“Just Whistle While You Work”

I know this year’s official Oktoberfest in Munich is over for this year.  Actually, though, the 12 to 17 of this month marks the very first occasion of this celebration, something which evolved from repeating the festivities surrounding the 1810 wedding of the Bavarian Crown Prince Ludwig and Princess Therese of Saxony-Hildburghausen.  Interestingly enough, the Brothers Grimm published their first edition of Grimms’ Fairy Tales, which included “Snow White” (“Schneewittchen“ in German) as story #53, around the same time in 1812.  What better excuse to post my outfit inspired by the legendary apple-biting princess with the most traditionally German background?  Let’s dive into my Snow White “rags” work dress, made of a 1937 design, the same year as the release of the first Disney animated film by the same name.  This post’s outfit is yet another installment in my ongoing “Pandemic Princess” blog series.

I am proud of how I incorporated the heritage of the Snow White story together with the year of its Disney film, especially when it comes to the fact that this entire dress was cobbled together from my scrap bin.  What we first see Snow wearing at the beginning of the Disney film (when she meets her prince while singing into the wishing well) has the title “rags” dress after all.  I both interpreted that dress literally and opened up room for storing more scraps – ha!  Snow was yet another princess who’s an unloved daughter working as the domestic servant in the house of her stepmother, much like “Cinderella”, and so it makes sense that her garb seemed cobbled together in tattered condition.  For my dress, my “rags” are all very nice material to begin with, so it might be scrapped together too, but it is still a very nice and comfy dress!  It also happens to happily be one I don’t have to keep perfectly clean and proper in while wearing (I don’t have many of these kind), or clean and proper in my grade of construction, as well, for a strange change of circumstances.

The location for these photos is a testament to the enduring, strong presence of German immigrants in the history of my Mid-Western American hometown.  It is a landmark for our city and called the “Bevo Mill”.  The Dutch-style mill was built by August Busch Sr. (of Anheuser-Busch fame) in 1917.  The story goes that August wanted a halfway point between his brewery near down town and his home in the county. It was later opened to the public as a restaurant.  “Bevo” is supposed to be derived from the Bohemian word “pivo,” which means “beer”.  During Prohibition (1920-1933), Anheuser-Busch brewed a non-alcoholic beer named that he also named “Bevo.  The place has a very Bavarian lodge kind of feel to it which was perfect for pictures!  I have many, many great memories of coming to this place since I was old enough to remember for good food and music with special friends and family. 

THE FACTS:

FABRIC:  100% linen – all leftover from my past projects. The skirt was a hacked up one-ish yard remnant from this 30’s skirt, the collar and sleeves came from this 1910’s era suit, and a rich brown soft vintage linen napkin set became the bodice and pocket for the dress.  Scraps of silk leftover from this blouse became the second contrast pocket and headband

PATTERN:  Simplicity #8248, a 2016 reprint of a March 1938 pattern, originally Simplicity #2432

NOTIONS NEEDED:  lots of thread and one zipper

TIME TO COMPLETE:  This dress came together in about 6 hours and was finished on July 21, 2020.

THIS INSIDES:  This is a “rags” dress made from scraps…it would be weird to be cleanly finished inside, right?!  The seam allowance edges are left raw.

TOTAL COST:  This dress cost me nothing!  I normally do not count the cost of material when I am using seemingly insignificant scraps, so this covers most of the dress.  The vintage table linen set was picked up for 25¢ and the zipper was on hand in my stash already, so I’m counting my dress as an ‘as-good-as-free’ project!

Women’s fashion for the year 1938 marked a widespread Germanic and Bavarian cultural influence that was unmistakable, frequent, and easily recognizable in late 30’s fashion for women.  A Germanic folk style had been creeping into women’s stylish street fashions before then because of nationalistic, racialist, and expansionist ideas stemming from both the collapse of the Austro-Hungarian monarchy during the First World War and Hitler becoming Chancellor.  “The traditional dirndl (a tracht) was also promoted through the Trapp Family Singers, who wore folk fashion during their performance at the Salzburg Festival (1936), and later on their worldwide tours.  In addition, the film “Heidi”, with Shirley Temple in the lead role, became a hit in 1937. By that year, the dirndl – and Germanic influenced fashion – was considered a ‘must’ in the wardrobe of every fashionable American woman.” (Quoted info from Wikipedia here.)  No doubt the influx of immigrants fleeing pre-WWII invasions and takeovers helped bring a new cultural influence into American style as well.  Folk fashion of central Europe had spread way beyond Germany but the fascination in the United States had dissipated by 1942 to be replaced by a craze for all things Polynesian and South American.    

There is a darker side to the German influence on late 30’s fashion, often called “Tyrolean”, which needs to be addressed.  The women’s League of the Nazi party promoted a “renewal” of the traditional Germanic designs, reworking them into a more attractive version of their folk costume which might easily entice women to adopt the styles outside of festivals.  The Nazi women’s League added short puff sleeves, a more form revealing bodice, and shorter skirt length…all scarily close to how we know the dirndl of today.  To me, Snow White’s “rags” dress seems like a hybrid, bared down version with no lacing or apron.  The way its bodice is a different color from the rest of the dress is reminiscent of an old-style tracht over-bodice with a conservative coverage over the chest, high rounded neck, and little collar.  Yet, there are the puffed sleeves and the shorter skirt.  However, this is enough of my rambling – I will dive into this topic deeper in my next post on the other Germanic fairytale princess…the one with magical hair who was imprisoned in a tower.  So stay tuned! Until then, visit my Pinterest page here on dirndls (modern and traditional) for some eye candy.

