A Pre-Raphaelite Reverie

My avid, life-long research into medieval studies, especially when it comes to manuscripts, is distinctly tied to my fascination for the revival of its tales and artistry through the Pre-Raphaelite movement, which spanned the 1850s to the late 19th century.  The term “Pre-Raphaelite” is associated with the much wider and long-lived “Brotherhood” of English painters, poets, and art critics that included both men and women in its ranks and influenced architecture, music, and literature, as well.  They developed a particular taste instead for medieval and early Renaissance art made ‘pre’, meaning before, Raphael, focusing on working from direct observation with dazzling, sparkling colors and incredible attention to detail.   It is full of romantic idealism, old-style stories, and classically draped damsels in distress…perfect for a princess at heart!

My particular favorites are the pensive, realistically styled images in the latter half of Pre-Raphaelite art, particularly those of medieval characters or fictional fairytale damsels produced by Brotherhood members such as Rossetti and his followers William Morris, Edward Burne-Jones, and Evelyn De Morgan.  The women in such art always have hair and clothing that are total romantic perfection while the men are yearning, staunch, and heroic…I’ve been entranced since my childhood.  In a recent post, my sewing was inspired by the classical, flowing, Grecian style of Disney’s Meg from the 1997 animated film “Hercules”.  Here I am continuing that idealism with posting the making of a dreamy, draping 1940s era “Goddess gown” with matching bolero and jewelry, all inspired by the medieval inspiration behind the Pre-Raphaelite brotherhood.

How did I link paleographic manuscript studies to both an art form and fashionable clothing?  Well, just like Pre-Raphaelite art, my outfit has a blend of the medieval with the elements of other eras tied into one.  The floral printed silk of my dress and the canvas print of my bolero are veritable copies of the beautifully scientific style of accurately painting nature as can be seen both on the pages of late medieval illuminated manuscripts as well as a tapestry of Burne-Jones.  It was often in the page margins or borders of illuminations that such texts (primarily early 15th century) used flowers and insects so as to heighten and add depth of meaning by their symbolism.  

This is no less the case with Pre-Raphaelite artistry where such a lush amount of detailed flora and insect fauna was frequently added in abundance (especially on tapestries).  Doing so was not just to add beauty, although that is often the extra benefit.  Both this 19th century art form and medieval manuscripts used the visibility of nature to aid and enhance our understanding of ancient stories and the people of the past.  Every moth, every fruited berry, and every flower had a symbolism, a meaning that added to the message of the art, sometimes even hinting at whether well-intentioned or full of irony.  Our modern times have forgotten much of the rich underlying meanings to such beautiful creations, and I say we need to relearn this knowledge!

So why channel this classical idealism through a 1940s gown?  I wanted to emulate Madame Eta Hentz, a designer born in Budapest and educated in Hungary who immigrated to the United States around 1923.  She presented her distinctive masterpiece collection of Grecian themed gowns in circa 1943.  Please click on over with the provided links to see Ms. Hentz’s “Athena gown”, her black and gold “Clytemnestra gown”, her “Iconica” pleated dress, her “Walls of Troy” butter yellow gown, and her unnamed but strongly classical evening gown, one in ivory and a version in black – all from the same Grecian collection at the MET museum.  They are flowing, draping, asymmetric creations resembling either an ancient chlamys, a Roman palla, a column in the Pantheon, or a pleated Fortuny toga. Such a beautifully simplistic style of dressing has been around since the beginnings of civilization, but I love how the late 40’s and 50’s Hollywood puts its own subtle high-fashion spin on such a garment.  Yes, there have been many other designers from many other eras who have created according to ancient inspiration.  Yet, 1940s gowns are already elegant to begin with, and to combine such a trait with the references to the classical past gives a very winning result I had to try for myself.

Furthermore, the post-WWII (40’s into 50’s) boom of Biblical, early Christianity, and ancient history related films also resulted in the popularity of the sensual, sultry “goddess gown”.  In 1949, the year after the pattern I used for my gown, Cecil B. DeMille released Samson and Delilah, a picture that became the biggest hit of that year.  This was one of the very first big epic films made using the latest technology that ushered in the height of the Biblical silver screen drama so prevalent thereafter in the 1950’s. 

