Quilt Coat

     This post’s project is a long-time dream finally come true…and it has turned out to ever more wonderful than I ever imagined it could become.  Here is a winter weather item that actually makes me look forward to the colder season!

     For a good number of years, refashioning damaged or unwanted quilted pieces of all eras, sizes, and usages has been a strong trend, so this idea has been on my mind for far too long.  I had to eventually try such a thing out for myself!  Thus, I was ecstatic when an old bedspread of ours needed to be downgraded from being in our sleeping quarters to the scrap pile due to some tears, holes, and stains.  The opportunity to sew my own quilt coat had come.  This plays into the theme of my previous post (here) where I talked about how to give a glow up to something you already own so that it can benefit you in some positive way at no cost to your wallet.  Here is another fine example of my point! 

     My quilt coat is also another example of something I am very proud of that was made just before the end of last year, just like the dress from my last post, as well.  Yes, I will be catching up on 2022 projects for the next few posts, so bear with me.  The bedspread I used was not antique, but perhaps about 15 years old and had just been decommissioned earlier in ’22 .  Then, when the “Sew (Outerwear) Together for Winter” sewing challenge was announced for November, I realized I now had an impetus to take on this coat project asap.  The bedspread did take up a lot of room in my fabric stash area and I wanted to instead see it taking up useful space in the closet in between being worn on my back. 

     It was amusing how our son was quite confused, in a way unlike for any other project he has seen me make, when he saw me trying my coat on for the first time.  ”Wasn’t that from your bed?” he said disturbed.  Nothing is safe in the house now that I am branching out to sew with other things beyond fabric.  Anything really can be material.  I have made a few bed sheet dresses (posted here, here, and here), so maybe that was the beginning point for where I am now at.  Who knows…maybe next I will be cutting up curtains!  Sewing is a slippery slope to finding all sorts of fun and creativity.

THE FACTS:

FABRIC:  a cotton quilted bedspread

PATTERN:  Simplicity #4032, year 2006

NOTIONS NEEDED:  I had all I needed on hand – thread, vintage bias tape packs, a hook and eye, and one covered button blank set

TIME TO COMPLETE:  This coat took me a total of 6 hours from cutting out to finish.  It was completed at the end of November 2022

THE INSIDES:  cleaned up and zig zagged over for no fraying edges (as you can see in the picture at left)

TOTAL COST:  Nothing!!!

     Now, let’s get into some terminology before I dive into talking about my actual coat.  A quilt isn’t always for the bed but a bedspread is always quilted.  Key differences between a bedspread and comforter is the level of warmth they provide.  Comforters are made to provide insulation and warmth during cold months, while bedspreads are much more lightweight and breathable making them ideal for warmer conditions.  Meanwhile, a blanket is a generic term that refers to almost any bed covering thicker than a sheet, including quilts, duvets, and comforters. Confusing, am I right?

     This is why – for as much praise as I will heap upon this creation and as much as I love to wear it – this coat does not keep me warm, only cozy in the winter.  It is great for transitional seasons like Fall and Spring when it is moderately chilly.  However, anything near to actual cold temperatures and all the terminology listed above explains why I lose all my body heat.  A quilted bedspead is breathable, and a good outer layer, but does not keep me insulated.  The benefits it provides on a bed in a heated house to keep me snug on a chilly night do not work the same when out in the elements.  There is nothing with this coat to actually keep my body heat from escaping and giving me a chill when I spend too much time out in the near freezing temperatures.

     I must admit, though, that I am sensitive to being cold, and am not one to survive the winter season in a heavy sweater, light jacket, or exercise hoodie.  I need an actual puffy, furry, or woolen winter coat.  Worn alone as the sole outer layer, this is comfortable for me only for chilly weather.  It is a fancy equivalent to a heavyweight sweater.  Luckily, my town has a great variety of temperature swings all year round and I can wear this on our mild ‘warm-up’ days in the heart of January.  Yay!  I have been keeping this coat out of the closet where I can see it because I am not over the beauty of it but also I want to keep it as available as possible. 