I suppose the most obvious choice of pattern to make a vintage Snow White outfit would have been Simplicity #8486, a vintage re-issue for the 80th anniversary of the Disney film in 1937, but as I keep saying for my princess series projects, I do not want a costume.  Simplicity #8486 is indeed a ‘37 design in its lines when you just look at the technical drawing, but it just seems a bit forced to make it in such a way that is a Snow White outfit.  Sure it works, but for my purposes it is too obvious of a character reference sewn like that.  I couldn’t see myself wearing these pieces otherwise, so I will come back to that pattern when I have a non-Disney inspired idea for it.  (I have made the pattern’s hat, posted here, and highly recommend it!)  Now I will explain at the end of this post why I gravitated to Snow’s “rags” dress rather than her princess one, but it was also an easy choice when another 1937 reprint – Simplicity #8248 – was an almost line for line ‘copy’.  This shows just how much Disney’s styling of Snow White makes her very much a product of the times.  I have been aching to sew Simplicity #8248 ever since it came out, anyway, and I was so happy to finally have a reason to do so!

My little bluebird pin on my collar is a gift to me from my Aunt!

Before diving into my Snow White dress, I checked out a few reviews on the pattern and immediately saw one constant warning – this pattern runs small and short-waisted.  I can now attest that this is 100% true.  Heeding the warnings (‘cause it’s better to be safe than sorry), I cut out one whole size bigger than what I needed (according to the given chart) and gave myself an extra inch in the bodice length.  It was a good thing I took these precautions – the dress just fits, and couldn’t be any smaller.  Any tighter in the bodice and I would have been restricted in reach room or my bust would’ve been smashed.  I do wish I had widened the shoulders more because they are too far in towards my neck.  However, the puff sleeve tops fill in for this fitting mishap.  I did have to take out the seam allowance from the waist down because the hips in the dress were snug enough to wrinkle and ride up on me.  I wholeheartedly recommend this dress, though – it is a cute design that lends itself to many differing interpretations.  The details are top notch (omg…the angular darted sleeve caps I chose from view B = love).  It was easy to sew.   It is a classic example of late 30’s fashion.  I will be coming back to this and making another dress from this pattern, maybe even color blocking the bodice panels.  It’s a winner – I hope you try this dress out for yourself.

Pockets just big enough for a to-do list, small handkerchief, or my lipstick – in this case Besame Cosmetics’ “Fairest Red”, a faithful recreation of Snow White’s lip color in the 1937 Disney film.

That being said, I did slightly change up the pattern, not by altering anything in the design, just by adding in extra seam lines to accommodate the small fabric pieces I was using.  The four napkin squares that I had were just barely enough to work – only wide enough to fit half of my body at a time.  Luckily the bodice was in two pieces as well because This linen was dense, super soft, and luxurious – understandable as it was intended to be napkins – and in the perfect color for Snow’s bodice.  I was determined to make my idea work.  The entire front and center bodice is supposed to be cut on the fold, but I had to add a center seam to all the pieces because of linen napkins I was using.  Even the collar pieces had to be seamed together as well because the two biggest scraps went towards the sleeves.  Since there was a seam down the front anyway, and since a collar that is tight around my neck can feel stifling for me, I added a long 22 inch zipper to make my dress fuss-free and adjustable for my comfort. Of course, the double, overlapping, two-tone pockets are my idea as well, and the cutest way to flaunt something so utilitarian!

There was a chunk cut out of the almost perfect one yard left that I needed for the dress’ skirt.  No problem – I was being forced to do the natural thing to make an accurate rendition of the “rags” dress…patches!  It’s not just decorative for looks alone…I really used up the few pieces I had left to barely cover the hole in my skirt material.  It couldn’t have been any more perfect, it was laughable – I would never do this to a project otherwise!!  This was a fantastic case of serendipity.  I left the dress bottom raw, fraying and unhemmed to complement the “rags” look.  Even still, I did use decorative, basic embroidery (a chain-stitch and feather stitch) to sew the patch panels down so at least they would look well-done.  The patch work goes against my ingrained sewing style but the embroidery made it palatable. 

I realized something important here – just because clothing becomes mended doesn’t mean it is ruined or on it’s last life.  My husband, my son, and I have been wearing out our clothes, socks, etc. at a far quicker pace than ever before since the start of the pandemic in 2020 and the rate of repairs I have been doing is quite constant.  I suppose it’s all the extra time and work we are getting done at home – I don’t really know.  Anyway, this Snow White dress is a good example of the visible mending trend I am trying to lean into anyway.  I have always been about reusing, refashioning, and recycling what we have on hand for a new purpose here at home.  Sure, it would be easier to just pitch or recycle such items and buy new, and in some cases we need to do just that, yet change in the fashion industry has to come from somewhere…so it might as well start with me.  I’ve just never tried to incorporate mending so intentionally into something vintage, much less newly made.  As I said, it’s weird for me…in a good way.

