A Modern Flounced Wrap Dress

After my most recent 1920s style wrap dress, I couldn’t help but whip up another, this time modern one, for the “Sew Together for the Summer of the Wrap Dress”!  This will not be a history based, or even a lengthy post, but this is a pattern which is only about a month old now so my dress is “hot off the presses” so to say!  Here’s just a quick post here to show off my newest make.

THE FACTS:

FABRIC:  a buff finish (peachskin) polyester

PATTERN:  Simplicity #8637, a Summer 2018 pattern

NOTIONS:  I just used what I had on hand to finish this dress – thread, leftover bias tape, a spare button and elastic.

TIME TO COMPLETE:  I made this in about 6 to 8 hours

TOTAL COST:  This fabric was bought from Wal-Mart back in March 2013 at $28 for 5 yards (only know this because I still had the receipt with it).  But when it is something languishing in my stash, I’m not really counting cost now, anyway.

This dreamy baby of a dress just floats as I move and is a weightless romantic thing to wear for summer!  Plus it is totally a throw on, or should I say ‘wrap on’, and go dress.  It was quite easy to sew overall, the biggest challenge was dealing with sooo much fabric…5 freaking yards!  This was an opportunity to use up a quaint floral polyester just sitting in my stash for many years with no previous idea of what to make of it.  Not too often (but every once in a while) a fabric makes its way home with me for no other reason than it was pretty and made me feel good.  I love when those purchases get justified when they become a garment I enjoy.  Funny, I recently saw a vintage Instagrammer make a 50’s dress from this exact same fabric (see it here)!

I did make a few changes to this pattern.  Firstly, shortened the length by 3 inches, taking it off of the hem.  This way I avoided having to adjust the entire flounce, and kept the seam where the flounce attaches to the skirt horizontal to the back of my knee (from the back of the dress).  I wanted a long dress, but not so long it hides my shoes or gets in the way of my ankles.

Secondly, I changed the front darts of the bodice.  I disliked the very basic darting as it was designed.  I find it very jarring to the elegant and flowing feel of the rest of the dress.  However, I feel that a basic bodice is needed with so much going on from the waist down.  So I merely closed up the existing darts and changed them into single French darts with go across the bias and come out of the side seam.

Thirdly, I stripped the pattern down to bare bones.  It called for a fully lined bodice with facings to finish the neckline.  As my fabric is semi-sheer, I wanted the whole dress to be the same, so I could wear different opaque slips underneath.  Thus I left my dress unlined, and did a bias bound edge along the neckline and armholes, in lilac too, to match with the flowers on the fabric!  Otherwise, all the seams are French for a clean, strong, and professional touch.

Finishing the flounce edges was a real challenge.  I knew a skinny hem was absolutely needed.  How to do that was the problem.  Sure I could do a skinny rolled hem or at least a ¼ inch (or smaller) hem by hand or with my machine but the thought of spending that much effort and time on a dress that took me only a handful of hours to make was not appealing.  Not that it wasn’t worth it, but my time is valuable too.  So, off I went to my town’s local community sewing room to use their serger (overlocker) machines to quickly and beautifully finish off the flounce’s hem edges.  I made a lovely, incredibly tiny, and very clean hem that is just as pliable as a raw edge by doing a rolled hem on the serger (overlocker), the same finish that many table linens such as napkins receive.  This finishing for the hem is something I want to venture and say is a must for this dress…this is how pleased I am.  Bribe a friend, find a sewing room, do whatever it takes to use a serger if you don’t have one just to finish an edge as if nothing is there with an overlocked rolled hem.  This is my first time doing such a stitched finish, and will not be my last!

I did go up a size for this dress and it’s a good thing I did too, because this seems to run small.  I also think the bodice runs long, as well.  It is not bad enough for me to warrant taking the time to fix it.  Nevertheless, it is something to watch out for with this pattern and I will be adjusting that if there is a next time for me to make this.

Honestly, I did not even use the instructions.  I did a preliminary once over before I did any stitching just to comprehend if there was anything unexpected to do.  After that, though, I wizzed through the dress on my own, which was easy to do as I made the pattern less complex leaving out the lining. 

I made the wrap dress’ closures completely a matter of my own taste.  I drafted my own ties because I wanted them super long to be flowing with the flounces.  For the inside closure, I didn’t want another set of ties…I’m used to that being for house coats.  Thus, I sewed a button to the side seam point where the bodice and the skirt join with a short length of buttonhole elastic coming from the other end for a comfy, stretchy, easy, and secure way to keep the inner wrap closed.  I love this elastic with its pre-made holes.  It’s so handy for so many things.

As much as I do like this dress, I mentally suspect that this is a sort of style reversal for me.  It reminds me of what I was buying and making for myself to wear in the late 90’s and early 2000s.  The skirts and dresses I picked out and sewed then mostly had bias flounces, bias panels around the legs, and romantic florals.  I really don’t think it was just because I could sew for myself either.  This was what was also in the stores, as clothes to buy and as fabric offered.  It’s not that I didn’t like the style…I did very much and still do!  However, my style as an adult has changed a bit and I feel sort of weirdly full circle to come back to my past through sewing my own fashion today.  The 90’s has been popping up again in recent fashion – just 6 months ago, for winter, I was seeing velour tank dresses worn with chocker necklaces displayed in some of our stores!  Life is weird sometimes…either I’m getting old or fashion is lost and desperate as to what to do for me to see styles from my younger lifetime popping up again.  I really think it is the latter reason!

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A Pink and Brown Power Peggy Dress

Power dressing is not something invented by 1980s fashion, even though that is the decade with which it’s frequently associated.  No – people have been doing it for as long as clothing has been around.  It’s not just a showing of status or wealth anymore, though.  Somewhere along the line power dressing has become a manifestation of character, confidence, and personal taste.  Power dressing is empowerment that we put on in the form of fabric.  It is a silent but commanding declaration.  The trick is to find a balance between having it being a cutting edge statement yet tasteful enough to last through more than just a passing fad.

