Hubby’s Holiday Ration

Every year when December comes around is the time for me to figure out what I will make as a gift to give my husband for St. Nicholas Day/Christmas.  This has pretty much been our tradition for the last several years – he gets some article of clothing handmade by me for the holidays and then one other garment for his birthday/Father’s Day.  So, his “ration” of articles from my hands is about two a year.  I love to see his tickled and happy reaction every time I make something for him…it makes it so worth it!

dsc_0839a-compw

Anyway, this year’s gift for him is more than just his ‘allowance’.  It really is a garment from a time of real, restrictive, and penny-pinching rationing due to then current world history – a “Manufactured in England” year 1945 McCall’s pattern for a men’s dress shirt.  This is his ration on the ration but you’d never guess, would you?!  This is the dressiest shirt I’ve made to date, the first English pattern I’ve used, as well as the first long sleeve nice shirt that I’ve made for my man.  Come to think of it, up until now I’ve always made him short sleeve and/or sports shirts.  To make it even easier for him to wear his new shirt immediately (which he wanted to anyway), this new shirt a Christmas appropriate color!  It turned out so well and he does look quite spiffy in it, if I must say so myself.

THE FACTS:                                                                                                                 

FABRIC:  100% linen mccall-5864-year-1945-cover-compw

PATTERN:  McCall #5864, Printed and manufactured in England, circa year 1944 or 1945.  I’ve seen colorized envelope American versions of this pattern dated 1944 and also 1945, so I’m guessing this design was printed throughout both years.  However, the way my pattern’s insert mentions McCall #6044, from 1945, (more about that below) my version of #5864 is probably also 1945.  By the way, is it just me or does the top left guy’s face look like the actor Robert Young?!

NOTIONS:  I used everything from on hand in true 40’s outlook, but I only needed thread and some interfacing.  The buttons are probably close to authentic 40’s vintage as well, as they are a set from hubby’s Grandmother’s stash with obvious cut marks on the back (meaning she saved them off of an existing worn garment).

TIME TO COMPLETE:  His shirt was finished on December 9, 2016, after just over 20 hours.

dsc_0875a-compwTHE INSIDES:  I feel like because the insides are so nice in French seams, with the shoulder panel lining covering the rest, Hubby thinks I played a trick on him (…not me).  He literally has a hard time telling right from wrong side with this shirt!  Score!

TOTAL COST:  This linen was bought on deep discount when the now defunct Hancock Fabrics was closing earlier this year.  I spent probably only $6 on this shirt for him.  When hubby reads this I’ll sound cheap for his gift, but it’s the thought, fit, and quality that counts!

The pattern sadly manifests the effects of WWII compared to all the other USA sourced McCall patterns I have used before.  First of all, the cover of the envelope drawing is in black and white, the same as Australian patterns of WWII times.  Secondly, the pattern is unprinted, reverting instead to the hole-punched code system on plain paper like other companies.  This is a major step in rationing because being the very first to offer printed patterns continuously was always (and still is) part of the bragging rights of McCall’s, and I have never read that they departed from that.

mccall-5864-year-1945-instructions-compwThere are a few small “reminder” sheets inside with a half size instruction sheet…seeing how to make the shirt was like reading ant-size print, no kidding!  The one other “reminder” sheet states (in all red letters) that now the 5/8 inch seam is the baseline for their patterns, and the other sheet gives a guide of how to read their non-printed hole-punch system.  At the top of the guide for reading the hole-punch method is an interesting apology for it, “As a result of the present conditions…”  Everyone knew what those were, I guess not clearly saying “W-A-R” helped make those circumstances slightly better.  Below the apology is the confusing “notice” that their patterns have a ½ inch seam allowance up until number #6044.  What?  Didn’t McCall go out of their way to print a small added notice of 5/8 inch seam allowance, only to also say it’s ½ inch too?  I see all of this pointing to the company awkwardly, hurriedly adjusting and adapting to the (then) “present conditions”, trying to do their part in the ration effort the longer the war went on while still offering home sewers no less awesome designs.  One last thing – notice the envelope was stamped “TAX FREE”!

The quality of the pattern did not seem all that affected beyond the fact that it is an unprinted pattern.  As I every so often find with the punched hole patterns, there were some slight inconsistencies or mismatching with its making – something only I woulddsc_0832a-compw notice.  The front hem of one side to the front was about ½ longer than the other (which I trimmed), the left shoulder panel was a bit wider than the other (again trimmed), and the two collars were not shaped exactly equal.  Most of the times this doesn’t even happen because most patterns have pieces such as these cut on a fold, so both side are guaranteed equal.  However, this pattern is unusual in that it only had the back bodice of the shirt cut on the fold while all else was a full piece, with both right and left sides, and cut out on a single layer of fabric.  This together with the fact that most all the pieces were skinny and small, made for a very efficient pattern that left with plenty leftover to go for another project.  Yay for fabric thrifty 40’s patterns!

