Eggshell Blue Bow Dress

Mod 60’s fashion is not automatically associated with a sweet and feminine style.  Yet, when on occasion it is juxtaposed with the ‘baby doll’ trend, you end up with a very serious, no-frills, freshly classic take on something overtly pretty – a nice combo.  The Netflix show “The Queen’s Gambit” presented a version of this style to perfection with Beth’s bow dress in episode 6.  Of course, I was then on a mission to find a historical benchmark for the outfit, and have since found a true vintage pattern from which to replicate my own version.  This is my second “copy” of an outfit from “The Queen’s Gambit” (my first one is posted here).  Being made in a luxurious wool crepe and in the prettiest pastel tone, I think this is the perfect outfit to present to you now for our chilly Eastertide.

THE FACTS:

FABRIC:  a worsted 100% wool crepe with the black contrast being 100% rayon crepe lined in satin finish polyester interlock jersey

PATTERN:  Simplicity #6634, year 1966

NOTIONS NEEDED:  one long 22” invisible zipper for the back closing and lots of thread with a bit of interfacing for under the neckline contrast

TIME TO COMPLETE:  This dress took me 15 to 20 hours of time.  I finished it up on February 27, 2021.

THE INSIDES:  cleanly bias bound

TOTAL COST:  The fabric was $35 for two yards from this Etsy shop (highly recommend!).  All the contrast fabrics are being counted as free since they came from small remnants leftover from other projects

My mom made all of these!

I specifically chose my version of Beth’s bow dress to be a soft blue versus the original mint green.  In the Netflix series, mint green is the color of Beth’s childhood and when worn by her as a young woman it connects her to certain events as she is struggling to find herself.  The prevailing color of my childhood was a different pastel hue, and slightly cooler in tone – soft blue.  I have a small portion of my childhood dresses on hand, and a good number of them are a pretty blue (see picture).  I felt feminine in blue, and I personally sense it compliments my skin tone more than pink, which I have grown to love more in the last several years.  Before the 1940s, blue was traditionally considered to be the more feminine color over pink, after all.  Besides, I have other mint green dresses that I love and could never upstage (see here and here)!

Fashion historian Raissa Bretaña fact checks “The Queen’s Gambit” outfits in this excellent video (watch it here) at Glamour magazine and the mint bow dress is included (skip to the time of 6:02).  Raissa Bretaña agrees this outfit is pretty accurate except for maybe the lack dark stockings or tights, which I added for my iteration.  Happily, as I was searching through pattern images online one day, this particular pattern showed up and I instantly recognized it as a very similar base in seamlines, contrast details, and silhouette of both body and sleeves to Beth’s bow dress.  The story is set in the late 60’s during episode 6, and the inspiration for Beth’s bow dress was 1966 to 1968, so this particular pattern hit the right spot.  I love happy circumstances like this where what you are looking for falls in your lap…only this kind of thing is always a challenge with vintage patterns because it is gamble to see if one is for sale.  As you can tell, I found one and couldn’t be happier with my finished dress!

The original version of this dress (which can be seen in an online exhibit here through the Brooklyn Museum) was crafted in a crepe (click on the info button).  A wool crepe has more body than a rayon, so I went with that because I thought this needs to be winter dress.  It should be a flowing dress but being inspired by the likes of Pierre Cardin means that it should also have a bit of structure, too.  I splurged for my dress and ordered something special I have been wanting to try – worsted wool.  I personally find worsted spun to be less itchy than a regular woolen, and a crepe finish is so very dressy with its soft shine and pebbled texture.  I love this fabric.  Worsted wool is considered stronger, finer, and more substantial of a fiber coming from long-staple pasture raised sheep.  Worsted wool is more expensive on account of the labor intensive production – it is not simply carded like other woolens.  I find it didn’t shrink much in a cold water wash and needs hardly any ironing more than a touch of steam (very low maintenance).  I am a worsted wool convert.