     If I would have lined my quilt coat, this issue of its warmth factor would have probably been either resolved or partially amended.  Yet this bedspread was reversible and is just as pretty underneath as it is on top.  All I had to do was make sure I kept my inner seams clean and the inside of my quilt coat was guaranteed to be lovely keeping it unlined.  Besides, why complicate things?  There is a beauty and benefit to keeping things simple.  After all, this was my first go at the quilt refashion, and so I didn’t know how this project would sew up or if it would turn out, or that it may need a lining.  After years of paying attention to how other makers finish their quilt coats, I have seen both lined and unlined ones almost as equally.  It really doesn’t matter either way.  The beauty I appreciate with every quilt coat is their individuality…no two are the same and each one is as uniquely a work of art as the person who made it.

     My first quilt coat ended up being better than what I had hoped for as it is, even with the reduced warmth level.  Yet, even if it hadn’t ended well, the experience I had making it is everything.  I have worked with a pre-quilted cotton batting fabric before, both times as a lining layer for warmth – first for this 1940s jerkin vest and then inside this Burberry style plaid coat.  I found that a real quilt was actually much easier to sew and work with than that material.  Now that I have one quilt refashion under my wing, I have realized all sorts of tricks (which included having to pull out the old, bunched up stuffing from around the seam allowance) and taken many mental notes.  I don’t regret anything here (which is big for as hard as I am on myself) and feel very happy with my methods, but next time I am prepared.  Yes, I will be taking another go at this at some point in the future!  Now I just need to wait for the next serendipitous quilt acquisition to come my way, and in the meantime work on some more little projects for the rest of the quilt scraps.  I’m considering a historical inspired vest, a purse or tote bag, and maybe a sunglass case.  We will see!

    The pattern I used was something I have been badly wanting to try out since it was released in 2006.  That is awhile to wait on trying out a pattern, right?!  It is every bit as wonderful as I had anticipated it would be.  I chose view A.  The overall coat’s sizing was perfectly spot on, the various options for different collars, hem panels, button closings, and added details are all appealing, and it was so easy to make.  I highly recommend this pattern and see no reason why it needs to be a “fleece only” design.  A nubby boucle, and mid-weight suiting, or even a sweater knit I think would all suit this pattern.  If using a fabric other than a fleece, however, you do need to figure out on your own how to finish the edges.  I chose a thin ¼ inch vintage 1980s pack of matching blue bias tape along the collar and hem edge.  No interfacing or fiddly facings are even necessary here, as my quilt coat is entirely one layer.  I will definitely be coming back to make another view of this pattern in the future.

     I wanted a pattern with minimal darts and simplified lines so as to let the quilt paneling shine and this pattern was perfect for fulfilling my requirements and giving me room for creative placement.  Two out of the four quilt corners became the chevron sleeves.  The collar was cut from the edging border.  The decorative round middle part of the quilt was centered over the back panel.  Finally, the front body pieces were cut from one of the four large medallions that were around the center of the quilt.  It was quite a balance to try to find a creative vision that complimented overall yet also avoid the stains and tears in the quilt.  I had to draw a few of my own balance marks and points of placement to try and find some symmetry as I was cutting out each piece single layer.  I am head over heels with the intricacy of combining the curves, the points, and straight lines.  My math loving heart is pleased with all the geometry. 

      My styling inspiration was 1984 Ralph Lauren.  He had his winter collection that year to have cozy sweaters, romantic blouses, and quilted blazers and skirts.  His was the high end interpretation of the frontier or prairie look that was popularized since the late 70s through other lines such as Betsey Johnson, Jessica McClintock’s Gunne Sax, and Laura Ashley.  I wanted to channel that in a small degree.  I was happy that I actually had a ‘me-made’ skirt already made to perfectly call to mind the Ralph Lauren aesthetic.  The skirt has been posted already (here).  It’s a favorite staple piece from my wardrobe, so much so that it is starting to both fade and wear out by now! 