I really love all the finely classy and subtle vintage features.  All the 40’s shirts I see for men have gathers in some form or fashion, so the light, barely-there gathers at the cuffs and back panel are a nice departure from the norm.  Making/sewing the collar stand was quite challenging, small work, but compared to the turnover style (where the collar merely folds on itself) or the all-in-one style (where the stand is the same piece as the collar) this style is the best for dress shirts, in my opinion.  I already had practice with making button sleeve plackets when I did my own 1946 flannel shirt, so I really feel that I did the ones on hubby’s shirt very well this time.  The front left button overlap was fun and so easy to make as well as another classy touch.  Sewing something for my man has given me the opportunity to try new techniques I wouldn’t do otherwise.

dsc_0838a-compw

Once again, because he is skinny I choose a pattern that has his collar size (14 ½ inch).  Unlike women, neck size is priority, too, together with the chest when making a pattern for a guy…not so much hips or waist! However, just like the last 40’s shirt pattern in this size the sleeves ran really short, as if for a teenager.  I’m not talking about adding a little – I had to add 1 ¾ to the sleeve length for my man!  Granted, in modern shirts he does look for the longer length sleeves.  I don’t know how many of my readers use vintage men’s patterns but if you do and you also notice super short long sleeves as a trend for the small sizes, let me know if you see what I see!

The linen for this shirt was an absolute dream to work with – so soft and easy to sew!  People who only work with polyester need to try this kind of fabric, and they should be amazed at what they’ve been missing. To keep the linen in the right shape, the interfacing weights were switched up with the mid weight stuff in the collar cuffs while the lightweight was in the collar stand and button overlap.  Hubby’s linen shirt is the same cross-dyed, semi-sheer linen used for my 1933 skirt, just a different color tone.  Cross-dyed colors do make for such a lovely option to plain solids.

dsc_0836a-compw

Christmas is a time to sing, hope, and pray for “peace on earth” and “goodwill towards all”, so I find it rather funny in an ironic way how my shirt for hubby brings the Allies of World War II together.  I made this living in my country of America, the pattern I used is from the United Kingdom, the inside seaming to the shirt is French, and the material for it is similar to a fine Irish linen.  (Ireland was officially nonpartisan during WWII, but they had many contraventions helping the Allies and being aided by them in exchange.)  Perhaps a shirt for the peaceful time of Christmas can assuage the facts of the circumstances around this war time pattern, and provide a nice way to “wrap up” memories brought up by the recent celebration of the 75th anniversary of Pearl Harbor.  Green is symbolic of many things, but also of balance…perhaps I should have called my post title “Holiday Harmony”.  We all need a taste of that!

I’m hoping everyone had a restfully happy and beautiful holiday season of Christmastide!  I also hope you were told compliments on all your handmade garments and received some lovely sewing related and creative-inspiring gifts!

Advertisements

‘Gene Tierney’-esqe 1940’s Lumberjack Shirt and Trousers

It’s way too fun to let myself give in to my strong tendency to do pretty dresses.  With the weather turning chilly, I could use something different that isn’t quite so dressed up to keep me cozy.  So, now that I’ve been recently realizing the beauty of 1940s casual wear, through the inspiration of actresses Gene Tierney,  Ava Gardner, and Hayley Atwell (a.k.a. Agent Peggy Carter), I took two mid-40’s vintage original patterns from my stash to make my own downtime wear from the past.  There is something a bit timeless, tasteful, and special about a set of “down-time” clothes made in vintage style that modern ready-to-wear cannot have.  The 1940s can make wearing a man’s style look so ladylike!

dsc_0396a-compw

1946 is the magic year for my blouse.  Not only is it the year for the pattern of my blouse, but it is also the year of my inspiration.  Gene Tierney wears a lovely flannel shirt in her Noir movie “Leave Her to Heaven”.  Once I’d seen this movie, it has tendency to gene-tierney-leave-her-to-heaven-year-1946-see-classiq-me-style-in-filmcropuncomfortably stay in back of my mind and the fashions are equally memorable in a better way.  Luckily this movie was specially made in color (a rather special practice for the times) and I was so happy to find a plaid in a shockingly close color scheme.  Ava Gardner also wore a nice flannel blouse in her gritty part in another 1946 movie “The Killers”, as also did Paulette Goddard in the 1948 movie “Hazard”, though as both films are in black and white I don’t know the true colors.  You can visit my Pinterest page for “Ladies Lumberjack Blouses in the 1940’s” to see pictures of all movie inspiration mentioned for this blouse, as well as others, too.

peggy-and-sousa-promotional-imagecompBoth actresses Tierney and Atwell wore perfectly fitting bifurcated bottoms in colors, as did Marvel’s television heroine Peggy Carter.  They all put the “class” into “classic”.  Peggy wears such wonderful trousers during the exercising of her duties on the job, and although the inspiration garment came from her Season Two (year 1947), she is often stuck in the past.  Thus I feel using a pattern from an earlier date (1943) suits appropriately.  My spin on feminine menswear from the 40’s is completed with nail polish (Cover Girl XL nail gel in “rotund raspberry”), red lipstick (Cover Girl Continuous Color in “vintage wine”), my sole Bakelite bracelet, and a simple ponytail!