I don’t know anything more basic that can empower women than an awesome dress which combines the best of style, design, comfort, and classiness.  If you don’t know what I mean then maybe you haven’t found something like this for yourself yet.  Every decade in fashion history has had its own version of a power dress, but since the turn of the previous century, this is what the 1940’s had down to an art!  There is no other woman I can think of than Marvel’s Agent Peggy Carter to look up to as a vintage inspiration for these kind of dresses.  Peggy Carter of the post-war 1940s had the basic fashion needs of life that we have today (speaking for myself) frequently have – an on-the-go necessity to look put-together in something comfortable that suits more than one occasion.  Some things never change, and a vintage frock that looks as good, and fit as well as this one (if I do say so myself) is every bit just as stylish and practical today!

This dress is my copy of something seen in Agent Carter Season One television show, episode2, “Bridge and Tunnel”.  My shoes are vintage leather originals, but my purse is a 1940s style make of mine, as well (see post on that here) to complete a period ensemble (which I don’t always have).  In my previous post, “Just Call Me Agent”, I had shown my make of the Peggy’s Season One dress from the episode before, “Now Is Not the End”.  Even though it has now been 3 years since Agent Carter first was on television, I have been occupied with remaking the clothes from several of the ladies on Season Two.  Since 2015, I am still busy filling in my now rather extensive Peggy wardrobe with inspired outfits of Season One.  Look for more to come!

THE FACTS:

FABRIC:  Kona 100% cotton for the dark brown part of the dress, and a poly stretch satin for the pink sections

PATTERN:  Simplicity #8050, a 2016 reprint of a year 1941 Simplicity #3948

NOTIONS:  I had all the thread and interfacing needed on hand already, but I ordered the true vintage buttons from an Etsy seller especially to match with the pink tone in the dress.

TIME TO COMPLETE:  This took me about 25 to 30 hours to make, slightly longer than the average dress for me (mostly on account of the bodice stripes), and was complete on November 7, 2016.

THE INSIDES:  bias bound, which was tricky at some points!

TOTAL COST:  The fabrics for this were both bought at my local Jo Ann’s store, and although the pink satin was expensive I only needed half a yard, and the dress pattern is from the 1940s so it is economical.  This pattern probably only cost me $20 or less.

I love how the fashion of the decade of the 1940s doesn’t take women for granted.  Rather, from what I see, it empowers them.  There are the strong shouldered, sharply tailored suits to show they are every bit a confident, formidable strength in the world while being as productive as the other sex.  There are the sweet, feminine styles that are generally the most comfortable and easy-to-move in for all their puff sleeves and gathers.  Then there are the separates – tops, blouses, and bottoms – that can create a flawless yet endless versatility for a casual chic.  Don’t forget the crisp power trousers that society could not frown down into oblivion!  Free of confining body shape wear worn in the previous and following decades (30’s and 50’s, I’m looking at you!), women were instead equipped with bras akin to armor and comfy underthings.  In all, between the these points and the attention to detail, the plethora of tailored looks, the thriftiness, and practical economy of the 1940s, I do believe this decade in fashion had it all going for the ladies…war or no war!

Now, as much as I am for the 1940s, I must say I have normally had a mixed love-hate relationship with reproduction patterns, especially from Simplicity…until the last few years.  Since then, Simplicity has supposedly changed its vintage patterns to be closer to being re-issued old originals than modern re-drafts of old styles (as they had been, hence the funky wearing ease and fitting irregularities I found aggravating).  Now this doesn’t take away from normal sizing frustrations or difficulties of achieving the right fit, but I must say that this Simplicity #8050 pattern is the first from them that actually felt like a true 40’s style pattern.  Ever since 2016, I have had dramatically less issues with as many of their vintage patterns than I used to have.  Simplicity has been impressively standing tall among Vogue, Butterick, and McCall’s now, after all, when it comes to offering the best designs, the most variety, and amount of new vintage patterns.

This leads me to say that I am so freaking pleased with this dress pattern, Simplicity #8050, I cannot rave about it enough.  It fit me as-is, after cutting out my size following the size chart (not finished garment measurements), and there was no special tweaking needed to make it comfortable to move in, besides me doing a precautionary “extra reach room” adjustment to the armscye.  I am sort of ready for a fail, when it comes to repro vintage patterns from the “Big Four” companies, so I added in reach room, because that’s what I always used to need with their reprints and it’s easier to take excess fabric out than it is to be stuck without it in later!  Turns out, this finished up great.  I love the details to this dress, especially the cool front bodice points with lovely body seaming, and found the instructions to be very good – speaking from a vintage point of view and not just a modern one.  Either way, someone used to vintage patterns should like this, and someone not used to vintage patterns should have a good, albeit learning, experience, too.  I am impressed, and not just because of the clear reference in the color and styling choices of the model dress on the envelope cover!  Yes, the ubiquitous red Stetson says it all!

The inspiration dress from the “Bridge and Tunnel” episode is very similar to my own (except for the cummerbund difference) but this pattern could not be a better base to make an Agent Carter outfit.  Besides the clear reference in the model dress, as I have mentioned before, Peggy Carter was a woman of the 40s who had the tendency to wear styles from early in the decade, mostly on account of on her struggle to move on after Captain America’s ‘death’ as well as her bother Michael’s passing (from Season Two) early on in the War.  This is a year 1941 style.  It strikes the perfect balance between femininity and functionality, comfort and class, and standout style that does ‘standout’ in any era – so perfectly Agent Carter, but also great for a woman of today!  Granted, from what I have heard about the original inspiration dress, the brown sections were a flowing wool crepe, while mine is a stiffer, more basic cotton.  I was mostly focused on finding the right color brown and making sure my version was practical for more than just winter wear (and it is)!  All it really took was a little extra flourish (speaking of the shoulder striping) and adding cuffs to the original pattern to have my copy of one of Peggy’s most popular Season One dresses.