The dress itself was relatively easy to make.  The pattern is pretty basic.  The wool was as soft as melted butter to sew through.  As I was using a fine fabric and the pattern had such clean lines, I took extra time on both the finishing details and the fit so my dress would look first-rate.  I did have a few issues with the sizing and placement of the bust darts.  At first, at the cutting stage, I had graded in some extra width to be ‘safe and not sorry’ later.  By the time my dress was finished, I ended up tailoring out the inch or so which I added.  Oh well.  The bust dart was tricky to perfect because it was an unusual curved, very long, French style one that joins the side seam below my hip.  This different French dart creates a beautifully simplistic front panel with gentle shaping.  I think this is the best feature to the dress, yet it’s only a very low-key element though. 

Lengths of both hem and sleeves ended up different than both what I had originally wanted and what the envelope cover seems to show.  I kept the ‘longer-than-your-normal-60’s-dress’ length because I think it makes my version of Beth’s dress more elegant and something not so youth oriented (like many Mod fashions).  I found the sleeves ending up as bracelet length, but I don’t mind this feature either.  They are very dramatic being so wide and bell-shaped, too.  I can clear off a table without even trying – it’s quite hilarious.  Nevertheless, these kind of sleeves are really quite part of the general flowing aura of this dress, I think.  Can I repeat myself, again…I absolutely love my newest Queen’s Gambit dress…it’s so different from my first one.  It’s remarkable how varied the fashions of the 60’s can be.

My chosen pattern was the shadow of my inspiration dress except for the neckline bow.  This was an easy addition but a bit complex to craft.  I wanted the black stripe only on one side of the bow strip.  The underside needed to be plain blue and not showing the stitching from the contrast stripe on the other side.  This is how it was on Beth’s original dress (I can see as she is running through the café) and I had to recreate that because I love a challenge.  Sewing challenges are a good learning experience to further my skills, and this time will go towards adding a deluxe touch.  

It is always a task in itself to try and figure out how to recreate proportions of details as compared to a picture.  I mostly just kept the bow’s width as wide as the neckline facing for uniformity.  I had to double the width and add in seam allowances because this was going to be a folded over, one seam tie strip.  Then I carefully marked the center length of only one side to the tie strip where the black contrast will go.  I chose not to line the bow so it could hang soft like the rest of the dress.  I thought of crafting the black contrast as a tiny tube, ironing it flat, then top-stitching it down in place on the blue strip.  It was an unnerving step to sew the entire blue bow strip together finally.  If the black contrast was stitched down in the wrong place, my life was about to be miserable.  I absolutely hate unpicking!  However, I turned the tube inside out and it was looking all good after a light ironing!  Whew.  I was so happy it was figured correctly. 

One small, extra cut of the bow strip became the center holder.  I have an extra-large safety pin from behind (inside the neckline) holding my bow down in place.  I do not want to wash the dress with bow on it.  Neither do I want to have to unpick threads before it needs a wash.  Keeping the bow unstitched makes my dress project easy to take care of as well as versatile.  I can wear the dress without the bow for a different look, but really – adding the bow brings this dress from a ‘meh’ to a ‘wow’!  Sometimes it is so amazing how one little added detail makes such a big difference.

For this dress, there isn’t much that needs to be added to it for a complete outfit.  The color blocking and the oversized bow takes most of the center stage.  However, what I am wearing to compliment my dress here make a big difference.  Slip on heels were an important part to the story of this dress for the occasion Beth wears it…she only had time to put on her shoes at the very last minute!  I updated the look with a modern pointed toe, block heeled version. 

Beth’s cuff watch is a small part to the storyline, too.  In a brief scene, she receives a Bulova “American Girl” watch from her (adoptive) mother as a graduation gift (also see this post for detailed pictures).  My 60’s era, two-tone cuff watch is from my Grandmother, as are my earrings, but it is my gold pearl ring which is a similar graduation piece.  My mother recently passed this pearl ring down to me, telling me it was the gift her mother gave to her for her Graduation in 1969.  I’m so glad it fits me because it’s so special to wear.  I’m connected to the past few generations of women in my family history just with my accessories alone.  How cool is this?  Then, I go and choose a color for my dress that recalls my own childhood fashion preferences.  I love this outfit for more than just the fabulous dress alone. 