THE FACTS:mccall-6709-year-1946-ladies-lumberjack-shirt-compw

FABRIC:  BLOUSE – 100% cotton flannel, with cotton batiste scraps for lining the shoulder placket; PANTS – a mid-weight denim, 60% cotton, 36% polyester, and 4% stretch.

NOTIONS:  I relied on what was on hand and actually had everything I needed – the thread, interfacing, bias simplicity-4528-ca-year-1943-compwtape, zipper, waistband hooks, shoulder pads, and buttons (which came from hubby’s grandmother’s stash).   

PATTERNS:  McCall #6709, year 1946, for the shirt (view B belt looks like the modern Vogue #9222) and Simplicity #4528, year 1943 for the pants

TIME TO COMPLETE:  The pants took me about 5 hours in all from start (cutting) to finish, which was on March 4, 2016.  I spend maybe 30 or more hours to make the flannel shirt, and it was done on April 27, 2016.

THE INSIDES:  The denim of the pants was too thick to add more bulk with edge finishing, so they are left raw.  The shirt is nicely finished in either French seams or bias bindings.

TOTAL COST:  The denim was on clearance when the now defunct Hancock Fabrics was closing, so it cost maybe $6 for only 2 yards.  The flannel came from Wal-Mart and cost $7.50 for 2 ½ yards.  So my outfit cost less than $15 – good deal, huh?!

The shirt was a bit of a time consuming trouble to do all the details while the pants were so easy and quick.  Both the patterns fit me right out of the envelope no changes and no real fitting needed…it’s so nice when that happens!  A decent number of the 40’s patterns run small for me so I went up in size for the trousers to have a good comfy fit, especially as I was planning on tucking my thick flannel shirt in the waist.  Lumberjack shirts are often roomy, so I actually went smaller by finding a pattern in my exact sizing and making wider seam allowances.  Both steps were good ideas though the pants are a tad baggy when worn with lighter weight blouses.

dsc_0420-compw

My flannel blouse served as an experimental piece on which to attempt two techniques for the first time before doing them on some upcoming projects.  As the back has a separate shoulder placket, and I did not have enough fabric to do something special (like mitering the plaid into V), I made my very own corded piping using self-fabric to make sure that dsc_0236a-compwseam has a special touch.  Making my own piping was not hard – it was fun actually!  All it took was a little extra time but is so worth it in the finished appearance.  I even cut the strip of fabric for the piping on the bias for more contrast.  See – the plaid is cross-grain.  Also, I found out how to do sleeve openings with a pointed over-and-underlapped placket.  They turned out great, but now I know what to do better next time.  Making these plackets became challenging with the flannel becoming so thick with multiple layers in one small spot, and they were barely all my machine could handle to sew.  I really do love the look of this kind of placket – so professional and finished looking, and special, too, as it was also cut on the cross-grain!  I can’t wait to try out these two techniques again.

dsc_0414-compw

Most of the other skills that were needed to make my flannel blouse had already been done for my hubby’s 1943 flannel shirt as well as my “Saddle and Lace” Western-style tunic. This shirt has the collar stand all-in-one with the collar (like the tunic), a favorite feature of mine.  This makes for a smooth and unfussy neckline besides making it a bit less extra seaming to make.  My hem is arched into the side seams, shirt-tail style, though it is lacking a small patch at the inner arch, like what hubby’s shirt has.  On my shirt, the patch pocket (yes, just one) with the flap closure was every bit as stressfully detailed to match as last time I made them on my hubby’s shirt.  Just because I’ve done some techniques before doesn’t mean I like doing all of them any better for sewing them again 😉

dsc_0423-compcombowThe buttons on my shirt are vintage, as I said they come from the stash given to us of hubby’s Grandmother, but what era I’m not sure.  These buttons came in the number I needed, but they are also tiny and feminine, which is exactly what I wanted for the shirt, although they do kind of make it hard to button through the thick flannel.  The buttons had been coated with an imitation pearl stuff, but as most of it was coming off anyway, I used a pocket knife to take all of the coating off to have the buttons be a creamy white as you see them.  They are all kind bumpy on top with three small hills on each.  Does anyone have any idea what era these are from?

The shoulders are a bit droopy and I think they are meant to be like that but I did try todsc_0430a-compw prevent an extreme case.  I sewed the top shoulder seam in a ¾ inch seam allowance but as the sleeve was still over-long for my arm, I also made the cuffs in half the width they were meant to be.  Thin cuffs do look a bit different but I think this is a good save versus having the sleeves end up looking way too big for me.  I also added thick ½ inch shoulder pads inside the shirt to further structure the blouse’s silhouette, because the droopy sleeves fit better with them and also…this is the 1940’s after all!  Out of everything else on the shirt, it’s the shoulder pads that make me feel like this shirt is more like some sort of loose, unlined jacket.  I find it so funny how ginormous thick shoulder pads fit in so well with 1940’s fashion, they actually look good, and fit in to the garment’s style so well.  You’d never have guessed huge shoulder pads were in there, would you?