Before I made my dress, I read several other reviews from bloggers who had already tried this pattern, and they mostly mentioned quirks that needed to be worked out in regards to the front button closing and the neckline.  Having loops on one side of the front in the right seam edge and buttons on the other side of the front opening can naturally end up with the buttons looking off-kilter, or asymmetric down the front.  It’s not that this ruins it in the least – no, one who sews would probably be the only person to notice such a thing.  However, someone who sews is often his or her own worst critic.  If a true center button closing is what you want with this dress, you cannot just whip it up as the instructions tell you.  I did not sew the loops into the seams as instructed, but sewed them to a separate fabric strip, like an anchor piece, and sewed that further in (by hand) under the right edge so the button loops would not hang out so far over the other side of the front opening.  Then, the buttons were sewn quite close the left edge.  Big buttons especially need big loops, and moving the buttons over on the extreme left edge to center the closure, necessitated the loops to be beveled in underneath.  Making the loops wider like the letter “U” also helped not make them as long as a loop which is snug against itself.  This is probably not the best way to fix this ‘quirk’ of the design, but from an engineering standpoint, it was the simplest, most direct way to correct the centering of the front button closing.

After all the work and forethought I invested in the front button closing to this dress, as it ends up, I don’t really use it.  You see the neckline turns out really quite low.  I didn’t like cleavage showing because the top button wasn’t keeping the collar together.  Thus I sewed an extra little strip of the dress’ brown fabric and have that hand tacked vertically in place from underneath to close the bottom point of the neckline collar together for an extra inch above the top button.  I know…this defeats the purpose of the working buttons and loops down the front that took me so much time.  I know I should have probably just re-drafted the collar to close up a little higher to have one more button and loop at the top, and that would have fixed it.  Yeah, I should have done that – but I didn’t, and this works just as well.  Besides, having to get dressed in this was fiddly with the side zipper, too.  I can just slip it on over my head without unbuttoning the front anyway, leaving me with only the side zipper to remember to open and close when dressing – much easier!

The dress itself came together really quickly compared to the time I spent wherever there was pink – the entire front closing, collar, neckline, and sleeve cuffs.  The sleeve cuffs were self-drafted off of the existing sleeve pattern.  I traced out the last 5 inches of the long sleeve, and opened it up to have more of a curve with a wider top edge.  My dress’ cuffs are double thick, self-faced, and were sewn into the side seam of the sleeve so that they stay in place.  The collar facing was a bit of a pain being all in one piece – but I’d like to credit this to the awful slippery and slightly stretchy properties of the contrast pink satin.  The front buttoning took way too much brain power to perfect – but I’m happy with the result and love how it highlights my awesome vintage buttons, even if they’re mostly just for looks at this point.  Then, there was the last step to finish the neckline – the striping.

 I splurged on a ½ inch bias tape making tool to help me finish the dress more easily, but that only went so far.  The tool did make constructing the bias tape fun, and relatively quick. However, adding on the strips to the dress was hard!  I pinned them down to the dress, then would let my garment hang while I walked away from it, only to come back later and look at it again with a fresh view.  I thoroughly measured the heck out of the placement of the strips on the dress to make sure both sides were even and check my eye-balling of the trimming I was adding.  The area that the strips cover has a lot of curves and movement, and mine turned out sort of wavy-looking on the dress at times because the pink satin had a lot of stretch in it and I followed the existing shaping of the dress.  If I had hand stitched it down, I suppose it might have turned out better, but this step was going to be a pain either way, so I finished it by machine.  I did take my time to work out the placement of the stripes – I wanted them to pretty much be parallel to the bottom edge of the collar yet radiating out of the two top buttons.

I LOVE how much the stripes add to this dress.  This is a trim I would never think to add on my own, much less even try if it hadn’t been for Agent Carter looking so killer in it. Color striping, color blocking, and color mixing were all popular ways in the 40s of adding interest, fun, as well as practical use of small scraps of materials into a wardrobe.  This particular Agent Carter dress is one of the best examples of 1940s fun with solid colors in my opinion.  I can tell from the response it gets.

You see, this dress is one of the few in my arsenal of me-made clothes that gets compliments every darn time I wear it, from all sorts of people, in all sorts of places.  It really is a discussion starter, too, because most of the time, a compliment is followed up by the query of where did I get my dress and how they can have one too.  One woman was amazed that this dress was cotton, because as a quilter, she associated cotton with crafting and bed covers.  Ah, Agent Carter truly is an inspiration for the world today, and if her influence can spread through her clothes, then all the better.

In the episode Peggy wears this dress, she was inquiring about finding a place to stay at the Griffith Hotel, a single woman-only boarding house with strict rules on their occupant’s moral and personal life.  To match, I visited a place which boards young people as well, and is a place of well-established rules and expected conventions (at least supposed to be) – the local college known as “Harvard of the Midwest”, Washington University.  Both the Griffith Hotel and the University share stately architecture and long dreary halls!  Washington University has some sections that were built many years before he 40’s, but heavy stone work and corner gargoyles make for a slightly mysterious and dark feeling that I think is appropriate for an SSR Agent wanna-be!

Have I convinced you to try out this pattern?  If you have sewn something with it, what do you think?  What is your opinion of the Simplicity pattern’s vintage reprints in the last two years – do you think they are better than they used to be, too?  Is this a Peggy dress that stood out for you, as well, in Season One?

Channeling Crawford’s Adrian

I realize the strong shoulders of the 1940s decade is an intimidating turnoff for many, but I embrace them in all their forms.  For whether they are obnoxious or poufy as they can be or just plain sharply tailored, I see the 40’s strong shoulder line as not only a crucial part of the fashion in, before, and after the WWII decade, but also a very interesting garment point often neglected.   Such can be as fun to perfect as they are even more entertaining to see and construct in all its differing varieties.

