am staying at home more is for some reason helping me have the fire to finish projects started, cut, and ready-to-sew.  It is so hard to have the gumption to sew something that will not see possible everyday wearing like much of my post-1930’s vintage garments.  Yet, my great impetus for finishing this project finally was recently happening to find the perfect hat to match.

All of my accessories here are vintage – and the hat is the cherry on the top!  It is a true-to-the-era original from around the same period as my dress.  It has a crown of silk velvet, with velvet ribbons around the brim, and was handmade by a talented home milliner by all that I can tell.  Sure there are a few chews to the velvet, but the wool base is untouched and the silk lining is not shattering.  To think this is in such good condition for being a century old blows my mind, and I am tickled to be wearing it with such a complementing outfit.

My shoes are true to the early 20’s with their pointed toe and French heel, yet they are of 1980s era.  The 80’s had a resurgence of many old styles, and besides 100 years ago, from my knowledge they are the only decade that came back with a strong, hourglass-style curving French heel (quite hard to come by otherwise).  Generally, 1980s shoes are unwanted today and can be found in plenty at my local thrift stores – happily they are also great for providing great 20’s style footwear that is in much better condition than their original counterparts.  Mine are a lovely suede leather and bring out the burgundy colors in my set!

Even the building backdrop to my pictures was built in 1924! How cool is that?

I do believe this to be a nice “street dress”, meaning something that would be worn out of the home to do things like shopping downtown or business-related duties.  It is too nice for a housedress, but the fact that my version is of cotton brings it down a level from, say, a ‘Sunday best’ kind of wear.  Sure, all those glitzy evening gowns or luxurious party dresses are so easy to gravitate to, but personally I appreciate the clothing that was more for everyday living.  It is more of a teaching opportunity/learning experience then.  I learn from the research and actual sewing which goes into my making such an outfit.  In exchange, I find that I can wear such an outfit to living history events or for historical presentations and my clothing only helps others both learn from me as well as feel welcome to ask questions.  It’s a win-win!