To complement the aesthetic, I am wearing a reproduction Victorian blouse, complete with a dizzying amount of pintucks and lace, which I bought in the 1990s along with the floral abalone shell brooch at my neck. My earrings are a little something I made myself in the 90s, as well.  They have sterling silver ear wire and a duo of blue glass seed beads above and below an orchid tone fiber optic bead. They were a drop earring which was simple and sweet enough to ease me in dangling earrings as a teenager!  

The dog chewed a few holes in my quilt but it is still usable! Check out the label I made.

     This refashion has helped me gain a greater respect all the vision and the time that goes into quilts.  I have not yet made a quilt beyond a small basic one made of squares of scraps leftover from the dresses and costumes my mom made me as I child.  I sewed this little quilt as a preteen simply for my dog’s enjoyment.  Neither am I inclined to make a quilt myself at the moment, but we do have my husband’s Grandmother’s old quilt frame…so who knows what is in my future!  I do have enough scraps of fabric, for goodness’ sake! 

For now, I am content to admire all the existing quilts out there, and keep my options open for the possibility of another quilt refashion in my future.  I still prefer quilts to be on a bed where I can both fully appreciate their warmth and their details can be on display.  However, now that I know what can be done with a damaged one, I will be more than happy to rescue any quilt that has seen better days and needs a new lease on life. 

Counting Down…

    A ticking clock tracking the arrival of the New Year of 2023 isn’t the only thing I am watching at the moment.  In case you missed it, I just had my 450^th post here on my blog, so I am now counting down to my next milestone…number 500!  What a way to end my year!  Although 2022 has been one especially tough and challenging time for me, my blog and its wonderful readers is one reason alone to count my blessings. 

     The pieces highlighted in this post are a merging of multiple decades and influences, all combined into one versatile but elegant ensemble.  This is so classic of me to do!  The jacquard over blouse is from the mid-century “Swinging Sixties” and the dress is from the “Hippie Era” of the 1970s.  Both were put together in a way that I hope is reminiscent of 1930’s era glamour.  I do believe that it would be hard for anyone to ever guess the origin decade of each design with the way I made them!  Of course, some of this may be due to the way I interpret my old patterns – I do need my handmade garments to be a modern and very individualistic interpretation of past styles. 

     Such ambiguity of vintage fashion only goes to show that stereotypical looks are frequently not a catch-all summary of a particular decade out of the past.  In every commonly held story about fashion history there is something yet to uncover that’s quietly hiding between the lines, just waiting to be shared by the right person.  Those further stories are something I attempt to expound upon through my blog.  As I have been progressively going through the fashions of the last 100 years and their history, individually sewing each year in antiquity, it seems that the more things change, they also stay the same to a point.  It is sad to know this is the last post of 2022, but also exciting to look ahead to everything I will share with all of you for the coming 2023.  Here’s to more fabulous fashions to sew, further historical details to learn, fun times to share, and more glimpses into my life – all to be seen here at “Seam Racer”!

THE FACTS:

FABRICS:  a black polyester satin and a polyester/metallic jacquard, both lined in a cling-free, matte finish polyester

PATTERNS:  Simplicity #7807, year 1976, for the dress and Vogue #5419, year 1962, for the short over bodice – both patterns are vintage originals from my personal pattern stash

NOTIONS NEEDED:  lots of thread with two zippers

TIME TO COMPLETE:  The dress was made in about 10 hours, while my over bodice was in 6 hours.  Both pieces were sewn at the end of last year (in 2021).

THE INISIDES:  As both pieces are lined, the inner raw edges are fully encased except for the skirt half to the dress, which has its seams left raw because they – being cut on the bias – do not fray.

TOTAL COST:  Both fabrics had been bought from my local JoAnn Fabrics store about 6 years back for other projects.  The jacquard was a clearance remnant so my one yard was half the price of a full yard with 50% off – a price of $10, in other words.  The black satin was on sale, but I did buy 3 yards.  My final total was about $35 for this set.  