A strong, exaggerated shoulder line can do wonders for certain body shapes, as I think it does for mine.  Although I am border line petite (just over 5 feet tall), I do not feel that my waist and hips are small enough in proportion to the rest of me, so the appearance of wider shoulders creates an illusion of the ideal body lines (tiny hips and waist).  This is nothing new…I am just copying off of what worked for the famous actress Joan Crawford, when the equally famous Adrian used this same “trick” as what had been done in the 1830s and 1890s to distract the public eye away from conceived body faults about the midsection and create a certain image.  As famous as well-known as both those names are, they had figured out something spot on that we who are in no manner Hollywood sweethearts can still imitate to our advantage.  From a fascination of Crawford’s high, dramatic hairstyles to my amazement for Adrian’s penchant of precise pin striped garments, from the basic need for warm winter wear to the desire for an unusual item to try and sew, I have combined it all to end up with something that is an unexpected way to power through the cold!

This jumper dress was made for a recent trip to visit the historic garment district in Kansas City, Missouri for the exhibit “Suited Up: Tailored Menswear, 1900 to 2017”.  This section of town is claimed to have been (at one time), second only to New York in breadth of territory!  This cozy outfit let me be a wintertime tourist in handmade, menswear-inspired style!  My shoes were very comfy for all day walking – they are Chelsea Crew brand “Gala” heels, reproduction vintage spectators.  My blouse underneath is a resale store item, but my jewelry is true vintage from my Grandmother.  I realize that all put together like I am, this is a more obviously vintage outfit than most other dated fashions that I make and wear, but I’d like to think that it is a statement enough to be attractive in its own way.  I believe the general public that only relies on RTW is so ready for fashion to be something more appealing to them personally other than what is out there.

THE FACTS:

FABRIC:  a heathered brown pure wool with an ivory pin striping

PATTERN:  Simplicity #1238, year 1944, a jumper-dress

NOTIONS:  The main notion used – the numerous buttons down the front – are a prized vintage card authentic to the 1940’s which had been found at our favorite local antique store.  The rest of what I needed – the thread, interfacing, bias and hem tapes, as well as shoulder pads – are modern notions and were already in my stash of supplies.

TIME TO COMPLETE:  This was made in about 25 to 30 hours…I took my time to get details done just the way I wanted them!  It was finished on February 9, 2018.

THE INSIDES:  As this was pure wool, it was therefore rather a rather itchy fabric which would fray a lot at every raw edge.  Thus every seam was finished off with bias tape, with the hem covered in a lace tape for a fun and feminine finish!

TOTAL COST:  This wool was a gem of a fabric I found in my local Jo Ann’s Fabric store.  I don’t remember what the cost was purely because this kind of fabric is so lovely and hard to come by in brick-and-mortar stores here, so I had to have it regardless of cost.  Nevertheless, I had a discount coupon and 40’s patterns do not need a whole lot of fabric, so – for just over 2 yards I think I spent under $30.

Ah – Adrian and Crawford…one would not be as famous without the other, but I suggest Adrian owed more to Crawford than the other way around.  Crawford had been in movies since the 1920’s, but her broad shoulders served her well in the boyish and hip hugging fashions of the era – she was the right body for the mode of dressing then.  When the 1930’s came along and Crawford was starring in movies where she played as a softer, sexier and wildly talented woman, she needed a signature style to match in Hollywood.  In 1932, Crawford wore a dress designed by Gilbert Adrian know as the famous “Letty Lynton Dress”, a white organdie dress with big puffed sleeves which were covered in ruffles, to make her look feminine and demure.  It is often credited with being the first movie fashion to be widely copied and sold for the public.  Crawford’s wide shouldered dress gave the impression of a tiny waist and slim hips, and the illusion created by Adrian was suddenly in steady demand with popular fashion whether that garment was in a store, from a sewing pattern, created by a tailor, or from other designers.  This would last strongly through the 1940’s, recurring again in the 1980s, when heavily padded and extreme shoulders were common.  Crawford’s movie roles in the 40’s became harder, stronger, and frequently troubled, and so her large shoulder signature style stayed with her but changed to match until after Dior’s “New Look” styles became the craze.

In Adrian’s own story from the book, Creating the Illusion, he said that Crawford insisted on full freedom of movement with her arms, so much so that he had to leave excess fabric which was then padded to not appear sloppy.  I do notice that many 1940’s era vintage patterns leave extra room in the shoulders, and I regard that as room you need for shoulder pads!  But whether the use padding came from Crawford’s fit preferences or Adrian’s direct styling for her body, between the two of them it is a silhouette and a technique that was influential and unmistakable.  Crawford was Adrian’s perfect outlet to manifest the genius of his talent.  It took the perfect actress in the perfect outfit to make the world notice her clothes to a point that the world how the copy that fashion for themselves.  Unlike today, the designers were something to think about afterwards, as the Academy Awards for Best Costume Design wasn’t started until 1948.  Adrian designed the costumes for Joan Crawford in more than twenty-eight movies.  Granted, he did wonders designing spectacular, mind blowing outfits for other actresses, but it is how Joan Crawford wore what he made that had a outreaching effect that is still being discussed and understood today.

Now, the original design for this jumper-dress on the envelope cover is much more understated than how mine turned out and I wanted it this way!  Since I was wearing this to see an exhibit on menswear, I wanted something strong and broad as the famous London-cut padded suit for guys of the early 40’s with a hint of the outspoken Zoot Suits.  Adrian himself was a perfectionist at suits and loved to show the height of his ability by having stripes show off the seam lines (see this 1948 suit at the New York MET museum for only one example).  Following these trains of thought, I also was tempted to add a welt pocket on the chest like a true suit, but as you can see I thought otherwise in the end.  I do love how my jumper dress ends up having a double collar, as I wear the shirt underneath on top of the jumper lapels to cover the wool and keep it from itching my neck.  This is better than a man’s vintage suit which doesn’t have this double collar benefit!  Sewing it was much easier than making a complete suit but has all the same feel as one in a dress version.