I will follow up this post with my next one being about another ‘vintage’ childhood style that I am reinterpreting for myself today.  Yes, it is also in blue!  Until then, I do hope everyone has a beautiful, peaceful, and happy Easter weekend! 

London Logo Plaid

As this is a follow-up to my Disney-inspired Pocahontas outfit, made for my “Pandemic Princess” series, it is aptly tied to the songs from the 1998 sequel “Journey to a New World”. To Pocahontas in the sequel, that new world is Britain, specifically London – “What a Day in London” song.  With her visit (following her marriage to John Rolfe in real life), her history became even more deeply linked to both Britain and America – “Between Two Worlds” song. I couldn’t think of a more glaringly ironic match (in many ways I will address later on in this post) than for me to make a trench-style coat made of cheap but iconic English Burberry plaid fleece.  Yet, the logo plaid must not have been out of place in the forest as a wild deer was photo bombing me throughout, totally edging in on my spotlight – “Things Are Not What They Appear” song.  Beyond adding a watermark, these are real, unaltered pictures!  How can I brag about my coat when the deer has an even prettier, more useful one on her back?!?

This was yet another one of my many remnant stash-busting projects.  I only had one yard of Burberry plaid fleece, half a yard of black fleece, and leftovers from other projects to help me finish this one off.  Yay for a smart use of fleece, the fabric I love to hate, in a print I very much enjoy!  This coat is a very versatile and a breathable weight of warmth.  It was a quick undertaking which ended up looking much better than I imaged it might.  My projects which use up scraps really make me inventive in a way for which I am proud.  In conjunction with that incentive, my “Pandemic Princess” series is also inspiring me push my Disney dreams farther than just one outfit per leading lady.  Oh, what have I started!

THE FACTS:

FABRIC: the exterior black and Burberry plaid fabrics are polyester fleece, the inside lining is burgundy polyester crepe (leftover from sewing this 1930s lounging robe), the inner layer is pre-quilted cotton covered batting, and the under collar together with the front facings are cotton sateen

PATTERN:  Simplicity #1320, year 2014

NOTIONS:  I had everything I needed on hand already – interfacing, a few buttons (ornate brass ones, leftover from this historical skirt), and lots upon lots of thread.

TIME TO COMPLETE:  This coat took me about 25 hours to make.  It was finished on February 19, 2021.

THE INSIDES:  any raw edges inside are cleanly concealed by the full lining.

TOTAL COST:  As I have had the two fleece remnants on hand for the last 10 years, and the all other supplies were leftover from past projects, I’m counting this coat as free!!!

The prestigious Burberry Company began in 1856, but found its home in London by 1891 when Thomas Burberry opened a shop in London’s West End.  Thomas Burberry is credited invented and patenting gabardine in 1888 – the breathable, weatherproof and hard-wearing fabric revolutionizing rainwear – which up until then had typically been heavy and uncomfortable to wear.  Then, its fine, waterproof outerwear happened to make the term “trench coat” an anchor in fashion history by having an adapted version of his “Tielocken coat” the standard issue for officers during World War I.  The recognizable Burberry logo plaid was then introduced in the 1920s.  Afterwards, in the 70’s and 80’s, the brand’s tartan print suddenly was no longer solely worn inside their garments as a lining when it turned into a preppy U.K. elite symbol (aka, the “Sloane Rangers”).  It became a visible status symbol.  Yet by the next decade, it was also one of the most widely counterfeited brands of the turn into the 21st century.  Over the years, Burberry has evolved and today it’s much more of a lifestyle brand that you can see on catwalks and fashion shows – no longer just known for making a trench coat.

British soap opera star Daniella Westbrook in that infamous head-to-toe Burberry outfit of 2002

In the late Nineties, the Burberry print began a trendy revival courtesy of the “logo wave”, which was all about sporting Gucci belts to Chanel bags and Louis Vuitton wallets.  As a teen at that time, I was one of the biggest fans of the tacky, over-the-top usage of the knocked-off Burberry tartan on anything under the sun.  (Oh, what was I thinking!?!)  Now, I am much more restrained but still enamored by the fashion plaid print.  All I ever bought of the Burberry brand as a teen was an expensive Pashmina Burberry neck scarf at a fine retailer and the brand’s classic eau de toilette.  Now, I am breaking out of that shell by making of this coat.  I’m returning back to my teenage fascination and half reliving something I never got to do growing up…only half because this is not a true, trademarked Burberry material.    