Even before the popular quasi-religious films of the mid-century, however, Grecian style gowns were a go-to choice for either elegant evening wear or a classical themed costume in Hollywood at that time.  In 1947, the year before the pattern I used for my gown, the famous Rita Haworth was seen in a sexy, one shouldered goddess gown for playing the part of a Grecian Muse in the popular musical film “Down to Earth”.  Also in 1947, for a Christmas dinner party, the actress Gale Storm graced the screen during the movie “It Happened on 5th Avenue” with an asymmetric goddess gown.  Next to the works of Eta Hentz, this goddess dress heavily influenced my own version.  Similar to the one shoulder strap which mimics a climbing vine on Gale Storm’s evening dress, I incorporated me-made leaf jewelry as a compliment to my outfit.  The accessories I crafted to match are a further nod to the sneaky Pre-Raphaelite inspiration of my outfit besides being a very classical touch.  More on this further down in the post!   

A goddess gown is usually a one-shoulder dress that is made from a quality fabric that drapes gracefully, simple in lines and inspired by the togas of old.  It is so effortless, so ageless in style, and it’s wonderfully flattering for all!  I went with a sheer floral silk underlined with an opaque rayon for my version to turn my goddess gown dreamily feminine rather than just architectural, after the stylizations of Waterhouse and Rossetti.  The bolero is like a condensed minuscule version of the printed silk, and turns the dress into a refined look, with a bit of added interest, while also not disturbing the aesthetic.  My bright green jewelry and vintage green suede heels freshen up the tone, saving it from being too dark.  However, the black background for both pieces to this outfit keeps it moody and somber, just like a Pre-Raphaelite painting.  We happily tuned into that for the photo shoot location.  What could be more melodramatic than old building ruins around a pond with giant lily pads (just like John William Waterhouse’s painting “Ophelia by the pond” from 1894) or gliding into a weeping willow tree at dusk?!  I’m living a dream.  

THE FACTS:

FABRIC:  2 yards of sheer 100% silk chiffon, digitally printed. Fully lined in 2 yards of all rayon crepe for the dress. The short bolero jacket is an amazing Rifle Paper Company 100% cotton duck (from Spool and Spindle as part of my prize from the 2018 “Designin’ December” challenge) fully lined in a sage green polyester.

PATTERN:  Butterick #5136, a year 2007 reprint of an original 1948 pattern

NOTIONS:  lots of thread and one zipper

TIME TO COMPLETE:  The dress took close to 30 hours to make, while the bolero only took 3 hours.  Both were finished in October 2019.

THE INSIDES:  The bolero is fully lined, so there are no seam allowances showing at all!  The entire dress and its rayon lining (which is separate, free flowing) are both finished in French seams.

TOTAL COST:  The silk on discount and was ordered direct from Hong Kong through a shop no longer in business.  The rayon crepe and the poly lining for the bolero are as good as free as they were leftover from past projects and came out of my stash. The bolero fabric was free, but I had to pay the shipping.  So, between the silk, the jewelry I made, and the shipping cost to the bolero fabric, my total cost was about $40.

Of course (knowing me) I slightly adapted the design (of the dress) to accommodate the border print of the silk, but other than that I made this entire outfit as-is out of the envelope…and it is to be highly recommended.  Some vintage reprints have strange amounts of ease or finish different than the cover image, but not this one.  It was indeed easy to make, as it says, too.  It’s only because working with a silk or a rayon crepe is never easy that my version was more challenging.  The bolero’s most challenging part was being precise with the stitching (and then trimming) the curvy seams around all the edges. 

The one slight change I made to the dress can be seen when I walk away.  I think the contrast panel train I added is a beautiful touch!  I had to add a gored godet to the center back of my dress’ skirt because working with two yards of border print material wasn’t enough to go around the bottom hem.  The one selvedge to the silk had the floral border I used along the hem while its opposite selvedge had a dense line of paisley ‘almonds’.  I used this paisley along the other selvedge for the back skirt godet add-in, and drafted its godet point to start where the center back zipper ends and curve out past the hem to be a train. 

Here’s a close-up of the right side seam bodice gathers.

The bodice was cut out of the material in front of the paisley selvedge where the underlying print is more spread out with only a few random bugs and flowers.  I actually had to seam together several smaller pieces of rayon to make my remnants work for lining this dress, but as it is inside underneath the silk, the odd excess seams are unnoticeable.  This was such close call of a project!