As much as I love this dress, and as happy as I am wearing it, Snow White’s story is troublesome to me, mostly on account of the many questionable and problematic elements to her tale.  One young woman to keep house for seven men she just met?  At least the Grimm Brothers’ version makes the Disney interpretation seem so much better than it is on its own.  Don’t get me wrong, though.  The Disney movie version is fantastic in its own right, particularly as a landmark achievement in animation history, and charming in its presentation.  I love how Snow was animated, I enjoy her songs, and relish the humor intertwined in her movie.  Even still, as a person, I find Snow White to be one of the hardest Disney princesses to associate myself with or understand…she is too naive and gullible, for my taste.  Even the messages of both the Grimm tale and the Disney story is sort of confusing…physical beauty will save you and find you love?  Be kind to the point of overly trusting of strangers?  I know it was the older “scare” style of teaching lessons. Yet, seriously, folks…how the antiquated fairytales were for children, I’ll never fully understand.   

I like to ‘see’ a better message from Snow White’s tale, which is why I gravitated towards the “rags” dress in the first place.  Beauty is not dependent on the clothing you wear or the manner of styling oneself.  Marilyn Monroe put a spin on this belief in the most fantastic, hilarious manner in recent memory by wearing a potato sack for a photo shoot.  Beauty is what’s on the inside.  I know this may be a cliché phrase by now, but it’s worth repeating so we can remember what’s important in a world that’s driven by image-centric social media ‘perfection’.

Furthermore, on a practical level, I can completely relate to Snow White’s working song, “Just Whistle While You Work”, which I why it’s my post’s title.  I do like a bit of merry, energizing background music while I do chores or sewing (but not fabric cutting…too much to focus on).  Believe it or not, I sometimes even like my favorite tunes playing on the side when I do my blog post writing.  However, such a setting only applies when my “comfort” music is played, the kind that I know by heart and places me in a great mood!  Now if only I can get all the squirrels, rabbits, and birds that we have around our yard to actually help me get things done, as well, I suppose I would be ecstatic enough to whistle about it, too!  

Hawaii of ’59

Riding on the heels of my last post, a play set inspired by the Disney Polynesian princess Moana, here’s a quick little post on yet another tropical outfit – one that is much more elegant, but simpler, yet just a fun and versatile as the last.  I just finished these pieces after being further motivated by my diving into the history of Hawaii, particularly what led up to the year when it became America’s 50th state.  That specific history is sadly rife with colonialism, division, greed, and cultural identity issues.  Yet, Hawaii finally becoming part of the Union in the year 1959 is something to celebrate that deserves its own fantastic outfit here on my blog, especially when I had some amazing fabric a friend brought back for me her trip to the island!  This is my outfit for my pretend getaway while still comfortably staying in my hometown, he he.

My new crop top dates to 1959, but my skirt is my own self-draped design using the Hawaiian fabric from my friend.  She has family ties to the island herself and was excited to see what I would make of it after discussing my ideas for the skirt with her.  This is not a cultural outfit, nor is it trying to be.  This is merely a vintage top infused with a bit of a Hawaiian flair because of the skirt.  Yet, it is enough of a cultural nod with the traditional hibiscus print on the skirt that I wanted to clarify myself.  For these pictures, the local Botanical Gardens’ greenhouse conservatory, the “Climatron”, was my background setting – it was opened in 1960, the year after my top’s pattern, and houses many tropical vegetation. 

Inside the “Climatron”

I have never been to Hawaii myself, so I don’t know anything to compare to location-wise, but at least my fabric is properly sourced.  Even for my last Hawaiian inspired sewing creation (an Ana Jarvis from Agent Carter outfit), I also ordered that fabric direct from a Hawaii barkcloth shop via online.  I always try to make sure a cultural fabric I’m using comes directly from the ethnicity which is my inspiration – it helps the artisans, promotes their craft, and gives proper respect to the heritage.   This is especially important to recognize in light of the fact that yesterday was “Discoverer’s Day” in Hawaii, celebrated on the second Monday in October since 1971 “to honor all discoverers, including Pacific and Polynesian navigators”.  Many experts now believe that the Polynesians ‘discovered’ both North and South America hundreds of years before Christopher Columbus, anyway!  It is important to remember that Hawaii has been annexed as a U.S. territory since 1898, but America has had an interest in the island since the 1840s, so the native cultures have had a long struggle to keep their own traditions and identity alive.  Let’s honor the Polynesian culture as well as Indigenous people!

THE FACTS:

FABRIC:  a 100% rayon for the Hawaiian skirt fabric and a 100% linen (leftover from this 40’s jumper) for the top

PATTERN:  for the top, Simplicity #8460, a year 1959 design reissued in 2017, originally Simplicity #3062

NOTIONS NEEDED:  two 9 inch zippers and lots of thread

THE INSIDES:  The top is all French seamed (even the armscye) and the skirt only has one seam, and that was closely zig-zagged along the edge for a faux serged (overlocked) clean edge

TIME TO COMPLETE:  The blouse was finished on October 4, 2021 and took only about 4 hours from start to finish.  The skirt took me longer, as I didn’t use a pattern – maybe 6 hours altogether – and was finished a few days after the top.