I am not one for brand flourishing myself – of course not, when I sew my own clothes.  Yet, a Burberry plaid is my long restrained weakness.  At the same time, however, it is so gaudy in my mind that I never knew what to do with it or how to pair together with a pattern.  I figured to tone it down with a darker contrast remnant on hand and – even though both cuts are only cheap fleece – treat them like a finer coat fabric to hopefully end up with something which might not be tacky.  At least the coat turned out better than I expected while being nicely tailored and cozy warm!  This was a successful experiment and yet also a weird one to see finalized after all these years.

I sort of blended the lines between a trench and an over coat, just for practical purposes. A trench coat is designed to protect you against rain while an overcoat is designed to protect you against the cold. A trench coat is lightweight while an overcoat is heavyweight.  For my coat, the fleece outside is fluffy polyester, so it really doesn’t get wet easily even though it is not waterproof.  I tested this truth out later the night of our pictures when I played in our son’s snow fort, which was beginning to melt.  I stayed warm and dry and most of the wet snow either rolled off or could be brushed off of me.  Usually one has to layer up to be warm in a trench coat because it is merely supposed to be waterproof appropriate gear for all seasons.  Yet, I am a person sensitive to the cold so I upped the game on my version with the cozy quilted cotton layer between the exterior fleece and polyester lining.  It is a coat which is in between lightweight and heavyweight, as all materials are pretty lofty load individually. 

This is still double-breasted like a proper trench coat, with a large stormproof collar that can be turned up enough to completely protect most of my face from the elements, if I so need.  However, my coat’s collar is wonderfully modern in the way it is asymmetric and the tailored princess seams and color blocking reflects the new fitting and color options which the new Burberry line has to offer.  The length of a trench coat is traditionally to just below the knee. However, nowadays one can find trench coats in various lengths: full, knee, three-quarters and short.  So I suppose I can call this a very personalized, updated version of a 90’s Burberry inspired trench coat.

Amazingly, this was a very easy coat to make, even with complicating the construction by fully lining and layering it.   There are no darts, no chalk markings to make, and every seam is straightforward with first rate shaping drawn into the seam lines.  The fit was spot on, too.  I went up one whole size because I was planning on adding extra layers into the coat and that was to right move.  I have full and unrestrained freedom of movement.  More or less, I cut out 3 whole coats – fleece, quilted cotton inner layer, and lining poly – so I was happy the two pieces for the front (doubled into four) and two pieces for the back (double cut sides with one center on the fold) were simple.  The facings and the under collar had sew-in interfacing to back them up as they were a thinner material in key areas which got double-breasted and needed structural support. 

I did sew each layer to the coat separately, but hand tacked the quilted cotton inners to the eternal fleece plaid along their matching seam lines “in the ditch” to eliminate shifting of the layers.  It was important remember to shorten the sleeves and the bottom hem of the quilted inner layer by cutting off 1 ½ inches.  It is very difficult and bulky to hem quilted cotton and thus I wanted to account for the turn-under hemming to the fleece and lining only.  I also had to make the seam allowances ¾ inch to the quilted cotton and poly lining so the inner layer fits inside as slightly smaller than the eternal coat layer.  I found out some these tricks of how to work with pre-quilted cotton material (as well as how breathable but pleasantly warm it can be) as I made this 1940s jerkin vest for our trip to Denver, Colorado back in 2019.  I also knew from making this 60’s cocoon coat how shifty fleece could be when you try to sew it into something structured.  So, I combined both of what I learned from two separate winter past projects into this newest, latest, dare I say, just about the best coat I have finished so far.   