My trousers are so freaking awesome, I can’t praise true 1940’s high-waisted pants enough.  My last attempts were done using reprints of old patterns from Simplicity, and although they turned out decently enough, they seem modern and pale in comparison to the real vintage thing.  The reprints (especially Simplicity 3688) don’t have a proper vintage high waist, good crouch depth, and proper hip room that this old trousers pattern has to it.  The envelope back calls the set “pajamas” but I technically think that this set of tunic blouse and trousers is actually like a house outfit, probably worn as an option to the house dress.  Regular ‘blouse and slacks’ vintage original patterns for women seem to sell for more than I can reasonably spend, so this pattern is my affordable substitute.  The design is probably a bit more simplistic than an-outside-the-house pair of slacks, but they fit me better than I could have ever hoped for so that’s reason enough for them to deserve to be worn to be seen!

dsc_0419-compw

The only small thing I did change was to transform a full dart out of the pattern’s prescribed knife pleat.  Just to be on the safe side, I added about 2 inches to the hem of the pants, but as they turned out, I didn’t need that extra length, so they have a very wide hem – no so 1943 at all when excess fabric like this would have been a waste not allowed by the war rations.  Next pair (yes, I am definitely making another) will not have the added length and wide hem – the pattern is just fine for me the way it is.  I have found a body match in this 1943 pants pattern.dsc_0306-compw

My trousers have seen so much use since I finished them, but here’s a different perspective yet.  I think they looked best the way I styled them to wear to our town annual WWII re-enactment weekend several months back.  I wore my white scalloped front blouse with the trousers, a leather belt which matched my studded wedge leather sandals, pearls, clip-on earrings, and a netted snood I my hair.  A re-enactor told me he thought I looked like I was dressed up like I was a French civilian.  My hubby can be seen in his recent lucky find of a never worn, Eisenhower-style, military suit set (just need to hem his pants…).  These service suits were being worn on limited personnel in 1943, but became standard issue after November 1944, so he and I are not too far off in time frame.  If I am re-enacting a French civilian, maybe I can play the part of the bride that he met while serving the European front of the war.

Do you, too, have some “inspiration icons”?  Do you sew your own casual wear, weather vintage or modern?  Have you, like me, happened to find a magic pattern that seems as if it was meant for your body?

Happy Thanksgiving to all of you!  Here’s to best wishes for good eats, good times, and good memories!

Save

Save

Warm Weather White…Topped Off!

A sundress, to me, is a sort of ‘default’ summer garment.  Sure, it can be changed up and made in a million different ways and (don’t get me wrong) I do love a sundress.  However, when Allie J. had her June ‘Social Sew’ with the theme of “sun dressing”, there was something in my mind that told me, “You have plenty of sundresses…that’s an easy thing for you to fall on…pick something you don’t have, something new and different that still means summer to you.”  O.k., I’m always up for a challenge.

DSC_0783a-comp

So, I have make a bright white year 1934 blouse and re-fashioned a modern sun hat into a vintage one.  With my wide cuffed driving gloves, a two tone belt, and my already made mid-30’s basic black skirt (posted here) I have a new basic toned summer outfit.

My blouse was so easy that I want to whip up about a baker’s dozen and is so comfy that I want to wear one on a regular basis (also why I want multiples)!  There’s only one yard needed, anyway.  On its own, I think the blouse is not obviously vintage, which is interesting as it is from a very old date in an era known for “stand-out” designs.  Most importantly, this blouse is the ultimate summer blouse for me – just enough to keep me effortlessly classy and covered up in old style while staying cool as a cucumber!  Nailed it!  With an awesome one-of-a-kind hat to keep the sun out of my eyes I am ready for the heat.

THE FACTS:DuBarry 1114B, year 1934, envelope front-comp

FABRIC:  The blouse is a 100% cotton with all over embroidery in a “hibiscus flower” pattern, the hat is modern in a 100% straw content

PATTERN:  Du Barry #1114B, year 1934, for the blouse and my own design for the hat

NOTIONS NEEDED:  Nothing but the basics are needed here – thread, bias tape, and buttons, all of which were on hand.  The hat refashion needed something special besides water and clothespins…I’ll explain down later.

TIME TO COMPLETE:  only 3 or 4 hours from start to finish, which was on June 24, 2016.

TOTAL COST:  The embroidered cotton was bought as a one yard discounted remnant at JoAnn’s store, so it only cost me $8.50.  The hat was given to me as a present from my mother-in-law.

Not only is the pattern I used for my blouse a Du Barry line (harder to find, made between 1931 made 1947) but it also has the “NRA” symbol, something limited to years 1933 and 1935 as part of President Roosevelt’s New Deal Depression Era initiative.  Also, each garment in this three piece ensemble of skirt, blouse, and jacket has basically only three pieces for a ridiculously and deceptively easy outfit.  This is very utilitarian but lovely in its details.  I mean, just look at that jacket, too, with its two tone scarf closure!