I have seen such a unique kind of clothing as a jumper-dress before in a few other 1940s and 1970s patterns and I really like the whole idea of it – a one-piece garment that can be worn with a blouse underneath like a jumper or still work being worn alone as a dress.  The famous actress Gene Tierney wears a very similarly styled jumper-dress, in a lovely light blue sans blouse underneath, in the 1945 movie “Leave Her to Heaven”.  The banded armscye (as this kind of shoulder extension that looks like a sleeve is called) was stiff and sticking out on its own on Gene Tierney, and I used heavy interfacing to copy that appearance.  However I have found an extant jumper-dress in rayon crepe that has a limp, unstructured banded armscye and it is amazing how one small detail as the weight of interfacing can change the whole “look”.  I have even seen a banded armscye which is highly decorated on this fancy 1940’s blouse, or one used upside down in this 1930’s evening gown.  The more you look at fashion from the past, the more you see the variety our modern RTW fashions are missing. 

The pattern for a banded armscye has the general shape of an almond because it is folded in half to be a double layer self-facing piece.  However, this “mock sleeve’’ needs to have a much lower dip, meaning the side seam is closed at a much lower point than regular garments with a true set-in sleeve.  There is a triangular insert piece that can be added to the bottom point of the armscye where it ends at the side seam, meant for when this is worn alone as a dress.  Of course, for this to be that versatile it would not be made from a wool but out of a gabardine, linen, or rayon of some sort, or something else multi-season with some body because I don’t like the ‘limp’ look of that extant dress I mentioned above.  You have to just go all the way for some styles like this – to carry off powerful fashion is obviously being committed to a style that is every bit as strong as you are…or want to be!  Crawford often said that she never went out anywhere unless she looked like “Joan Crawford the movie star”, so I’m supposing that this powerful fashion of hers was like being vested in more than clothing.  Clothing has been described as armor that makes us feel whole or keeps us safe from what brings us down.

The design was deceptively simple, really.  It wasn’t much harder than a shirt with a skirt attached, but it was the tailoring and details that I spend most of my time on to make this.  The layout required a large amount of brain power to have the stripes match as impeccably as an Adrian inspired garment could become.  I must say I was impressed at how well this pattern fit on me and came together, as some 1940s Simplicity patterns can be not that great, so the design deserves credit for my success – and I am quite pleased with this!  I love how the pin striping miters in at the seams, and even ended up matching so well where the darts meet the skirt at the waist.  I even somehow got the collar to match!  To highlight the design and lay around with the striping, I had the banded armscye be horizontal while the rest of the dress was generally vertical.  Adrian was a fan of a geometric approach to clothing.

Making all those buttonholes down the front and matching the buttons in place is and will always be such an exhausting thing to do for me, but every time I see such a garment finished it becomes so worth it in the end.  This garment is especially the case because I used an intact card of vintage buttons, which I was so excited yet reluctant to use.  It’s not that I want to just stash such treasures, or just hold onto them because they do not serve their intended purpose or get to shine just sitting in my collection!  It’s just somehow harder to incorporate an old notion into my modern vintage when I feel that I have to separate it from its lovely, dramatic, pristine display placement on a perfect condition button card.  Such notions like this remind me of how upscale and respected home sewing used to be, besides the fact that the quality of our modern notions have dramatically gone downhill!  The buttons match so well with the wool in color, but it seems to me that their complex face makes them a subtle but still noticeable detail.

I am quite proud of the statement 40’s hairstyle I pulled off with this outfit!  Joan Crawford seemed to wear her hair high up above her forehead on top her head frequently circa 1944 (see here and here), as did her fellow actresses Rosalind Russell and Paulette Goddard to name a few.  Their hair is similar but seems to be more of a comb over than an under roll like mine, making it closer to a Dorothy Gray style.  Realistically, I am not an actress and I needed a hairstyle to stay in place all day!  With a lot of hairspray and pins, it did stay!  Beseme brand “Red Velvet” lipstick completes the vintage look.

So – do you think you will try the over-emphasized shoulder look for yourself?  Do you love it the way I do?  Say yes to the shoulder pad!  Knit fabrics nowadays have people so used to a close body fit, but extra fabric and shoulder pads to structure the body can and does have its benefits if your body shape is something waist and below you’re self-conscious about.  1950s hip exaggeration works the other way around, making your waist and above seem smaller.  I’ll stop there.  All I’ll say is that’s the not-so-advertised benefit of vintage – you can choose an era or styles that work well to compliment your body!  What do you like yourself most wearing?  Are you on the camp of Bette Davis or on Joan Crawford when it comes to the subject of their long-lasting feud? (I’m neutral on that feud, BTW!)

A Tribute to Bernard the Flamingo – The “Devil in Pink”

When there are frigid temperatures, and forecasts of ice, snow, and dreary skies, part of me cannot help but mentally travel to the opposite clime…somewhere warm and sunny, where living is relaxed and duties are a thing forgotten (for the time being at least)!  Flamingos can be found at such tropical getaways, and imagery of their one-legged standing silhouette is often associated with resort lounging anyways.

This year, rather than just imagining, hubby and I are actually off at a sunny Florida beach for the moment.  Thus, now is the perfect time for me to share my 1940s outfit I made inspired by the “devil in pink” himself, Bernard, pet of the master of carefree lounging himself, Marvel’s inventor extraordinaire Howard Stark.  (Watch this clip for a small minute of understanding!)  Bernard the flamingo was the loud and hard-to-handle bane of Howard’s butler, Mr. Jarvis, to the humorous amazement to the two ladies Agent Peggy Carter and Mrs. Ana Jarvis in Season Two of the Marvel TV series.  This inspiration was the perfect opportunity to channel my love of vintage, Agent Carter, and casual yet nice separates all into one handmade outfit.

Thinking of a warmer climate basked in sunshine, my post WWII blouse has brass sun buttons and golden flamingos printed on a rich pink rayon.  My trousers are a multi-climate wool blend twill in practical khaki tan with post-war style hem cuffs for a masculine touch.  My accessories are a classic straw fedora (just like what Agent Carter had), pink patent oxford-style shoes, vintage pink pearl earrings, and an old 40’s original tooled leather box purse, the kind that were popular tourist souvenirs brought back to the states for sweethearts.  I couldn’t be happier with the comfort, chic, and practical usefulness of this set!  It’s a girly pink overload (with the shoes, too) in a restrained and professional way coming straight from the past.