TOTAL COST:  The skirt was reasonably priced for the two yards I had my friend pick up for me (yes, I paid her later) and the linen had been in my stash so long it’s free in my mind!

I am further tying this outfit in with my previous Moana inspired outfit on a basic level because I used the same fabric for part of both sets.  Yes, that is correct!!  That brown jumper I made was originally bright orange like my top because this is what I sewed out of the one yard (plus scraps) that was leftover before dyeing that project a new color.  However, this is much more culturally influenced that that previous set.  Even still, as much as Moana has been the starting point of interest to whatever recent historical inquiries or research I have carried out on the Pacific Islands, she is actually the second protagonist of Polynesian descent in a Disney animated feature.  The first was Lilo with her older sister Nani from Lilo & Stitch.   

These pieces were a refreshing project because I was both going rouge and being inventive.  I have been doing this a lot with my sewing lately.  It keeps my creative juices flowing to draft something myself, or at least interpret a pattern in an unexpected manner.  I went through a bout of no-sewing in July through the end of August, although you wouldn’t have guessed it on my blog.  I have such a backlog of good things I’ve made but haven’t posted so my blog’s supply of material seems endless sometimes!  Anyways, these creative projects that are just what I want to make at the moment are giving me life.  I don’t care if it is October, this is exactly what I wanted to sew and wear.  Luckily, the combo of the orange and the purple here gives me an opportunity to still wear this for the last throes of summer warmth that we often have in October.  I hope to be wearing this set much more again as soon as it gets warm again next year.  For now I plan on wearing the orange top with all my fall season skirts the next month! 

Along that vein, I guess I will dive into the details about my little vintage linen crop top.  The original pattern calls this an “unlined, sheer, short jacket” actually because it is shown sewn in a lace and meant to be worn as a cover up to the included “sleeveless sheath dress” (the base item to this set).  I am surprised the ’59 pattern calls it a jacket.  After all, it is sheer and designed to have an open back with no closures, other than hem and neckline bindings which extend into ties.  I guess this is not much different from a short cropped, no-closure bolero jacket, however looking at the line drawing alone gave me a different idea.  Line drawing are such a basic starting point, devoid of any influence, it always helps me come up with original thoughts.  I chose to see this garment reinvented as a wear-alone top, aka blouse. 

I cut it out with no changes, and sewed it up just the same as I would have if it was sheer lace – French seams inside.  Down the center back, though, I installed a 9 inch zipper which opens up only to the middle of the shoulders and closes at the bottom hem.  Above that zipper, I sewed the center back together just for a few inches only to open up again into a neckline keyhole opening.  This is a top that has a close fitting neckline and the back keyhole vent is just enough for me to slip this over my head.  Only then did I finish the neckline as the pattern directs, with the back neck closing in extended ties that are one with the binding (cut from the same fabric as the top).  I could finally try on the top at this point…only to discover it was terribly boxy and oversized.  It was also much more of a ‘belly top’ than I had realized it would be, only because of the way it was pulled up when I reached up to fix my hair.  The only place it fit was in the shoulders.  I was glad I had saved the hem binding for the last step.

I am wearing my Grandmother’s vintage jewelry set here!

I started fitting it to myself at the side seams, which had originally been very vertical, by tapering in a large 1 inch chunk which started at the hem and ended in the armpit at my original French seam on each side.  Then, I added in under bust darts which come up from the hem and called it done, finishing the edge with similar binding as the neck.  I knew a snug fit would not be ideal here with a tight woven linen and after the way the shoulders fit so comfortably as-is.  So I have my top tailored with a relaxed fit that does its proper job by not flashing others my lingerie…only some of my midsection skin, which I really don’t mind.  As long as my high-waisted bottoms are on, whether a skirt or pants, I am fine!  I love this fun little number.

The skirt is definitely my favorite of the two, nevertheless.  It is so elegant and, best of all, a custom one-of-a-kind design made by me.  This is even better than my self-drafted items because this was draped with myself as the mannequin.  This was tricky, as I was draping in an unconventional manner, but well worth it.  Draping is different than drafting – patterning is optional if you start with a good fashion fabric and very little goes to waste.  Drafting produces a technical design base from which to pattern and cut material to turn it from 2D to something 3D that fits the curves of a human figure.  Draping is a very ‘organic’ way of approaching design because there is no pattern needed and one only has to work with the fabric, and pinch, pin, tuck, dart, or otherwise shape the material as inspired to then fit the body form (in my case, myself).    