     Half of this project has been on my mind for many years.  My first inspiration started by finding the jacquard remnant and feeling it had a nice modern Art Deco revival feel to it.  However, there wasn’t much there and it was too polyester looking at close inspection to pass for a true Depression-era piece, though.  This fancy Vogue #5419 pattern was the perfect match for being economical as well as channeling how the 1960s era revived the 1930s.  I specifically wanted the over blouse top to be a shoulder cover-up for an ivory brocade strapless dress I bought for myself 10 years ago (as seen in this post under my green jacket).  Adding a handmade garment to complete a ready-to-wear one always gets me to wear the one I didn’t make all the more.  The two garments did end up matching well.  After all, the dress I had was pretty much a line-for-line copy of the under dress included with the pattern for the over blouse.  Nevertheless, the knee length gives off a cocktail dress air, and I needed an evening outfit more elegant for my husband’s work’s Christmas party.  It was back to the drawing board.

It was sad to discover that the two dress bodice patterns had been cropped into almost a dozen pieces by the previous owner. I had to bust my brains assembling them back into their proper shape & size before using.

     This was the part of the project that had not been planned!  I brainstormed with barely a week before the event and looked through my stash of fabrics available at home.  Luckily, I had a variety of solid toned satins in larger cuts (about 3 yards each), hoping to use them for some 1930s gowns in the future.  Relying on only what was on hand, I happily, quickly, and economically whipped up this little black dress that is like the best of the 1930s and 70s combined.  I love it because it is unlike any other black dress in my wardrobe yet also so comfortable and sultry at the same time.  It glamorizes my jacquard bodice and fills in the scoop neckline just like I wanted.  Is it even an important occasion for a sewist if there wasn’t any drama in the planning beforehand?!  My outfit ideal ended up being finished with two days to spare.

     Let me begin with the easiest to make of the two – the over blouse.  It was easy because it was basic with just a few pattern pieces, yet I simplified it even more by eliminating the facings.  I did use the facing pieces to cut out iron-on stabilizer for the neckline edge, but otherwise the full body lining cleanly covers up all raw edges.  It is a good thing I did full lining because the jacquard was a real mess, fraying all over the place, and was very itchy against my skin when I did a few in-progress fitting try-ons.  I adapted the pattern early on by slightly raising the neckline and cutting the back body on the fold, just as was done for the front.  The pattern calls for a full buttoning back, but I instead put a zipper in the side for ease of dressing.  Being a jacquard, the fancy fabric technically had two ‘right’ sides, but I choose as my good side the one which had more black than gold to curb some of the shine. 

     The pattern did run overly generous in fit so I had to take in significant amounts distributed amongst the side seams and bust darts, as well as create a hidden fold in the center front.  The sleeves turned out unexpectedly long, way beyond the elbow, but I kept them as extended short sleeves because it evened out the look of the cropped bodice on my almost petite frame.  It was really tricky to fit.  I found it needs to be quite snug on the body to keep it from riding up.  I don’t know how the envelope cover shows the overblouse so loose fitting with so much gape.  I tried that out during one of my fitting try-ons and it did not work being worn like that.  That fit was very sloppy looking and shifted all over the place on my body.  Whatever the case, the snug fit that I found necessary meant that whatever I wear underneath needs to be thin and not bulky with definitely no sleeves.  If I wear my black high-waisted trousers (posted here) with this overblouse I will layer a tank top underneath.  My choice for an underdress is the ivory brocade one I mentioned earlier or the black satin one you see in this post.

     I don’t know about you but I can’t help but see a slight Regency era influence to the design of this top.  It is not much different than the short jackets and decorative bodices that were worn over dresses between the 1800 to 1820s time period.  Those pieces, called “Spencers”, similarly had a snug fit, empire waist, and were meant to be decoratively worn over an insubstantial dress.  Since I love Regency fashion and already have historical clothes for that era, I was therefore at ease with the odd style of this top.  Yet at the same time, it was completely out of my comfort level to pair it with modern styles.  The little 60’s top surprisingly works with more of my wardrobe than what I first intended (as mentioned in the former paragraph) and therefore gives me all sorts of new ideas for sneaking Regency styles in with my 21^st century clothing choices. 