THE FACTS:

FABRIC:  Blouse – a 100% rayon challis; Pants – a wool blend twill in a medium weight thickness

PATTERN:  Simplicity #8243, a reprint of an original year 1948 pattern #2337, for the blouse and a vintage original Simplicity #4528, year 1943, for the trousers (used before to make these denim pants)

NOTIONS:  I used everything from on hand – bias tapes, cotton scraps, thread, and vintage notions.  My pants have an old vintage metal zipper in the side, and my blouse’s amazing sun-image buttons come from hubby’s Grandma’s stash.

TIME TO COMPLETE:  The blouse and the pants came together quickly – about 5 to 7 hours to make each.  The blouse and the pants were finished in June of 2017.

THE INSIDES:  all cleanly bias bound

TOTAL COST:  The flamingo rayon was bought in early spring 2017 at JoAnn’s fabric store, while the fabric for the pants was bought at a rummage/resale store for only $2 for 2 yards. I don’t clearly remember the total but I think the blouse and pants together might have been about $10…pretty good, right?!

I had been saving the khaki fabric to make something that would be a staple piece which would see much wearing – weather that would be a 1940s Eisenhower jacket, vintage trousers, or a 1930s skirt, I wasn’t sure.  The flamingo fabric was a sudden, spur-of-the-moment purchase – one of those things that when you first lay eyes on it, it screams to you “you need this”, and then mentally you know exactly what to do with it.  The sudden purchase helped me narrow down what to do with the fabric purchase I had been hoarding.  Together, these pieces are awesome, but I really do immensely appreciate how each goes with so much else in my wardrobe.

Many times, spur-of-the-moment projects can satisfy one’s creative need but not really fit into one’s existing separates.  Not so with this blouse!  It actually looks good with khaki skirts, denim bottoms, and even some rust red and dark brown or white colored bottoms too.  As for the pants… they are something I really don’t know how I lived without until now.  I like them so much better than my basic black knit pants.  The material is nicely substantial and wrinkle free, and doesn’t show fuzz the same as a dark color would.  When my pants are worn with a basic blue oxford shirt and some suspenders, I feel like vintage menswear for women wipes out modern business attire.  Not even close to equal in awesomeness!

Rayon challis feels remarkably soft and silky on the skin, but as this was a blouse, it needed some stability in the neckline.  I didn’t want the collar and button front to be overly stiff from interfacing so I opted to use plain 100% cotton instead.  This gave it a bit extra body, and kept the fabric from losing its shape, without the stiffness.  As I used khaki colored cotton for the interfacing substitute, it also helped make the facing become invisible (more or less).  The pink rayon is slightly sheer, but a slip or anything skin toned becomes invisible under it.  I was afraid the double layer of fabric, where the collar and button placket are faced with on big fabric piece, would be glaringly obvious, making the pink a different color there.  However the flesh toned cotton interfacing happily disguised that.  I do like my sewing to be well engineered, keeping up the art of beautiful insides with tricky facings as subtle as if they are not even there!  Keep this in mind if you try this blouse in a light color, too!

The shoulders of this blouse pattern seem to run slightly small.  I have generous upper arms so I commonly have problems fitting in modern sleeves and some vintage sleeves, anyway.  This pattern is definitely not the tightest in its armscye, but it could benefit from a 5/8 inch longer shoulder seam in the bodice to make it extend out to the end of my actual shoulder blade as well as a wider back for more reach room.  The trio of darts at the sleeve caps are such a lovely detail, and make the actual sleeve itself generous in room, so any tightness in the bodice’s armscye is easily forgivable.

Besides the sleeve armscye, I did not find any major regrets to change for next time.  I did however, look ahead and make a bunch of slight tweaks.  The hem length ran a bit short for a blouse to stay tucked in on its own so I lengthened the blouse the fall under my hipline.  The collar was a steep curve to turn right sides out and so I snipped the seam allowances throughout down to about 1/8 inch.  The facings did not lie down as nicely as they could so I made the outer hem wider for a thinner facing that meets the back neck collar seam rather than hanging over it.  The recommended button placement was weird – the top button makes for a very chokingly high necked blouse while the bottom button ends right at the waistline making it hard to tuck in without looking like you have a majorly protruding belly button.  I lowered the top button by over an inch and raised the bottom one by ½ inch (could have brought it up even more) with the middle one coming in between the two.  Finally, I added a snap closure to close the blouse between the last third button and the hem.  This below the waist snap is something I always see in vintage patterns, and it helps keep my blouses closed nicely so I added it here even though it wasn’t in the instructions I saw.  Most of these recommendations I also made to my second, sequel version of this pattern – my silk orange Agent Carter blouse, posted here.

The length of the sleeve hems is something I see frequently “misunderstood” when I see versions of this pattern sewn up.  Looking at the original pattern piece, the extra length to the sleeves might appear as a ¾ length sleeve.  I installed my sleeve unhemmed to see for myself, and yes, it turns out as long as a ¾ sleeve.  I did not like this look in the least on my blouse, nor did the sleeves strike me as having the right shaping to give elbow room to be a ¾ sleeve.  Even if you do the instructed 5 something inch hem this makes the sleeve above elbow length, just like what you see on the silky red version on the model images on Simplicity’s site.  If you look at the original old pattern’s cover, the sleeves are meant to be cuffed, and honestly I think a shorter, mid-bicep sleeve looks better with this blouse, anyway.  It takes a lot of extra fabric to give room for cuffs, and I find it so weird, confusing and misleading that the line drawings and made-up versions to this pattern seems to inexplicably “forget” to show sleeve cuffs, throwing many sewers off with this pattern.

If the versions of this blouse that I am seeing are longer sleeved because they are intended to be so, because they like them that way, then that is another story and all fine and good.  But it sure seems the sleeves are this way because of a glitch on Simplicity’s part, since the pattern works out just fine being cuffed without making any changes.  I am wondering how many don’t see the sleeves were originally meant to be cuffed, and they don’t realize that in the extra hem length as the pattern intends all because Simplicity “forgot” about it in their modern make-up.  Every little detail matters when it comes to vintage – that is what makes it so loved, so likable, so unique, and so timelessly wearable.