I like the unusual and slightly easier route of making handmade chain stitched thread loops along the right front closing edge in lieu of buttonholes.  The fact it is black on black color along the front is the only way I like this feature, otherwise I think thread loops would be too weirdly obvious.  The instructions called for fabric loops.  However, I know how those sort of things are fussy to add in a seam and more often than not pull out of a seam anyway if not anchored to a base of some sort (seam tape, bias strip, etc.) along the seam allowance.  I used heavy upholstery thread for making my coat’s thread loops and attached the loop bases to the interfacing inside the coat edge, so these closures are definitely stable. 

For some weird reason, my last Pocahontas inspired outfit finally gave me a decent idea as to what to do with long hoarded, one yard remnant of Burberry looking fleece.  Luckily, I was able to sew it together quickly enough to take advantage of the same photo shoot against the breathtaking backdrop of my favorite creek after the most recent snowstorm.  This coat’s earthy colors pair nicely with my Pocahontas separates (in the previous post), but also work well as an item from the era of the release dates to the Disney films.  All the elements I desired for this project were fulfilled, only Pocahontas’ Disney story is the opposite of everything this logo plaid stands for.  At the same time, it suits her aesthetic so well at the same time.  Let me explain.

I like using irony to drive home a point.  Pairing an overworked fashion print with the raw, pure beauty of nature is amusingly contrary enough.  Yet, modern fashion is synonymous with the throwaway culture severely detrimental to our world of today, threatening the very existence of living things, and fleece is one of worst offenders being a petroleum-based product which will not break down.  Thus, I only use fleece when I do because it is already on hand in my stash from before I became more conscious of the environmental impact of what we wear.  For many years now, fleece is something I will not buy and love to generally hate (ugh, plastics).  However, I am a firm believer in making use of what one has, and doing that effort well enough so that item lasts.  I believe this is the most sensible thing to do with questionable products such as fleece.

Hopefully what I have done here would be Pocahontas approved if she knew where I was coming from with my reasoning.  It does have colors I believe she would like – after all, a deer I met out in the wild didn’t seem to mind one bit!!

“For whether we are white or copper skinned
We need to sing with all the voices of the mountains…

You can own the Earth and still
All you’ll own is Earth until
You can paint with all the colors of the wind”

Staunch in Scarlet

I am normally not in the mood for wearing red unless I want to channel Agent Peggy Carter. That is just me.  It is such a strong statement color, and it is the one bright tone I am truly still not accustomed to yet!  A classic red I reserve for her, my stalwart heroine, in my way of thinking.  Christmas and Valentine’s Day are my only exceptions, as well as any patriotic occasion…which in its own way is related to Peggy Carter via her beau Captain America.  It’s cool that there is a holiday in February (for the United States) where I can tick more than one of my ‘stipulations for me wearing red’ boxes.  President’s Day comes in February on the heels of Valentine’s Day and is close to the anniversary of the first release of the Agent Carter television show.  So here’s a post about a great ‘new’ me-made WWII era dress, sprinkled with a bit of blue and white for good patriotic measure, in an unusual red tone that works for many seasons and celebrations!

My accessories really carry this outfit, I think, and I am very happy how they complement my dress together.  I am proud the hat is me-made at the last hour before these photos.  Understand it’s not a proper ‘sewn’ kind of hat, but neither is it a permanent creation either.  It’s whipped together in a sort of very resourceful 40’s era ‘make-do’ idealology.  I will talk more about it later on in this post.  My shoes are a fabulous true vintage find I bought for only $5 (yes, you read that right).  I have been able to pin their style down to the late 1930s or very early pre-WWII 40’s, due to the heel shape, materials used (woolen fabric and leather), and the high vamp (where it cuts across your foot at the front).  My gloves as well are a true vintage late 30’s or early 40’s cotton twill pair. 

All these items tweak the year on the pattern I used to make it seem (from a historical standpoint) as if this is a style of dress earlier than what it really is for a 30’s spin on a 40’s pattern.  By adding inches to lengthen the dress, as well, I ended out with an overall late 1930’s look, instead.  Usually historical vintage fashion anticipates the upcoming era during decade transitions, but not too often can styles go back in time.  This is an interesting and successful experiment!