DSC_0797a-comp

The main drawback is that the only way this pattern was affordable was because the instruction sheet was missing.  So far, I made it by without the instructions and I think the blouse is the hardest item from this pattern’s trio, but I would still love to know exactly how I was supposed sew it ‘cause it was slightly tricky.  Yet there was nothing some ingenuity couldn’t make work.  At the front neckline edge, where the blouse bodice joins to the all-in-one shoulder/sleeve yoke there seems to be some sort of tuck or dart called for, but for the life of me I couldn’t figure it out no matter how I tried.  What small tuck I did make all but disappeared, leaving a small bubble behind when I finished the neckline.  My hubby figured out that perhaps the bow (which I left off, as you can see) hooks and hangs from this bubble tuck, so perhaps it is meant to be there.  Between the embroidery and some steam from my iron the bubble has disappeared already, but I would love to see the instructions showing how this was supposed to work.

DSC_0759a-compLook at the odd pattern pieces!  The shoulder front/back yoke is the most unusual one – it is cut on the fold and darted so it is all-in-one, including the sleeves.  This is actually the first blouse pattern where there are separate pattern pieces for both the right front and the left front.  Those two pattern pieces are identical, the button holes and the buttons are just marked differently, so I’m kind of counting them as one piece despite them being cut separates.  I left out interfacing because I wanted an easy, quick blouse without being stiff or prissy. DSC_0806-comp

The hem has a shirt tail bottom, which I haven’t seen much of in vintage women’s’ blouses.  The ends are rounded off which I think is so cute!  I had tried to hem the ends under but with the embroidery in the cotton it turned out much too thick especially for a blouse that is meant to be tucked in.  So I merely finished off the raw edge with some double fold white bias tape giving a clean-looking hem, with a hint of a contrast, and a flat edge.

DSC_0804-compAs this blouse was just so quick and easy with its insides left raw (the embroidery keeps the cotton from fraying), I compensated by making bound “windowpane” buttonholes.  There are only three of them down to the waist so it wasn’t overmuch.  Making any more than five bound buttonholes starts to become more of a chore for me…but the promise of the finished project always gets me through any tough spots.

I love how the embroidery keeps the blouse from looking as sheer as it really is but I think the neckline somehow turned out a bit low.  I also don’t understand why the sleeves don’t look quite as wide as on the cover drawing, but oh well, they still are great.  Happily, this blouse goes with so much in my wardrobe, and works with my 40’s bottoms, as well as McCall 375, 30s hat pattern&Jaya Lee Designs on Etsylooking remotely modern.

Speaking of modern, the hat from my mother-in-law was originally such a bland, un-interesting piece, so very forgettable, it’s no wonder she didn’t want it.  I had to make it special, but also something I needed to go with my wardrobe, something I was lacking…a 30’s style summer hat!  My inspiration for this re-fashion came from browsing through pictures, old catalog re-prints, patterns, and online vendors.  The early 1930’s hats all had small brims and small crowns (many with ridges) worn over closely cropped or tightly curled hair.  Time to soak and re-block.

hat combo - orig and as drying-comp

A large tub of plain water was the starting point.  The lace was taken off and the plain hat was soaked for about three hours to soften it.  However, there is a clear glaze covering the straw which made things challenging.  The glaze still kind of flakes off like falling snow when I wear it.  Nevertheless, I was able to pinch out two giant ridges running the length of the crown, held in place while the hat was drying with clothes pins and wave clips meant for vintage hair-do’s (available online or at salons).  The brim was un-rolled and pulled down at the center front and center back as well.DSC_0801-comp

Some unique lattice-cut ribbon from my stash was folded in half for the band and a simple double bow was made from the full width.  The ribbon is kept in place with a straight pin because I want the option of easily changing my mind 😉

It’s fun to stray from the norm, especially since I can make whatever comes into my head!  I found a new way to rock the summer.  I hope I’ve inspired you to look into re-fashioning those ‘blah’ hats to your liking.  Have you used your creative juices to make something especially different that means summer to you?  Or have you, like me, found a new amazingly simple blouse that is perfect for you from an unsuspecting pattern?

DSC_0784-comp

My Hubby’s 1956 “Odd-Collar” Madras Shirt

Menswear can get pretty predictable after a while, and it’s hard for me to find “something new and different” for my hubby without being too avant-garde or “look-at-me”.  So often, it’s the little details or subtle touches or even the fit that makes all the difference to menswear…so here is one shirt that stands on its own.  I’ve never seen anything like it, but leave it to a vintage pattern to offer something amazing!  I think this shirt rides the delicate balance of being fresh, vintage yet timeless, comfy and classy, with a toned down unusual-ness.

100_6527a-comp

THE FACTS:

FABRIC:  100% cotton madras plaid100_6215a-comp

NOTIONS:  I had the bias tape, thread, and interfacing used already on hand.  The two buttons at the neckline came from hubby’s Grandmother’s collection so they are most probably vintage.

PATTERN:  Butterick #7673, year 1956

TIME TO COMPLETE:  This is by far the easiest and quickest shirt I’ve made for him to date.  It was made in about 5 hours and finished on September 24, 2015.

THE INSIDES:  All cleanly finished bias bound edges.