As it turned out, the heavy rayon lining sort of pulls the dress down on the one open-shouldered side, and I half think that adding boning as well an inner grosgrain ribbon waistband would’ve been a worthwhile idea to improve upon the bodice.  It is just fine without such ‘improvements’ too, though.  A structured bodice would bring this dress closer to the silhouette of a 1950s era dress and deviate the dress away from the soft, flowing overall appearance I was aiming for originally.  It’s often good to leave what’s well enough alone.  At least I did made sure to sew seam tape into my stitching along the top neck edge and into the dual skinny shoulder straps so these spots don’t stretch out of shape at all.  As I’m my own garments’ maker, I’m naturally going to be hard on myself.  I realize this much.  Any small ‘faults’ cannot in the least make me love this outfit any less.

The bolero’s fabric was a happy find that just happened to match because, I’ll admit, it was only made as an afterthought.  When first creating the dress, I discounted the hope of finishing a complete set as I had no idea what would be a good pairing.  Would a solid color bolero overwhelm?  Would a black one underwhelm?  I was at a loss.  What would remotely ‘match’ the printed silk enough to seamlessly blend in with the dress?  Upon browsing the “Spool and Spindle” site after receiving my “Designin’ Designer” gift, I was looking through the Rifle Paper Co. fabrics (something nice I would never buy on my own).  I happened to see a fabric print so similar to the silk goddess dress already made and jumped out of my seat.  Serendipity had decided for me a matching bolero was on the table!  Luckily, I only needed half of a yard for the bolero.  Rifle Paper Co. fabrics are pricey and my certificate voucher just covered it.  Yay!  I loved putting my prize fabric towards a very special outfit like this.

Beautiful seams, amazing details, and clever construction are all packed into this little jacket.  A backwards closing bolero comes across as very unusual to me, first of all.  I added two shiny, faceted black buttons to close this behind my back neck with hand-stitched chain loops.  The back opening lets the dress just barely peek from underneath.  As if these features aren’t cool enough, there is that slight cowl neck front neckline fold, the front hem curve notch, and those perfectly curved cut-on cap sleeves which all totally vie for my “favorite garment feature ever” title!  What makes this little jacket even better (if that’s possible) is the fact that it is slightly longer than most boleros, and actually comes down to the waistline, so it pairs with other things in my wardrobe, such as my black Burda pants (posted here)…among other things!  Not that I ever wholly mind a one-way-to-wear-it outfit, but multi-use sewing is such a wonderful payback.

My handmade jewelry includes a full bracelet, earrings, and necklace set.  The necklace is the main piece.  It was two sets of enameled leaf ‘charms’ from the “Gilded Age Timeline by Bead Treasures”, a Hobby Lobby line of vintage and Steampunk inspired jewelry supplies.  They were on deep clearance, probably due to having the date of 2013.  Each pack made a chain of 7 inches, and I knew the base of my neck (measuring around tightly) is 15 inches…this would be a close call.  The lobster clasp and loop closure, as well as the front ring that combines both leaf chains, added another 1 ½ inches so I ended up with a perfect length for a closely fitting necklace.  The two leaf chains fan away from one another yet meet in the middle front and back of my neck, so my necklace ends up looking like a Grecian or Roman coronet. 

In medieval imagery, a laurel leaves symbolize peace, tranquility, and the power of a promise.  A simple internet search has shown me that 15 inch enameled leaf necklaces were not only existent but also popular, primarily in the 40’s and 50’s, so I was onto something era appropriate anyway, it seems!

As there weren’t any more of the necklace leaves to be had, I improvised to make something similar to complete the jewelry set.  I chose green glass teardrop beads in the same deep but bright green color as the enameling on the necklace leaves.  I made the bracelet and earrings reference the necklace by interweaving small metal leaf beads above each glass teardrop.  I rather love the look of how this jewelry set turned out.  There’s nothing quite like an outfit that is all handmade, excepting the shoes (and underwear), of course, ha! 

This is a project into which I put a lot of thought and meaning, since not only have medieval subjects been a lifelong interest but I am also much more artistic on paper than I let on through this blog.  Perhaps that’s what helped my outfit to be just as dreamy and romantic as the inspiration behind it, though.  I could have expounded upon several points in detail but I reigned myself in to keep on topic! I only hope I conveyed some of my thoughts, inspiration, and construction notes in a clear and intriguing manner enough to maybe even interest you in finding a channel for your own goddess gown. 