THE FACTS:

FABRIC:  a rayon challis for the dress and a sheer chiffon for the hat

PATTERN:  Simplicity #4949, year 1943, from my pattern stash

NOTIONS NEEDED:  All I needed was what was on hand – thread, a 22” zipper, and a bit of bias tape

TIME TO COMPLETE:  This dress was made in 8 to 10 hours and finished in September 2019

TOTAL COST:  I bought the under two yards cut of my dress’ material on clearance in my local JoAnn store for only $7.00.  The blue contrast is from remnants leftover from this Burda Style 50’s dress.  The hat’s chiffon was on hand, bought years back for another project not yet made.  I’m counting the scraps and the chiffon remnant as free.

Before I go any further, I need to point out that this dress is so wonderful it is my ultimate go-to 40’s dress.  I actually had to put it downstairs for the time being because I need to give my other dresses some love by wearing them, too!  The lack of a set waist (with a seam) is somewhat unusual and oh-so-comfortable.  The dress is one piece from shoulder to hem.  Added to that is the stretchy side panels cut from a knit.  Combined with the swishy rayon and midi length, this dress feels and wears like the loveliest nightgown.  I added a center back zipper to keep this dress easy and stress-free to put on, as well.  With the side panels in a knit, I didn’t really have a choice but to move the placement of the zipper anyway.  Sneaky loungewear which can also be dressy enough to wear out and about is a gem, especially today.  The colors work for all seasons too, as my grey, navy, or dusty blue blazers and sweaters pair well over this dress.  For only $7 spent and some easy sewing, I really received the most bang for my buck with this project.

Besides changing up to a back zipper and adding length to the hem, I slightly altered the pattern to both make it work for my under 2 yard cut of material and also not break up the floral print on the dress’ front.  There were only four main pattern pieces for this dress so I took the easy way to grade in an extra inch or two anyway and changed up the layout of the tissue pieces.  I didn’t even bother with cutting out the fussy neckline facings, either, opting for simple bias tape finishing.  My fabric was restricting me at only 45” wide.  Luckily, the dress is not bias cut but straight along the grainline.

Instead of having a seam down the front, I cut that on the on the fold.  Yes this eliminated the curvy shaping, but kept the print undisturbed.  In lieu of the original lines, I added a “fish eye” style dart vertically down the front center from the bottom dip of the neckline to taper off into the skirt body at the waistline.  The dart also nicely raised up the originally very low V neck.  The back half was cut as the pattern wanted, and was laid out on the fabric with the wide skirt portion at the opposite end as that of the front.  The short sleeves were barely squeezed out of the portion in between the side seams to the front and the back dress pieces.  There were scraps left which were no bigger than 4 inches.  As I have done time and again, I just made my project idea work out with an inventive tissue piece layout. 

Speaking of pattern layout, I also went rogue when it came to cutting out the side triangular panels.  I barely had scraps of my chosen fabric leftover big enough for the two side waist panels.  It was all that I could manage to cut out the side panels on the bias.  Not that it matters all too much as I was using a 4 way knit, yet it is always important to follow grainlines.  Oh well.  The fact that I kept the seam though the center actually helps keep the knit from stretching overmuch.  I stabilized the seam with a three solid rows of straight stitching while not letting the knit distend under my machine.  Furthermore, I did some small, decorative hand stitching along the seam to help the inside allowance lie flat but still add some subtle beauty.  

The knit panels help this dress hug my curves in a way I adore.  When I was looking through what scraps I had on hand to use which would be the nicest contrast to the rayon print, this dusty blue knit was really the best, most versatile match I came across.  The fact it was a knit was secondary to my choice of color, but I figured that it may help shape this dress into a body-hugging, comfortable, slinky little number.  I was spot on, apparently.  The fact the side panels are in a contrast really do so much to make this a dress which slenderizes a figure.  Seriously, if you want a dress that automatically makes you look like you lost weight, this is the one.  Just imagine if this was in a solid tone for some color blocking.  It deceives the eye to see an hourglass figure smaller than what is really there.  You see the side panels, but the mind centers on the main body of the dress, which at its smallest point, is only a third of what the true waist of the wearer is.  It’s a deviously simple successful design and incredibly fun to sew – the perfect detail to make use of fabric scraps, too!