100_6581-compTOTAL COST:  The madras was bought for pittance when our favorite local fabric store was closing.  For only 1 ¾ yard it cost maybe $3 or $4.  Cheap, cheap!

My hubby loves how comfy his shirt is in the weightless madras cotton.  He also seems rather tickled at the shirt’s uniqueness.  He does get thrown off just a little by the unusual way of closure but it is not hard in the least to slip on over the head.  On my end, being the one that did the sewing, the biggest perk is that it is so easy and super quick to make (believe it or not), besides being incredibly fun to do something so out of the norm.  Plus, (lovey-dovey gushing alert) I also own a matching ladies version (Butterick #7771) so I can sew my own “odd collar” blouse to match my man!  Awww!  Look for my version coming soon to my blog.

100_6534-comp

I would like to know if there is an official name or title for this style or type of collar.  I think I remember seeing in an old catalog page or ad where this kind of shirt was called an “Italian-front” shirt.  I have not yet re-found where I saw this so I feel badly that I am not justified for saying this.  The envelope back identifies the other style of shirt in the pattern as a “wing collar” (unusual, too) but yet does not identify the other view that I made.  For the ladies’ version, the envelope back summary calls it a “two button horizontal closing”, but there has to be a better name.  If anyone else can help me out as to what an “Italian-front” shirt is, or any designation or story or such for my hubby’s shirt please let me know.100_6580-comp

Peter at “Male Pattern Boldness” made a version of this same style shirt, only in long sleeves, from a different brand, and (surprisingly) in an earlier year, 1954.   Now, as the ladies’ version of this style shirt is the latest dated version I’ve yet seen I can’t help but wonder – was it so popular for the men that the ladies demanded a version or was it planned by Butterick anyway?

Back to my man’s shirt, I do love the option of decorative top-stitching across the front.  I’d like to try this on a solid version – after all, I do have a late 50’s sewing machine (kept in storage) with a dozen cams to make such fancy stitches.

However, hubby had an immediate liking for the feel and the plaid of the black and white madras when he found it in the fabric store.  As is the unfortunate trend, the fabric he again picked for a shirt for himself was a seriously shortened length.  Not even two yards!  It was the last end of a bolt…barely enough for a shirt but just enough to make it a very challenging effort for me to finally make it work.  This is why there is an unplanned-for (but rather invisible) seam down the center back of the collar and the shoulder panel – I had to piece those parts together just to get a match of the plaid or even fit them on the fabric at all.  I’m hoping yet that someday making a shirt for him will be easier with at least one having enough (or more) fabric to spare (…feel the doubt in my tone).

100_6530a-comp

The continuous lapped sleeves are wonderful – so much easier than the set-in kind.  I wish more women’s patterns had this but then again we ladies generally want slightly more defined shoulders.  There are side slits that go up to the level of his pants pockets so the shirt doesn’t have to come up when he wants to use his pockets.  The sleeve hems are shortened up by several inches because the original length is about down to his elbows and that made his shirt only look frumpy (so we thought).  We also wanted simplicity to let the plaid shine so I left off the optional chest pocket…it would be too much like a dentist’s shirt at that point.  Besides the sleeve hems and the pocket, the rest of the pattern was 100% unchanged even for the fit as it was his size right out of the envelope.  Hallelujah for easy!  The hardest part was figuring out ahead of time how the collar goes together, but I just followed the directions and it came together with no problem.  I’d like to congratulate the person who came up with this shirt’s design and its instructions.

collar instructions-a-comp-comp

Who knew sportswear could be so sophisticated, yet effortless to make?!  What is so funny is the way we like to see if others notice something different when he’s wearing his shirt.  For example, one day my dad complimented him on the shirt (knowing if he’s wearing a new shirt I probably made it) yet he looked at it better saying “Wait, what…something’s going on…where are the buttons…how do you put it on?”  It’s so good to catch people off guard in such a good way, getting them to see and think differently about men’s clothes, a thing often taken for granted when it comes to style or change.  Do you have a favorite “out-of-the-box” garment you really enjoyed finding and/or making?

100_6528a-comp

(It looks like hubby is doing a Western-movie pose, much like, “Draw partner!”)

For One at the Home Front: a Man’s 1943 Flannel Plaid Work Shirt

There are the honorable men who helped World War II to be fought…and then there are the men (for one reason or another) who had the often over-looked position of keeping the home front with the women, children, and politicians. Those at the home front did not win awards or medals, but helped keep the wheels running for the country the soldiers left behind, making sure their nation was there for them when they returned from active duty. This part of World War II was brought to my attention by making a vintage pattern, believe it or not. I made (as my title states) a 1943 flannel plaid work shirt for my husband, as authentically possible and practical for me the seamstress.

100_4949-comp

I would like to use the opportunity this creation presents to remember and address a subject of the men who stayed behind in WWII, and also the masculine fashion which prevailed in the mid-1940’s.