Speaking of the sleeve cuffs, since I had made these pants before, and they fit me out of the envelope with no changes needed, I was comfy with the assurance of a good finished pair of pants and therefore played around with the long hem to add cuffs at the hem.  Each is cuff is tacked down in four places – one at each side seam, and one at the center fronts and backs.  This is what I did for the cuffs of my blouse sleeves, as well.  Cuffs are somewhat confusing because you have to over account for the extra fabric, but as I had my previous pair of pants to measure from and I had just done the cuffs on my blouse, I felt more to grips with making cuffs on my pants.  I think I would have preferred the cuffs to be a bit wider, now that I look at them, but I feel like they match the blouse this way, add a touch of masculinity, and bring my WWII era pattern up to date with the freedom from rationing that would have been the case with a 1948 outfit.

For these pictures, I had a good taste of how Bernard could easily have been a bothersome handful which was his reputation when we visited the flamingo pond in our town’s zoo.  I was a yard or so away from a flamingo fight and they were totally unafraid of people.  For all their socialness in the pond, they can really get into things with each other!  Their noise quickly turned into a harsh and grating ruckus, and the two fighters walked away with a pride that was really laughable for their movements.  Bernard the pet had no intentions of acting like a pet in the least if he was anything like the flamingos I saw!

In ancient culture, flamingos represent a calming confidence.  It can also stand for femininity and a firm outspoken attitude.  Combine all of these together and there is one awesome combo to stand for an interesting creature.  The wild, unpredictable brashness of the flamingo was sort of a running joke and source of humor to the creators of Marvel’s Agent Carter, some of whom I hear were pecked at and chased down by Bernard off set.  A trio of Agent Carter ladies had show-girl style flamingo inspired outfits for the song and dance sequence in the beginning of the 9th episode, and from what I have seen on the social media sites of some of the actors/actresses, but especially the costume designer Gigi Melton, anything flamingo related (brooches, novelty fabric, fan art) is appreciated.  So – this outfit is to all of that quality entertainment, killer vintage style, and much-needed inspiring characters which is Agent Carter.

You will be seeing my pants making recurring comebacks to match with some of my future to-be-posted blouses.  Other than that, don’t fall over when you try to stand like a flamingo, and I will be back at home to share something closer to my winter clime when I give you my next post.  Here’s to happy sewing everyone!

“Winter Soldier” Blue Suit Dress

I despise the cold and hate the season of snow and dead looking trees.  Grey skies and a body not tolerant of bundling up in layers combines to make the fact that we’re at the beginning of what is officially winter now gives me no reason to celebrate.  In my mind I’m like a “winter warrior” that endures through the tough season…wearing my own made garments to make staying warm much more enjoyable than it could be.

This post’s suit dress is from 1955 and to me is the best of me putting up with the past cold season in lovely vintage style.  I love this!  Warm (but not bulky) boucle, slimming design, interesting asymmetric features, and mid-50’s chic fashion.  There’s even a good influence of Agent Carter inspiration, courtesy of Peggy’s Smithsonian interview from the movie “Captain America: Winter Soldier”, to combine for one awesome result, if I do say so myself.  (Watch the whole 3 minute clip here…warning, it’ll make you cry!) My dress may not be as “line for line” a copy as some of my other Agent Carter makes, but it is definitely similar in a way that is clearly recognizable, even if I do only have one lapel!  Life is better with a little bit o’ Peggy in it!

A good Agent Carter dress in 50’s era class deserved an amp up in some quality features.  Perhaps that’s why this dress is the first to have me hand-stitch everything when it came to finishing – the side zipper, all top-stitching, and all hemming.  As one who hates hand work due to achy wrists and a bad neck, this is a truly strong statement to how I feel about this (not just a slight brag) that my “Winter Soldier” dress is the first to have deserved such treatment.  It deserved it, believe me, but all that hand stitching taught me some unexpected but much appreciated lessons on a new outlook to certain aspects of sewing.  More about this down later!

To “top off” my set is one of my favorite vintage hats that I own – a rich navy velvet halo hat, also asymmetric in style, complete with a matching velvet vintage clutch purse.  My gloves are also vintage, so I guess my suede, patent toed heels are the only real modern accessories of my outfit!  This kind of asymmetric halo hat found great popularity for a short period of time (about 1948 to 1953), so my hat is a tad early for the actual date of my pattern (1955).  However, as the “Smithsonian Interview” scene was supposed to be in 1953, it is right on spot in both year and complimentary style, I do believe.

My lipstick is my favorite crimson shade, “Red Velvet” from Besame Cosmetics.  “Red Velvet” goes on so smooth and is intense in pigment.  It often lasts through eating a meal!  Anyway, I’m naturally swayed in favor of “Red Velvet” – it’s the color that the Agent Carter actress Hayley Atwell wears whenever she’s in character, so it is only fitting to pair it with this Captain America outfit.  I love how subtly patriotic and richly cheery it makes my mellow winter blue suit dress!

THE FACTS:

FABRIC:  an acrylic/poly/rayon blend boucle lined in a crepe-finish polyester

PATTERN:  Simplicity #1353, year 1955

NOTIONS:  I had all the interfacing, thread, and other notions needed (bias tapes, shoulder pads, zipper) in my stash already.  Yay for using what’s on hand for a project that easily comes together!  The buttons are vintage from my Grandmother’s collection.

TIME TO COMPLETE:  This was finished on February 11, 2017, and took me about 20 or more hours to make.

THE INSIDES:  All cleanly bias bound, as boucle shreds like a maniac otherwise!

TOTAL COST:  The boucle had been in my stash for I don’t even remember how long.  It was one of those good materials that I hold onto until I find a very convincing reason to use it!  My lining was something from my longtime stash, as well, so I’m actually counting this as free!