It really does take a lot of effort to come up with a completely me-made outfit and also make it look just like what was dreamed up in one’s own head.  That is perhaps the hardest part to sewing up something based off an exciting idea…to have what you end up with be just as you had hoped.  It doesn’t always happen that way for me, yet even still, I always make sure to be proud of what I made and even enjoy the surprises along the way.  Not here, though – it’s all that and more!  You know, the definition of a “reverie” – as used in my title – is “a pleasant state of abstracted meditation or fanciful musing; to be lost in a fantastic, visionary, or impractical idea.”  I see that it is said reveries often never come to fruition, being often negatively labeled as only a daydream.  Bah.  Anyone who believes that has never sewn.  To be able to swish and glide around in this 1940s set the same way as I had hoped to be able to as I saw it in my mind’s eye is a fantastic thing.  Make that reverie work out in real life for you – it’s worth it!

A Fancy Feed Sack 1935 Dress Set

Something as commonplace as a vintage feed sack print gets an upscale upgrade when it came to planning and making my Easter outfit of the year 2014. I had made a number of 30’s era garments earlier than my 2014 Easter outfit, but an authentic and all-out-beautiful classic of the mid-1930s (one of my favorite fashion era years) was in order sooner or later in my plans. Here is my post about a sheer, flowing, silk chiffon afternoon tea dress with a under slip which has Art Deco lines. This 1930s silk set was quite time consuming to finish perfectly, but very fulfilling to make and even more lovely to wear.

100_2792a-compMy Easter dress for the year before this one was a design from the 1920’s (my 1929 hankie-hem dress made in 2013; posted here). For 2014, I merely went up a decade to the 30’s, to have some continuity of progression through the upcoming years.

THE FACTS:100_2800-comp

FABRIC:  The sheer feed sack printed over dress is an “Anna Sui Vintage Floral Silk Chiffon” (close-up at right) from Mood Fabrics. The under slip was made using a “Kiwi Color Solid Silk Chiffon”, also ordered from Mood.

NOTIONS:  I bought most of the notions that went into making my 1930’s Easter set. I had to buy several spools of thread, a package of stay tape, the buttons, and a skein of embroidery floss. I did have on hand the few snaps which were required. The belt buckle is a very old Art deco piece that I also had on hand, bought a while back from a vintage shop. PastPatterns#2303 SummerPartyDress ca1935

PATTERN:  My outer dress is a pattern from Past Patterns, #2303, “Summer Party Dress: Circa 1935”. The under slip pattern comes from the book “Vintage Lingerie” by Jill Salen, pages 46 to 49, the “1930’s Silk Slip”.

TIME TO COMPLETE:  The outer sheer dress came together quite quickly considering, about 20 hours stretched out over 4 or 5 days. It would have been even less if I hadn’t caused more work for myself when it came to the sleeves (I’ll explain this down lower). The slip took…oh, my, very much time! It took long enough to get the slip wearable with the dress in time for Easter (April 20th), but much longer to do the final fitting, seam finishes, and embroidery details. I worked on the fine finishing details on and off for the next few months until it was finally done in August of 2014 (for a total of maybe 30 hours).

100_3408a-compTHE INSIDES:  All the inside seams for the sheer over dress are done in French seams, except for the bottom skirt flounce inserts, which were lapped on, and the skinny ¼ inch hems. My under slip had the bodice panels lapped on, similar to a flat felled seam. All the other seams to the slip were made in clean finished seams covered with a strip of stay tape for sturdiness (see left picture).

TOTAL COST:  I ordered 3 yards of the Anna Sui Feed Sack Silk Chiffon, at a sum of $38.40. Now the Kiwi Solid Chiffon was $39 for my cut yardage of 3 ½ yards, but I only used a yard and a half for the slip ($19.50). My total cost for the outfit fabric comes to $58, but…I didn’t have to pay for it! It was free as part of $100 gift credit, my prize for winning the “Butterick to the Big Screen Contest” in June of 2013. All I really paid for then was the notions, which might have been $10 or less! Score!