Now, this style of dress seems to be relatively easy to find.  Since both before and after I have sewn my dress, I have found similar styles both in Hollywood costumes, designer styles, extant vintage garments, as well as through several sewing patterns, some of which are available to buy as reprints today.  If you like this post’s dress, particularly, than you’re in luck because the pattern I used for my own dress can be bought through Eva Dress (see page for it here).  

Yet, the 40’s era side panel dress pattern of the moment through the vintage sewing community seems to be Folkwear Company’s #233 “Glamour Girl Dress”.  However, I just do not see it having the same size-reducing effect as the Simplicity #4949 I used.  Perhaps it’s because of the way the panels connect in the middle into a tie.  I do not have this pattern myself and do not intend to, but the tie front seems to cause too much bulk and excess of material around the waist.  It is lacking the thin, smooth band of material through the middle of my dress which fools the eye into seeing an impossibly tiny waist.  Besides, so many ladies seem to have both fitting and sewing issues with the Folkwear dress, from what I have read and heard first hand from others.  The midsection to the Folkwear dress becomes more of a belt-like feature for ease of wearing rather than a flattering design element as on the Simplicity dress I made.  I will stick with something I have tried already and know I like.  I hope to revisit this post’s pattern in the future to make it in a different way, inspired by the many varieties you see in my collage image.

My hat is actually something I whipped up after seeing some tutorials for such a thing on social media several years back (which is why I no longer remember where it originally came from).  It is only a one-something yard length of sheer chiffon wrapped around two foam styling rolls (like a modern version of a vintage hair “rat”).  I used my “Hot Buns” hair tool, since I had it on hand.  Then I connected the two of them together to form a circle (there are snaps built into the ends so this was easy to do).  I was tempted to buy something a bit more defined in shape such as a Styrofoam ring (used for wreath making).  However, the Velcro-like outside to the “Hot Buns” grabbed a hold of the fabric nicely, just the same as it does to my hair, to help this impromptu hat idea work better than I expected.  I left enough of a ‘tail’ on each side of the ring for this to tie around my hair much like headband.  Otherwise I wrapped the rest of the fabric closely around the “Hot Buns” ring with no pinning or tacking needed to keep in place. 

I think a knit would have worked better than the chiffon for this accessory project, but I’m just happy to have a new, era authentic hat for no cost and no effort, using things from on hand.  I’m practical enough to know I don’t currently have any more room in my hat boxes, so this little head decoration suits me perfectly.  This is a very late 30’s to early 40’s style of hat that can be seen everywhere between that time – from Hollywood, such as the head of actress Ida Lupino in the 1939 “Adventures of Sherlock Holmes” movie, to a home fashions, like this page out of a Sears Catalog from 1940 (see bottom right).  It seems as if such a hat can be also termed as a turban, especially if it was knitted or a soft velvet.  With that in mind, it makes total sense now that it would come together quite easily, not be a permanent millinery piece, and be comfortable, practical glamor to wear. 

Now I suppose it is time to ease off of the fascination for red that the February holidays have brought upon me…at least for now.  Although scarlet tones are not seasonal (I do realize), it’s time to catch up on some more of my Disney inspired “Pandemic Princess” outfits next!  I will return to something more appropriate for the chilly weather we are currently having.  I’ll meet you ‘just around the river bend’…and let me know if you catch the hint!

Golden Maple

There is nothing quite as refreshing as a change of scenery.  I love the fact that the holidays change up the atmosphere as well as the sights around town, and yet a full out location modification, if only for a day here and there, is the real elixir.  We’ve been taking advantage of the acres of land (a road trip away) which my husband’s family still owns.  It is the remnants of what was once a much larger farm, already old when the third generation back bought it.  The promise of no one around but us and plenty of personal space with a variety of exciting nature to hear, see, and absorb was wonderful. 

Of course, I couldn’t help but try out wearing my newest vintage dress creation for one of this season’s trips out to the farmland.  Not that I did the actual property hiking or upkeep work in this (I save that for boots, a worn-in shirt, and denim overalls). Nevertheless, this dress interpreted the colors and feel of the farm to me – rustic, beautiful, fun, and freeing!  The old family property is our new safe place to be ourselves, reset, and find renewed refreshment.  Similarly, this new dress is a cozy, cheerful, and easy on the eyes.  This is already a cold weather favorite piece to wear!