I’ve never gone wrong knocking-off or copying a Peggy Carter outfit for myself, and this dress only continues the good trend, even though it is from the next decade than we’ve traditionally seen her in.  It is definitely 50’s, but it still has the strong shoulders with waist and hip slimming features that looked so well on her in the 40’s.  In classic Peggy style, my dress is a wonderful combo of appearing impeccably put-together in a garment which is comfortable and practical.  This is a soft, not stiff or even itchy, suit dress in just the right weight to keep me warm yet without being overly toasty indoors.  I have no idea if such an ideal dress exists in RTW (I am highly skeptical there is), so I am extremely thankful to be able to put my sewing capabilities to use to make my own “copy” of a garment worn by my fashion muse, Agent Peggy Carter.

Sewing this dress was a real pleasure.  Sure it had its challenges, especially when it came to getting sharp corners to the collar and adding in the skirt pleats.  The boucle was lofty and nubby making it hard to be so precise with such details.  As tempting as it was to just pin it all down in place and whiz through to tack it down with a machine stitch, I couldn’t stand the thought of a harsh stitching line around the edges standing out against the lovely speckled boucle.  I wanted a finish that would blend in with the boucle invisibly and there was only one way to do it.

Many times I feel an inner unwilling tolerance to the necessity of doing a large amount of hand stitching, most due to my resulting physical discomfort.  This time, I slowed down and took time to give it the detailed work it deserved, coming to a new realization of the power of time lavished and well-spent on a special quality which sets handmade clothes apart in best of ways from RTW.  When a certain hand-made technique would make a particular garment be finished with a quality which would bring it to another level, a handmade garment can receive that treatment whereas a RTW dress made in a sweatshop or factory setting will not…ever.  Bureaucratic time restraints and the frequently penny pinched fast fashion system has too many limitations on the quality of what can be offered in stores.  A home dressmaker’s common constraints are often finding “free time” and availability of easily found or affordable supplies!  As efficient and productive as I am with what I make, I do not like to see what quality I want be sacrificed to time constraints…especially not after this dress.  What I found is that when I relaxed and appreciated my hand sewing like never before, it was not as uncomfortable to my body or as terribly drug out as I had expected.  It’s amazing what a new outlook can do.  I really do believe that quality concerns must be one of the many reasons I sew.  I just hadn’t seen this before I had this dress to give me an example and come face-to-face with it.  Poor quality is one main reasons why store bought clothes so quickly end up thrown or given away, and become uninteresting.  High quality is one of the main reasons why a vintage garment from 50, 70, or more years ago is still existing in such good condition and are such a treasured treat to wear.  I want to learn from time-honored lessons.  Be warned, though – a French seam or a hand-picked zipper and hems can totally “spoil” you in a very worthwhile way!

Speaking of details, other than the aforementioned challenges with the points and corners arising from the nature of the fabric, the rest of my challenges were mainly about fit and the asymmetric front.  You see, asymmetric designs are always an interesting departure from the “norm” because suddenly you don’t have one pattern piece which is laid on a double layer of fabric for an easy, instant result of both right and left sides.  Ever since this 1947 asymmetric dress, I realized the importance of making sure your patterns are all equally facing “right side up” when laying them down on the single layer of fabric, otherwise you don’t end up with a “left” and a “right” piece with the good side of the fabric on the outside.  When you are cutting double fabric layers with one piece you don’t have to think of this detail.

Also, the fit was a bit unexpected on this pattern.  The bodice turned out generous, but the skirt turned out slightly small.  Bringing the seam allowances out and then in at the proper areas helped this matter but even still, this was a weirdly unique fitting fluke for a 50’s pattern.  Oh well, this gave me an opportunity to use some thick 80’s style shoulder pads from my stash so as to fill in the extra fabric to the bodice, pick it up, and square it off.  You’d never have guessed such big shoulder pads were in there, right?  I’m always amazed at how vintage fashions benefit so discreetly from exaggerated shaping!  Shape definition is something this decade of the 50’s was known for being good at – creating and emphasizing the ‘ideal’ hourglass shape.

From the back the dress merely looks like a lovely, tailored, but basic dress.  The sleeves quietly amp up the details – they have darted French cuffs (similar to these on this 30’s blouse I’ve made), cut on-one with the sleeves and merely faced.  Now it’s the front that carries the weight of the intricacies!  It might look like a wrap, but that’s only part of the guise.  The “wrap” is sewn down from the waist to mid-thigh were the skirt releases up into a double pleated opening for fashionable freedom of movement.  The pattern only called for a solo oversized button to ‘hold down’ the collar’s left lapel, but as I had a matching smaller sized button I added it above the waist to help keep the bodice wrap closed a little better and add to the asymmetric appearance.  I will definitely be trying out pulling a small scarf through the collar lapel buttonhole, just like the cover envelope shows, for a whole different visual effect!

My background is meant to lend a professional and city living kind of air to my outfit besides being rather accurate in era.  However, for clarification, my background building is special…just about the last of its kind in the area, an icon in the history of the famous Route 66.  It is an early 50’s office space, a late successor in the style of the infamous Coral Courts Motel, which had been just a block up the street.  Glass block windows and golden bricks with decorative aluminum work began in the 1940 and 1950s as a way to build the bridge between late Art Deco and early Mid-Century architectural styles.

The end of this post brings me to think of a quote from Sir Ranulph Fiennes, “There is no such thing as bad weather, only inappropriate clothing.”  I see he’s described by The Guinness Book of Records as ‘the world’s greatest living explorer’ so his quote may not be the best from a fashion point of view, but technically it’s still every bit as appropriate.  From my point of view, I really don’t see how, if you can sew or knit, why your clothes can’t be every bit as warm AND as fashionable as you would like!  Beat that you cheap store bought dresses that only make me freeze in the winter…or you worthless sweaters that have unravelled on me after a few washes.

What is your favorite winter garment to make or favorite winter fabric to use?  Do you like the dressy luxuriousness of velvet, the loftiness of fleece, cozy comfort of a knit, or the warmth of a classic wool?  Do any of you find yourself infatuated with boucle as I am?  If you haven’t experienced this fabric for yourself, you need to!  Let me know your special way of rocking your winter style!