This was my very first time sewing with silk this fine and expensive. Boy, was I intimidated! I was so afraid of messing things up or having something in some way going wrong. But I knew I just needed to dive in and start learning and progressing. I did use my hubby’s Grandmother’s old Brother sewing machine because it has a smooth run, predictable stitches (besides, my favorite tried and true work horse machine was needing repair). I also started out with brand new “sharps” needles, and replaced one or two more needles on my machine throughout the outfit’s construction to eliminate any possibility of getting runs in the silk chiffon. Besides these basic steps, and just plain old being careful, thinking clearly, and taking my time, sewing with these silk was a truly a wonderful dream.

100_5771a-compI am still amazed at how easy the Anna Sui silk chiffon was to sew…much, much easier than polyester chiffon, with less runs and fraying than a poly imitation, too. Now I did find the thicker solid Kiwi Chiffon to be a bit more of a problem, but I think maybe it was just because I “wrestled” with making the slip work for so long, I may have a bit of prejudice towards it. At first, I also experimented with some scraps to do the method recommended on a few tutorials and blogs – keeping a layer of wax paper between the feed dogs and the chiffon. It was not working for me nor worth the trouble. All I did was stitch slowly and evenly, feeling out the bias of the fabric and being extremely careful to not stretch it in the least.

100_5786a-compUsing stay tape really helped add some body and help the feed dogs grip the fabric better, as well as stabilizing the seams for wearing. Stay tape was even sewn into every dart, and on top of the slip seams, because I didn’t want to rip or tear anything from the movement of wearing the dress. Look carefully in the picture at left of the dress’ insides and you can see the stay tape netting strips.  This was the best idea for my dress – the stay tape holds and helps all the seams, does not itch against the skin, and is just as perfectly soft and flowing as the silk. Thank you to the wonderful employee at my Hancock Fabric store for giving me the idea.

The Past Pattern for the over dress seemed to be close to my size, just a tad larger all over than what I needed. Knowing that, from my experience, many 1930’s patterns run small, I cut it out as is and it turned out just perfect. The one single change I made to the construction was to make single darts on each right and left side (a total of two) for the waist back instead of making them in pairs on each side (for a total of four) as the pattern instructs. Everything else for the pattern was made unaltered.100_5784a-comp

Believe it or not, there are only 4 easy pieces to make the afternoon dress. All the pieces fit and matched together perfectly. The sleeves and the skirt flounce inserts are cut on the 100_5776a-compbias and all other pieces (the front and back dress panels) are cut on straight grain. As you can see, I did choose the square neck option (over the V-neck). I love the gentle fit of the tiny double bust darts on each side of the front panel. What the pattern calls “cape sleeves” also have a tiny dart along the top of the shoulder coming from the neckline for a small touch of added shaping. There is a small opening a few inches in for a snap closure at the right neckline of the raglan seam of the sleeve, so the dress goes over the head easily.

I decided to add the sleeve hem ruffles, and it took several hours to do their hemming, gathering, and stitching down. After, the ruffles were on, I just could not like them. So…off they came after some serious time spent unpicking. My hubby generously did a good amount of the unpicking while I worked on the waist belt. I did end up having the trim a bit off the edge of the sleeves after the ruffles were out, just because the silk is too fine to not get affected by sewing and unpicking, so they are a tad shorter than intended. The belt 100_2805-compcame out wonderfully, but I wish it was a little longer. It was supposed to be my size but only hangs out a handful of inches past my old amazing Art Deco buckle. Oh well – as long as it makes it around my waist. The belt is lined in the same fabric as the under slip, making the belt pretty much reversible and similar in color tone as the rest of the dress.

The side closure is a simple button and loop style. I used the same “President braid” trim leftover from making my scalloped collar “The Artist” movie dress for the loops, and sandwiched them under some more stay tape for support along the one opening edge. On the other side of the side closure edge are tiny light pink heart shaped buttons to go with the feminine theme and pastel colors of my dress set.100_5773a-comp

Jill Salen book coverMy under slip pattern, coming from the book, had to be enlarged 200% in order to become full sized and usable. I had a local print shop do this step for me instead of my doing the re-grading by hand and ruler. I did my best at measuring the proportions of the slip to find out what size it might be. The patterns from the book were not made from other patterns, but from old vintage pieces themselves (I suppose whatever the author had access to or owned herself) so each piece in the book is a random mysterious size. Every time I use a pattern from this book “Vintage Lingerie”, it’s like taking a gamble. From what I could tell, the slip would be close to my size, so I added on seam allowances (5/8 inch) and cut it out as is. The entire slip is apparently and early 30’s design and meant to be worn under a bias dress, that is why it has such long lines and all straight grain pieces. The only bias to the slip is on the curved shaped edge of the upper bodice panels.