     Speaking of sneaking things in, not only is my black satin dress pretty “old Hollywood” for being a 1970s pattern with an almost tacky envelope illustration, but did you notice how I made some cheap fabric look more elegant than it really is?  Treating myself the good stuff, like silk, has spoiled me!  I don’t enjoy polyester fabrics as much as I used to, but a black satin as shiny as an oil slick is so appealing for a design like this. 

The benefit is immediately obvious in construction when the fabric pieces want to slip away from you and the skinny spaghetti straps are incredibly easy to turn inside out.  The smooth finish to the fabric made this the ideal underdress for flawlessly fitting under the over blouse. Ultimately, however, black garments can be so hard to see in detail as well as photograph (especially indoors) but the shine to the fabric is just enough to help my silhouette not get completely lost in the shadows of mid-winter.   Yay!  I found a way to love a fabric from my stash that was languishing, forgotten and unwanted.

     What helps achieve the slinky effect that plays upon the shine is my change in laying out the pattern.  The instructions said to lay everything out along the selvedge to make it straight grain.  However, I wanted to both avoid a harsh A-line shape to the skirt as I saw on the cover illustration and get a better fit without making it tighter.  Combining these aims with my desire to channel the 1930s, I decided upon cutting the skirt half of the dress on the bias grain.  I had plenty of extra fabric to do so!  This was the best upgrade for this pattern but it really made the waist seam a beast to sew…lots of easing in the excess bias.  My effort was all worth it in the end, though, because the softened silhouette and swish factor is unparalleled.  It is a bias cut dress that has my ideal balance of loose cling while also hugging my movements.  I love this dress!

     To counteract the bias cut skirt the empire waist bodice is cut on the straight grain, interfaced, and fully lined.  It is like its own brassiere being so stable, which is convenient with the spaghetti straps being placed so far out on the shoulders that conventional lingerie is not compatible.   The high waist and the widely placed straps give this 70’s dress a Regency flair in its own right with the way it emphasizes the open neckline, strong shoulders, and columnar appearance.   I had counted on this being the case – that was the only way it was going to be pair well as an undress for the little 60’s over blouse.   I figured if both had a Regency era influence they must end up looking good together even though they are from differing decades?  I had no confidence.  When I saw for the first try-on that the two pieces actually pair so well together I totally did a happy dance.  I love this part of sewing – the one where you actually surprise yourself with what you have made!  It is the best kind of reward. 

     I have also found the dress to be an incredibly versatile piece of its own right, but the details of the extent to that may just be for another post.  It is easy to pair tops over it and wear as if it was just a skirt.  The dress makes for a very nice long length slip dress under some long but also sheer dresses.  I want to make a long length open coat to pair over the dress to have more fun with its faux Regency appearance.  I never expected such resourceful dress when I put it together but such usefulness makes me like it all the more!

Let’s play a game called find the hidden hand-stitching. Really, though – look at how both are so nicely finished!

     Everything over and above the basic garment piecing for both items was finished with my finest invisible hand stitching.  My sewing machine was only used for the hidden inner seams.  I usually save my hands and shoulders the misery of doing this unless the fabrics that I am working with are fine or need a specific hem.  However, the fabrics for both pieces were cheap enough in quality with a glossy face that would expose machine stitching in a way which would not do either fabrics a favor.  I had to keep the ruse going and treat these fabrics as if they were nicer than they are to keep them looking that way as a finished piece.  A bias cut skirt is extremely tricky to hem on a machine anyway, and the jacquard probably would have acquired runs and pulls that I would have taken to easy way of machine top stitching.  What kind of finishing your handmade garments receive goes a long way towards the finished look and is just as important as every other step in the process of a sewing project. 

     Well – I suppose I have said more than enough and need to wrap up this last post for 2022.  I hope the holiday season finery that I shared here has inspired you or at least entertained you.  I trust that this post, like all of the rest, gives you a taste of the fun, the energy, the challenge, and the enjoyment that goes into everything related to sharing what I make…from a planning forethought to that final click of the publish button.  It is my way of reaching out to all of you, so I love it when you reach out to me with every like, comment, or message.      