What I love about draping is the way the fabric can dictate the design, as was the case for this Hawaiian skirt.  I worked around what would let the print of the pattern shine to its optimum level while still becoming a pleasing and elegant design.  When a fabric is really good – and this Hawaiian rayon is absolutely luxurious – it is best to be attuned to its own “personality” and let it dictate of what it wants to be.  Sometimes, as is often the case for one-off couture creations for famous people, the occasion they have to attend or even the personality of the wearer (think of the MET gala) can be the driving force behind the crafting of a custom draped design.  In this case, a pattern is often made from the designer’s original draping creation, to be patterned up and re-made out of the final fashion fabric by employees.  In my case, I had enough confidence to dive right into my good fabric because I had a general idea of what – hopefully – my final result was to be. 

Two different views of the same front closure – because a zipper in a dart is confusing to show!

I aimed for a design that needed as few as possible seams.  I had two yards of a 35 inch width fabric and wanted to leave it as “untouched” and natural as possible.  I experimented in front of a mirror wrapping and pinching the fabric on myself to estimate what design might work best and also figure out how much (and where) to take out the excess material.  As it turned out, with only four tapered darts, 6 inches wide for a few inches below the waist tapering to nothing for the length of 20 inches, were placed in between the blank spaces left by the upward trailing border print.  The two center darts were turned outward away from one another to create a kind of “sack-back gown” effect.  The next two were turned to run the same direction, thus creating another layer of the “sack-back gown” effect along each side of my hips.  The only other seam, running the full length of the width, was created by stitching the two cut edges together.  This became the center front seam. The zipper was installed into the dart that was also put into the center front, just the same depth and length as the other previous four darts.  As the final step, I turned both selvedges inside by 2 inches and this was both the finished bottom hem and upper waistband.  I was able to fulfill my goal AND fit an aesthetically pleasing layout to my body. 

As I clarified above, I was not trying to make this a cultural garment, but as I was experimenting with draping placement there may have been subconscious inspiration from the vintage early 60’s Polynesian line of sewing patterns.  Many of their dresses have a slight nod to 18th century garments with their frequency of either a gathered or pleated sack-back to their Hawaiian muu-muu dresses.  Check out pattern no. 150, pattern no. 183, or the popular no. 121 (as modeled on the fantastic Tanya Maile) for just a few examples.  I will admit, I have the 18th century on my mind…I just finished a 1780s gown and just planned out a pattern for a shorter hip length sack-back gown (called in French a “pet-en-l’air”; see picture below at right).  A ‘watteau back’ is formed by wide box pleats hanging from a high shoulder yoke and extending to the hem in an unbroken line.  I translated this into a skirt form, unintentional at first then only realizing it as my skirt was coming along. 

Wide watteau pleating really makes the fabric print look like it was meant for this design, I think, but the true effect comes to play when I walk in this skirt.  It has a controlled flow around me in a way that makes me feel like a queen and silently, happily squeal inside.  The visual impression is still slimming because of the straight, tapered, and columnar effect of the front half of the skirt that the side pleats form.  There is something so indescribably graceful to authentic hula, and that was the elegance I wanted to translate into my Hawaiian fabric skirt.

I hope you enjoyed this tropical foray for these last two posts, and that whatever the weather you may have where you live, your day was uplifted for a few moments.  I will be continuing the rest of October with more posts related to the stereotypical seasonal celebrations of the month – such as fall, Halloween, and princesses with Germanic heritage to their stories.  I hate to see summer go, every dang year, though.  I always make sure to send out the warm weather with some grand finale outfits, and this year’s creations were especially delightful in more ways than one. 

Thanks, as always, for reading and following along! 

Meet Ana Jarvis

There is perhaps no individual so enjoyable and immediately likeable in the television series “Agent Carter” as Ana Jarvis.  (I’m not counting Peggy Carter or the delightful Mr. Edwin Jarvis, the two headliners for the show, in this comparison…they are of course fantastic in their own right!)  Ana was the devoted wife of Mr. Jarvis, the butler and all around assistant to the inventor Howard Stark.  Her escape from the Nazis in Hungary at the outset of WWII is a tear-jerker.  The character of the sweet, compassionate, and spunky Ana Jarvis really captured the show even when she was just a mention in Season One before we saw her in person for Season Two.  The very first moment we meet her on screen (played by the Dutch actress Lotte Verbeek) she is so full of life…and her bright and fun wardrobe choices reflect her personality.  Anyone who has a garter that doubles as a gun holster is definitely quite the character!  Check out the colorful recreations of Ana’s clothing choices that I have already made – my first, my second, and my third.

For that first sighting of Ana in “The Lady of the Lake” episode, she was wearing “Green Kimono” print rayon crepe blouse from fall 2014 made by the vintage reproduction clothing company Trashy Diva.  It was paired with a 1940s style box pleated pencil skirt in a complimentary green tone.  Her curly hair was twisted up to the top of her head, with hoop earrings and a simple necklace.  After years of searching, I am happy to have recently acquired a copy of the same Trashy Diva blouse Ana wears on screen (much thanks to a hot tip from a good friend) in both my size and preferred price range.  Then, just last week, I made my own matching green skirt to match.  Now I have a true-to-screen outfit of my very own!  This is so exciting!!  Most of all, it was simple to come together once I had the perfect Agent Carter RTW garment to come my way.  I can make a skirt – no problem!