THE FACTS:

FABRIC:  Lady McElroy Textured Jersey Knit Fabric, in “Golden Gentle Harmonie” print, in polyester from Minerva Crafts and Fabric

PATTERN:  Simplicity 5850, year 1973, from my pattern stash

NOTIONS:  All I needed was matching thread and a 22” long back zipper

TIME TO COMPLETE:  The dress took me only 5 hours to go from start to finish.  It was completed on October 22, 2020.

TOTAL COST:  about $25

The background color is very interestingly unique and hard to capture accurately.  It is not really a yellow, but neither is it an orange.  Minerva’s listing seems to call it a gold, but it more coppery than that.    The closest I can swatch it through the Pantone colors is “Autumn Maple” #17-1145.  The dress’ color reminds me of a heavily spiced pumpkin pie, or baked sweet potatoes – yum! 

For being a 70’s dress, I see this a step above the stereotype of the era.  It is has an elegance of silhouette inspired by the 30s and simple lines that could be from any of the past several decades.  The angled empire waistline is so lovely!  There are your run-of-the-mill tapered sleeves…no bell sleeves, and no puff sleeves. The back has a long 22 inch zipper making this super simple to get on for an instant put-together look.  The skirt has a lovely swish to it between the bit of bias cut and stretch of the knit.  As easy to sew as it was, I don’t know why it wasn’t one of those minimal piece designs called “Jiffy” patterns.  After all, I was able to pull off cutting out this dress on only 2 yards of material (60 inch width).  If a dress like this comes together as quickly as this did in one evening, then I am a very happy girl indeed!

The ‘turtleneck’ is not as overpowering as or even similar to a 90’s turtleneck – the back envelope summary technically labels it as a stand-up collar.  This high neck can be found as an added option on many dress patterns from the late 60’s to the mid-70’s.  It really is the perfect balance that keeps my neck warm but not suffocated.  The instructions did not call for interfacing or even facing to any part of the dress, and as I was working with a knit I was happy to oblige.  Unfortunately though, the pattern wanted only one layer for the stand-up collar with a simple hem along the top edge.  What?!  I went ahead and cut out two layers of material to face each other for a clean finish and stronger collar piece.  This slight change of mine made for a much nicer neckline.

What is this trademarked “Look Slimmer” label to this pattern, I wonder?  I understand it’s self-explanatory yet I am curious why Simplicity began this line in the first place and what body type was their intended audience.  If anything, such a selling point sure helped me feel more confident about using a large print floral for a longer length dress.  Surely a design that slims the body must be able to pull off an oversized print, right?  Longer length, long sleeved, warmer winter dresses always make me sense that I may lose a complimentary body conscious appearance in the effort to stay warm in the cold.  I sometimes felt as bulky as the “Stay-Puft” man (from the original ’84 Ghostbusters movie) in the winter clothes I had growing up.  Yet, this dress manages to hide the layers I am wearing underneath here…amazing!

Paging through the rest of my 70’s pattern stash, I now realized I do have a few more of these “Look Slimmer” designs.  They do all rather seem way too similar to each other so I can’t imagine a gal back when these came out buying too many patterns from this line unless she was okay with not a lot of variety.  Nevertheless, that is a great promise to include on a pattern cover and I do believe it holds rather true even in a print such as the one I chose, even with a few extra clothes layered underneath.  When you are out in the middle of almost nowhere away from home, letting yourself grow cold is unwise and not fun at all.  If I can look good taking care of such practicality, even when no one but family sees me, all the better.

I hope my fellow Americans had a happy, healthy, and hearty Thanksgiving holiday celebration.  Who is already begun getting ready for the next holiday?  We did chop down a cedar tree at the farm land, mostly to refurbish our coat closet for protection against clothes moths.  Yet, we also posted up in our living room the small little top portion of the tree leftover.  As we never have a tree up before Thanksgiving, we did not decorate it, but still…I guess, unofficially, Christmas has already started early here, too.