THE FACTS:

FABRIC: a 100% cotton blue, navy, and white flannel plaid. A small amount of black cotton broadcloth from my stash was also used to line the back shoulder yoke inside.100_4745a-comp

NOTIONS: Hubby enjoyed rummaging through his Grandmother’s vintage button stash (which I now keep) to find 10 total matching white buttons which he liked for his shirt – sleeves, lapels, and front. The interfacing and white thread needed was on hand already.

PATTERN: Simplicity #1961, year 1943

TIME TO COMPLETE: The total time was about 25 hours or more. The shirt was finished on March 8, 2015.

THE INSIDES: Every raw edge that isn’t the hem or isn’t already covered by lining or the design of the shirt (such as the cuffs), is finished in French seams. If I’m going to make him a shirt, I want to make him a really good one…’cause I can and ’cause I care (high mushy factor but true).

100_5904a-compTOTAL COST: The flannel was bought at Hancock fabrics on a big discount at $2.25 a yard. Since everything else for the shirt was on hand, and as I bought all the under 2 yards of fabric on the bolt, I only spent a total of $4.50. I think this total makes hubby even happier about this project…wouldn’t you?

100_4954-compBoth the proportions and the cover drawing of this particular pattern that I own has led me to some interesting conclusions. Firstly, let’s look at what’s apparent. The cover drawing top half shows two men facing the viewer, comfortably middle aged perhaps, both with a “grown-up” moustache and the left one having slicked back hair streaked with grey while the right has a pipe. The other man not facing the viewer is, to my eyes, a young adult/grown boy, dapper healthy and cheerful looking. I see a discrepancy here – what is not drawn are the 20 to 30-something year olds who were the ones sent away to fight the battles and see the action. Secondly, the sizing of my pattern is a small and the given proportions are quite petite. My hubby has arms that need a 34in. length sleeve, and a neck that is comfortable with a collar which is a 14 ½ in to a 15 something inch. The neck, the chest girth, and the shoulders all fit him as is, but the pattern’s sleeves needed a whopping – inches added to the length. Now I know hubby’s finished shirt fits more snugly than a traditional 40’s shirt should, and I know men’s 40’s shirts seem run roomy (that was the ‘look’ of the times), which is why he got away with fitting into such a small size, although he is lean anyways. However, my patterns sleeve length tells me that the small size was catered to one not fully grown yet – a teenage boy who would have been home because he was under 18 years old, one of the two age groups I figured from the cover drawing.

family picture3 - year 1944

Here’s a family photo. My hubby’s Grandfather, who was in the war, is in the middle in his uniform, with hubby’s great-uncle, who was about 17, on his left in the flannel plaid shirt. This is year 1944.

Amid the flurry nowadays of learning (and amazing) at how people of the 40’s rationed, scrimped, saved, and “made-do” to help their soldiers, I’d like to point out that the needs of the men who stayed behind were thoughtfully not neglected by the pattern companies, apparently. I’m impressed. I know from learning first-hand about family history on both sides that men who were in their prime of life, and did not fit in the two “classic” categories shown on the cover of my pattern, did stay back from being sent overseas, too. According to page 6 of the American Population Reference Bureau report on the military, “The World War II armed forces represented about 12 percent of the population and included about 56 percent of the men eligible for military service on the basis of age, health, and mental aptitude.” This means about 44 percent of American men didn’t serve active military service. Thus, I am curious about the size proportions of the medium and large to my pattern – are the next two sizes up for adult men with dramatically longer sleeves than the small or are shorter arms something of the 1940’s or just of this pattern? I can see some sizing on the back of my envelope, but a full sleeve measurements would fully prove my thoughts. After all, this pattern reminds me of a true “working man’s shirt” in the “lumberjack” style, with lots of generous pockets to make it even more useful and practical. Men’s vintage duds just isn’t around still like women’s vintage clothes – men wore their stuff (especially the practical ones) until it couldn’t be worn anymore. I’m so happy to find patterns which help me fill in today for what is missing from back then.

100_4958-compSpeaking of fabric rationing and pockets from the paragraph above, I was working with some major discrepancy of flannel to make this 1943 shirt, leading to some slight adjustments to the pattern. Not too often do I come across an exact fabric match to a pattern envelope drawing, much less at a cheap not-to-be-missed price, and also have it be something hubby actually liked, as well – a very rare combo! It was almost painful to hear at the cutting counter that there was just under, yes…under, 2 yards for me to make a plaid-matching, long-sleeved shirt. Augh! I don’t know why this is a habit, but it seems as if the fabrics which get chosen for hubby’s shirts are so far always way too small of yardage. I have to make the gears in my brain smoke just to make things work out (see his 1953 shirt). Oh well – I mark it up to, “it keeps me creative” (I have to reason with myself). Anyway, I did squeeze in all the pieces with a few necessary compromises which hubby is happy have – chest pockets and their flap closures are smaller all around by 5/8 inch with the hem shorter and rounded up into a point at the side seams. The shoulder tops were taken in ½ inch to eliminate drooping sleeves and keep the seam at the true shoulder. No compromises whatsoever were made as to the grain line or matching up the plaid, and I am shamelessly proud at the results, especially working on such an impossibly short amount. I’d like to think the most hardcore 1940’s era rationer would be proud of me, too.