THE FACTS:

FABRIC:  one yard of an all-rayon twill with a satin finish

PATTERN:  Simplicity #8508, a reprint from the year 1948, originally Simplicity #2323

TIME TO COMPLETE:  The skirt took me about 4 hours to cut and make, and it was finished on September 20, 2021

THE INSIDES:  clean as could be – bias tape covers the seams and vintage rayon binding covers the hem

TOTAL COST:  The fabric was bought at a rummage sale where material is sold by the pound, so this was probably only $1.00!

First off, I want to point out a few important things.  I have already harped on the pattern I used for the skirt in this post here, although most of my critique was directed at the suit jacket.  I have not used this pattern before now – in that post I was merely comparing the reprint with the original design and pointing out ‘flaws’ in its modern implementation.  Yet, at the same time, I heavily changed up the skirt pattern and rather used it as a guide for me to draft my own similar pencil skirt.  Thus, do not look at this as a true review of the pattern.  I was working with only one yard of material, when the envelope back calls for just shy of two whole yards!  Yeah, I was really stretching my ability to reduce a pattern’s fabric need here.  This was a case of finding the perfect fabric which also happens to be in the wrong amount (too little), and I was determined to make things work.  Also, I just love drafting skirts!

I only used the pattern as a guide to the general shape and fit I needed.  I layered the front and back pattern pieces together at the sides, matching up the seam lines but also eliminating the side seams.  Instead I traced out two side darts instead for shaping the hips – the space left open from matching together the side seams needed to be brought in somehow.  A small 7 inch zipper was hand stitched into the left side dart.  I also then laid out the center back on the fold rather than have a seam.  It has a straight seam anyways, as most 40’s skirts do, since all of the shaping is in the side seams and the over-the-booty darts which come out of the waistline.   Even if I wasn’t on a crunch to make this idea work on one yard I love the smoothness of paring down seams on such a luxurious fabric that is this rayon twill.  This is the way that the pencil skirts of the 1950s and early 1960s work – as few major seams as possible.

Finally, the center front box-style pleat had originally been mostly incorporated into the main body of the skirt but I did not have enough room on my fabric layout for that.  Instead, I cut the pleat to be its own panel.  It is seamed into the skirt down each side of the center front cut down the main body (so there are no seams within the pleat itself).   I based my new panel off of the small add-in piece given for the lower half of the pleat, extending it to run the full length of the skirt (from waist to hem).  This piece was cut out of the top half of the fabric leftover from cutting the main body – the benefits of working with a wider 60” selvedge.  My pleat panel was 22” wide at the hem, tapering to 18” wide at the waist, by about 27” long, the length of the skirt.  My new extended panel worked out better for the way I wanted my skirt’s pleat to open up at a much higher point, 7 inches down at the level of my hips, rather than the pattern’s markings for the pleat to open up lower mid-thigh, 7 inches above the hem.  I still kept the original pattern’s below-the-knee length, which is too short to truly be from 1948, yet perfect for Ana Jarvis’ early 1940’s aesthetic.  After all, Ana’s Trashy Diva blouse is listed as “modeled after a year 1937 vintage pattern”.

I was literally left with almost nothing left at this point, so I had to do multiple piecing to end up with a waistband.  The rayon is buttery soft, so with a bit of ironing out of the seams, and with interfacing attached to the backside, you’d never guess how I cobbled a waistband together.  This was practically a zero-waste project.  It also happens to go with SO many other blouses and tops in my wardrobe.  I’m wondering how I ever got by without this skirt before now.

The final silhouette of my skirt has a bit more of a ‘tapered hem’ than what the original would have been if I followed the pattern faithfully.  The center front pleat is much softer of a look – no matter how much pressing and steaming I did – than the seamed two-piece pleat the original pattern designed.  Nevertheless, I made this work on one yard and I adore the slimming, curve-hugging, comfortable and cute skirt I ended up with, even if it is different from the pattern.  Whenever I invest more than the norm of my own creativity into something, I enjoy it all the more…especially when it is Agent Carter themed!

To keep up the Agent Carter theme, I am wearing Peggy’s color of lipstick #104 “Always Be True”, the bright “Red Hot Red” by Besame Cosmetics.  This was a color which was part of the special “Field Agent” lip kit box offered through Besame several years back now.  In the series’ episodes, Ana shared her dress ideas with Agent Carter when she had events to attend and missions to accomplish.  I can completely see Ana being influenced by Peggy in turn with something like a lip color!  I am also wearing vintage mid-century hoop earrings and my reproduction Chelsea Crew brand double strap mustard yellow heels. 

I am happily surprised at how lovely the Trashy Diva blouse is – this is my first item from this brand.  The rayon crepe de chine is absolutely lovely, and the details are very nicely done.  The label says to dry clean it, but I washed this by hand in cold water with a gentle detergent (no long soaking) and it turned out just fine after drying it flat.  Although the insides are modernly overlocked (serged), I am pleased enough to feel like they are a good option to my own vintage sewing…and this is saying a lot!  They seem to either hold or gain in monetary value over the years so they are a worthwhile investment for your closet.  Rarely do I feature a ready-to-wear item along with my sewing creations in my blog’s posts, but there is a very good reason for doing so this time – because of Ana Jarvis – not just because I am absolutely thrilled with it!