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My little dachshund is that dark thing on the floor at my feet!

Once it was finished, the slip was tried on and, yes it did fit but – wow – it was tight! My hips are about 35”, with my waist about 8 inches smaller than that, so I’m assuming this slip would comfortably fit someone smaller than me. My closest size estimate is that, unaltered, this 30’s slip is for a size 30” – 32” bust, 25” waist, and 33” hips. I was hoping to make the slip go on and off without needing a side closure so I needed to make extra room somehow. After some brainstorming with hubby, we came up with the idea of cutting out another two center front panel pieces from the slip pattern and adding it into the side seams. The center front panel is skinny with a slightly wider taper at hem end giving just the little bit of extra room I needed much like a godet. Adding in the side panels did add more seams for me to finish off, but so it had to be. I do wish the slip was a bit longer on me, and I think I’ll write a note to adjust the pattern, but I‘ve done enough work on it so I can’t complain.

100_5789a-compIn our pictures of me wearing just the slip, it actually fits tighter than originally when it was newly finished. This is because I didn’t wash the silk first before I assembled and wore it for Easter. It was washed later and now has a snug and complimentary body forming fit, but this was not intended. From the feel it, I am supposing the silk might act similarly to denim blue jeans: the fit is tighter once newly dried and out of the wash, loosens up again as I wear it, until the next time it gets cleaned when it shrinks up again. On the opposite side of things, the outer sheer overdress was not washed before the pictures were taken and it didn’t shrink much at all from washing it. The chiffon did change its finish, though, going from smooth and flat to looking like a seersucker after it was washed. The seersucker look is not a bad thing to have, and I like it enough to not iron it out…it was just unexpected. I normally wash every fabric before using, but now I know to make no exceptions (not even for silk, wool or linen) if I don’t want surprises.

100_3522a-compThe original blue slip shown in the book had more fine details, such as fagoting, drawn threads, and eyelet embroidery, than my own version. Making the slip was hard enough the way it was. However, I’m not really complaining, just happy the extra effort I put in comes to such a unique and special finished garment, even if (besides counting myself) it only gets seen on my blog! I don’t know if the front panel detailing was meant to be a monogram, and I was tempted to design my own, but it had a nice Art Deco design to it so I hand-stitched it exactly as the original in the book.

Afternoon Tea dresses have a style and beauty all their own. Soft flowing fabrics created a free-flowing, feminine, and comfortable garment – for summer it would be rayon, sheer cotton, and silk (if you had money in the 30’s), and for winter, wool crepes, rayon, and satins be in order. The swinging silhouette of mid 30’s afternoon dresses was achieved with flared bias panels and simplicity in design, like my own dress set, compared to day dresses which often had pleats and details like embellishments. Day dresses’ necklines had a utilitarian style, such as collars or front zippers and buttons, while afternoon dresses had simple, beautifully shaped necklines. Day or afternoon dresses were both quite decent as far as covering, but the “day” style was more utilitarian (for shopping or working at a job) while the “afternoon” style was for out of the home leisure, eating out, and other nice occasions. (Info from here.) A slim and sleek silhouette with wide but softly shaped shoulders is period appropriate for the decade of my dress with a belt necessary to define the waist, since the early 30’s drop waist look (of the 20’s) was definitely gone by 1935. My Easter dress set is indeed the perfect “tea” length which is mid-shin, iconic of the 1930’s…an odd length really, but quite complimentary once worn (so I think).

100_2787-compAfternoon dresses came from a time when there was a garment for different times of the day and occasions of life – day wear, afternoon “tea” outfits, house dresses, evening elegance, leisure gowns, negligée sets and nightwear. This did not last much longer past the 1940’s, but it sure provides an interesting variety of styles and garments to suit any person’s taste, body type, and need. History provides such a variety of vintage fashions. This variety enables “vintage” to be easily re-made (whether from a pattern – reprints and originals – or an old original piece) and worn in our modern times than many people realize. Try something new, and you might just find a new favorite!