100_4959-compNow, I’m not called “Seam Racer” for nothing, however I really slowed my pace down while working on this project, enjoying all the fine details and getting things as perfect as I could make them. Attaining “perfection” is a hard goal to set, but I wanted hubby to have a really nice shirt – besides, I have a tendency (for better or worse) to make things hard for myself.
Let me define some of the details put into my hubby’s 1943 shirt so you can look for them in our pictures. There are rounded off sleeve cuffs, for a subtle dash of personality. There is an ultra-wide collar, more akin to what I also see in the decade of the 1970’s. The classic back shoulder panel is there, fully gathered across the lower piece below to complete the vintage look. I top-stitched everything in white for a contrast/utilitarian appearance, and made the shirt insides special for hubby in French seams not seen in ready-to-wear. He chose a medium weight interfacing for the cuffs, collar, and button-hole closure edge. I chose to use the “wrong” non-fuzzy side of the flannel as the right side out to keep his shirt looking a bit more crisp and less likely to “pill” up or look worn before it’s time. This “new” “vintage” shirt is meant to last a long time!

100_4952-compThe detail that was the source of the most thought, time, and stress for me was the duo of flap patch pockets on the chest. This was the first time I had done this kind of pocket, and I found it to be a tiresome, exact technique but very rewarding when finished. The placement in the front didn’t leave much room for error without becoming immediately obvious. This is why I left sewing on the pockets with its flaps and closures for the very last step after the rest of the shirt was done. Not meaning to complain, but matching the plaid of the pocket with the rest of the shirt and the flap closure section is one thing…however, there was the button and button-hole closure to center. I felt like these pieces were a bit fiddly and rather tiny to turn, sew, and generally work with, so I am quite impressed and amazed when I see flap closure patch pockets on our son’s child-size shirts. Hubby is happy with the pockets, even though I still doubt whether or not they’re centered, so if it’s good enough for him, I’m happy, too.

After hubby wore the shirt a few times, I went back to the few minute scraps leftover and added little triangular inserts to fill in the upper corners of the shirt-tail arch. These are intended to give him just a little extra ‘forgiveness’ in the length. Now, the shirt won’t show his undershirt as easily when it is pulled out from his pants or even left untucked. Each triangle fill-in piece is doubled up and lap-stitched under the existing hem of bias tape.

100_4960-compHubby has yet to own a pair of vintage 1940’s pants, so his shirt is often worn with classic jeans. The jeans give his 1940’s shirt a sort of quintessential look in my mind, making them not so obviously vintage. Jeans are not too far off in era-appropriateness, although, because they have been a staple in the world since the 1800’s when the Gold Rush happened, as the best wearing and longest lasting bottoms. As a daily-life, work-wear men’s garment, my hubby’s 1943 flannel shirt seems appropriate to be paired with jeans, besides the fact the combo of flannel and soft broken-in, quality jeans is quite cozy.

The Marvel television show “Agent Carter” has offered some enticing eye-candy of Agent Carter Cast with Stan Leehandsome menswear styles which I have seen recently. Some of the masculine characters wore authentic vintage pieces, while others wore well sourced and excellently tailored new replicas, but either way, I love the way “Agent Carter” presents the variety of styles available for men during the 40’s, a subject often overlooked in lieu of women’s fashion. Go to this “Hello Tailor” Blog interview with the designer of “Agent Carter” where she talks about sourcing and styling the men for the television show.

1943 mens fashion-magazine ad & Spunrayon shirtsFor a man of the decade, there was the classic mid-40’s relaxed look of lumberjack shirts and blazer jackets, and also “new” post-war casual look of sweater vests and pre-1950’s “University-style” sweaters, which did or did not need a tie and “braces” (suspenders). The dapper style was there for men, too, with endless opportunities for self-expression by choosing classic ties or art ties, old style-plaids or newer brighter colors, double-breasted or single-breasted suits, and multi-pleated or darted flat fronted pants (more fashion forward). Knitwear men’s shirts, precursor to the modern polo, were also being worn by men in the 40’s, as well as more artificial man-made fibers, just like for women of the 40’s. Nevertheless, there is some things that do not change about 1940’s men’s clothes – high/natural waist pants with boxy shirts with large collars. Knits and plaid, new and classic…it all stood side by side offering a man of the 1940’s more personality with his wardrobe than many people realize.

Men’s vintage wear might be rather non-existent as far as surviving, but with knowledge, a 100_4957-comprealization, and respect of the past, us seamstresses can change this and bring back men’s ‘chic’ fashion from the past. Men deserve to have the same admirable classy personalization of individual fashion like what was available in the 1940’s. Here in this post, I feature a 1943 shirt for my hubby so relaxed it becomes a part of him but so classy and tailored I hope the vintage style and hand-made quality quietly stands out. I can’t wait to make him a different vintage project. If you sew and have special man in your life, what about honoring the past, catering to individual style, and expanding one’s talents by finding a pattern for you to create a “new” vintage garment with me and bring back a style and variety so lacking today?!