It’s funny how a well-written, well-played fictional character can become seemingly real and larger than life.  Agent Carter as a series is the best example of this occurrence as a whole, speaking from my limited experience with television shows.  The helpful Ana Jarvis is a grounded, more pragmatic temper for many of the spirited personalities around her, especially when there are dangerous missions to undertake.  Even still, for all her practicality, she is wonderfully artistic and creative in her tastes and appreciation of culture.  Mr. Jarvis did a world of good saving her life and giving her his wholehearted love, and Ana in turn shares with so many others such admirable understanding and affection. Peggy might be the heroine of the series but Ana is a wonderfully relatable character.  I find it an honor to step into her place for a while through the wearing of her wardrobe.

Blushed Briar Rose

It mystifies me that something as vigorous, beautiful, and pleasant smelling as the shrub rose, also known for its wild varieties the dog briar or briar rose, can also be designated as a weed.  Yes, I agree a shrub rose can grow out-of-hand, it creates dense vegetation of spiny brambles, and it can be aggressively invasive.  However, many flower shops and high end events desire lab curated roses for arranged displays, yet snub their nose on the humble, steadfast briar rose that was the humble ancestor to all roses back from the time of the dinosaurs.  After all, “A rose by any other name would smell as sweet” is the popular quote from Shakespeare.    Did you know that most of our important crop plants are in the “Rose” family?  A pretentious pedigree should not matter for a plant. 

It’s cooling down now that September is here, yet in our city’s Botanical Garden there are still plenty of shrub roses blooming untamed next to some single oversized hybrid.  A desire for overly curated cultivation has grown a skewed perspective.  I think a plant such as a briar rose that perseveres through the ages, with healthy benefits to boot, while still having loveliness to share despite their alleged flaws is the diamond in the rough that deserves more respect – ‘weed’ or not.

The hidden beauty with a hopeful heart, Princess Aurora, of Disney’s 1959 animated film “Sleeping Beauty”, was also called Briar Rose.  This was a term for the fairytale princess which comes from the German version of her story as told through the Brothers Grimm.  I can deduce that this genus of plant was specifically what grew into an impenetrable barrier to enclose the sleeping princess.  This is what I’m channeling today – the wild and prickly beauty of the briar rose as inspired by the Princess Aurora.  Here is a delicate combo of a blouse in sheer white chiffon similar to Aurora’s forest outfit and flowing rayon trousers in a soft rosy hue…because briar roses are almost always pink, you know! 

Here is a rare example of me mixing decades, I would like to think to great effect.  These pants are from the 1990s, yet my old-fashioned ways I keep calling them trousers by default because they are high-waisted and wide-legged as if from the WWII era.  The blouse is 1940’s, a piece from an old dirndl pattern because it has been suggested that there is a Germanic influence to Briar Rose’s forest attire (no doubt coming from the story being derived from the Brothers Grimm).   The fabric I chose and the way I’ve worn it here keeps the blouse more of agelessly romantic in aura than pure vintage.  I been having a lot of fun with my style recently.  I find the eras that revived older fashions so very interesting, but now especially so when it comes to the 90’s, a decade peppered with the influences of the past 20th century, all of which I already sew, wear, and love.  Besides, the 1940s era came up with some of the best classic pieces, particularly for separates.  Put all this together and I can’t go wrong, right?

Before I go on with my post, can we all take just a moment to appreciate the skills and patience of my 9 year old to take these blog pictures of me?  Let’s give him a hand for being my photographer for a day!

THE FACTS:

FABRIC:  Blouse – a poly chiffon with the ‘interfacing’ of the cuffs being a sheer white stiff organza; Trousers – 100% rayon twill

PATTERN:  Blouse – Simplicity #4230, year 1942, from my stash; Trousers – McCall’s NY NY “The Collection” pattern #5718, year 1991

NOTIONS NEEDED:  one 7” invisible zipper for the pants and lots of hook-n-eyes together with one vintage covered button for the blouse, but otherwise lots of thread, some bias tape, with a little interfacing

TIME TO COMPLETE:  The blouse was made in about 8 hours and finished on January 6, 2020.  The bottoms were done on April 3, 2021 in 4 hours.

THE INSIDES:  The blouse is a combo of French seams and serged (overlocked) seam allowances.  The trousers’ raw edges are bias bound.

TOTAL COST:  All supplies came from my local JoAnn Fabric store.  Two yards for the pants and 2 yards for the blouse came to about $30 in total.

Similar to the way I successfully used a bedsheet to sew a couture dress (in my previous post here), this outfit was also started with materials not what I intended, but what struck my immediate fancy.  It just goes to prove that the final look of any and every sewing project is entirely dependent on the execution of every step along the way towards the finish.  It doesn’t take fancy supplies to end up with something amazing to wear, and trying something new might just end up better than you originally thought.  “A rose by any other name…” comes to play here, too.  If you can make the most of what you have it doesn’t really matter if it’s a bedsheet or a polyester in the end if you’re happy with what you’ve created and think it is fantastic!

I would have preferred a silk chiffon for my blouse but after getting tired of internet searching, I instead took advantage of a fine polyester option that was both convenient to find and reasonably priced.  I was doubtful that a slinky rayon would be substantial enough for what was supposed to be a structured pants pattern, but I wanted to try something experimental and it was in most enchanting pink tone…I couldn’t resist.  Together, this outfit ended up way better than I imagined.  I love these results!  Luckily, I avoided being snagged by all the thorns around me while wearing my delicate fabrics.  I took the risk, as you see, to folic like a modernized, dreamy version of a princess, spend time touring a lovely rose garden for an afternoon, smelling all the flowers.

These two pieces were really a lot easier to construct than they may look.  The pants pattern fit me straight out of the envelope like it were drafted just for me, a trend I find with this 90’s line of NY NY “The Collection” McCall’s patterns.  There was a front piece, a back piece, and two facings, all with just the right curves for my hips, so it was pretty simple to make and match the very geometric windowpane plaid. 

I took a shortcut from the French seams I started in the blouse to do the rest in serging (I rarely use overlocking) because it was a poly after all, not a silk like I wanted!  It has a loose and flowing fit, but as I already used the rest of the pattern before for a dirndl vest (posted here) I knew what sizing to expect and graded accordingly.  A little before-hand knowledge is not always something available when working with vintage patterns, and I definitely appreciated it here.

As the pants and blouse were easy otherwise, I spent a bit of extra time on the details.  For my bottoms, I made sure to have impeccable inside edges and a center back invisible zipper.  I sewed in a hook-n-eye placket to close the blouse along the side seam, just like a proper vintage garment might have.  A fluid, sheer, light-as-a-feather blouse deserved something other than a harsh and rigid zipper!  This type of closure was the fiddliest part of the blouse, next to the neckline, but elevates it closer to the quality I’d hoped to end up with for a silk version. 

Of course the resemblance of my blouse to Princess Aurora’s “Briar Rose” peasant blouse was made all the more similar thanks to a little piece of vintage lingerie in my collection.  I wore an authentic 1940s boned long-line satin foundation undergarment beneath which gave my blouse an illusion similar to the sweetheart neckline of Aurora’s black overblouse corset.  I acquired this amazing garment in the first place because not only was it my size, and something I did not have, but I also felt sorry for it.  The brassiere needed some TLC to bring back up to a wearable status. 

All the boning channels had been torn through but otherwise it was in impeccable condition, with elastic that was still very intact.  To do the mend, I merely used some old vintage twill tape from on hand and re-sewed down the channels, closing in the spiral steel boning strips once more.  This repair took me only 30 minutes!  It is pretty enough of a piece to be seen in it floral damask satin, but I remember it is still lingerie, so I loved being able to fulfill both aspirations by wearing the brassiere with my sheer 40’s blouse.  At this point, it rather looks like a mere strapless top underneath anyways, and highlights more of the gauzy goodness to my blouse than anything else.  If anyone but my husband notices anything otherwise, shame on them!

I would be remiss if I failed to also highlight the unusual choice of footwear I chose for my outfit.  As I was going both romantic old-timey but also experimental, I felt it was time to enjoy my new purchase of a pair of American Duchess’ “Kensington” 18th century leather shoes in ivory with “Cavendish” 18th century brass shoe buckles.  To be inspired by “Sleeping Beauty” meant I had all sorts of historical references in my mind for this outfit, and these pretty – if a bit unusual – shoes made me happy with their finery.  It was all about creating an aura for this mashed-up outfit.  Yet, after all, I was also being practical.  There was an 18th century reenactment to attend the coming weekend, and all American Duchess shoes need time to be “broken in” before they really start forming to your foot and becoming more comfortable.  A walk through the soft ground of the Botanical Garden did just the trick!   

The way you see these pieces worn and accessorized in this blog post is merely one out of the many other ways I pair them with other separates from my wardrobe.  You can see this post here where my sheer blouse is being worn with my scuba knit sundress like a jumper!  As pretty as these pieces are on their own, they really are being enjoyed much more than I had hoped – which is a very good thing! 

After all, ever since the pandemic of 2020 started, I no longer ‘save’ my nice stuff for just nice functions, otherwise much of my wardrobe would never be worn.  I really do think people appreciate it when they see there was thought and enjoyment behind putting myself together – no matter the occasion.  You know, after these pictures at the Botanical Garden, I wore this outfit to do some practical grocery shopping, and received the most unexpected amount of compliments.  Public appreciation or not, pulling cans off the shelves with sleeves like these suddenly felt much more elegant than hum-drum.  Pushing the shopping cart around in 18th century heels feels empowering instead of droll.  It was fantastic!  I highly recommend it.   

It’s just a parody to my earlier reflection of appreciating a ‘weed’ of a rose as something to be valued in one’s personal estimation.  If I can’t avoid the weeds of life – like droll errands – I will find a way to see them as palatable by also doing something I enjoy at the same time…like wearing my me-made clothes.  I will not let the lack of events to attend get in the way of an outfit like this not having an opportunity to be worn!