My wish is that this upcoming New Year is the best yet to come for all of us! 

Refashioning My Own 60’s Style Babydoll Blouse

When the items I sew for myself no longer fit or work for me in some way, they are not given up on but treated just the same as – if not better – anything else in my wardrobe.  They either get refitted, resized, or mended.  If any of those three actions are not possible for one reason or another, they get refashioned.  This has especially been an important task for me to tackle since 2020.  Ever since that year, the reasons and occasions for which I leave the house has decreased, so I sensibly expend my sewing efforts on the wardrobe I do have versus only adding more new (me-made) pieces.  Just recently I refashioned a project I made almost a decade ago, and this has now turned out to be a much more appealing creation for me than when I completed its first iteration! 

I sewed up the original blouse in 2013, and it was a success, but never as interesting to begin with as I have turned it into today.  As I said in that original post, I struggle to like myself in peter pan collars, and overly sweet styles.  I liked it, to be sure, but never felt ecstatic over how it turned out enough to be ranked as a ‘favorite’.  I wore the blouse for only a few years after it was made since it quickly became too snug to be comfortable.  To be fair, I originally cut it out in a smaller size – I was severely short on fabric.  Long story short, I haven’t worn this for the last 8-something years and now that problem has been amended in the most fantastic way I could have ever hoped for! 

This is the old original top, for comparison.

Measuring the old top as compared to my current body, I realized I needed to add in about 3 inches widthwise to have this fit me comfortably again.  My main focus was on adjusting for my shoulders, and I (correctly) figured that a good fit for the bust of the blouse (which had been snug, too) would then follow, as well.  Aiming for about 3 inches was ideal because I had no scraps of any worth to use and needed to cannibalize from the current blouse itself.  Cutting off that much from the hem meant that the new blouse’s length would be just below my natural waistline…perfect!  The puffed sleeves do give a bit of leeway over the shoulders so I didn’t worry about an exact re-fitting.  If I would have added in much more than 3 inches my refashion would have been too dramatic and obvious of an addition, anyways.     

Most of the original blouse was left untouched, but the little bit I did do made such a bit difference!  My first step for this refashion was to cut 4 inches horizontally off of the bottom hem (the 3 inches I needed plus enough for two ½ inch seam allowances).  The side seams were cut off to make two rectangular panels.  Then I cut vertically down the center front and the center back, separating up the collar.  One of the two panels cut from the bottom hem went right away into the center back.  With this step, I was able to get my first taste of how my refashion would fit and look and I was so excited!  I realized ahead of time that the tiny polka dot print of the back’s added panel would be running oppositely of the main body.  The print is so small, I didn’t really care nor did I have much of a choice with what to work with.  I rather like the interest it adds to have the print contrast itself ever so slightly.  According to my idea, the front was going to have most of the attention so I like how the back is low-key appealing, too.

The front panel required a bit more effort than the back, since I had a grand idea for ramping up the femininity and eclectic detailing to this new version of my old blouse.  Luckily, I am quite organized when it comes to my sewing notions (not to brag, but I am proud of this fact).  Thus, I was happily able to find the little bit of aqua bias tape leftover from what I used to make the elastic casing on my blouse’s puff sleeved hems.  The bias tape was extra wide and double fold, so I found that opening it up fully made it just about 3 inches wide…I suppose you can guess how thrilled I was to discover this!  The solid toned bias tape, which was opened up and ironed out as if it was a cut of fabric, was layered over the remaining blouse fabric panel.  Doubling up here both used up all of my fabric cut off from the hem and kept the front from being see-through (the bias tape was tissue thin), besides lending some wonderful continuity to the overall look of the blouse. 

With the idea that “more is more”, I also sandwiched some vintage cotton lace into the seam when stitching on the front panel.  The lace is a slight ivory tone to complement the yellows and greys in the collar.  Then, I found a half a dozen vintage ivory pearled ball buttons from my paternal grandmother’s notions stash.  The buttons really filled in the big empty front panel and matched with the lace bordering the front.  It seemed to be a popular design element to have a decorative-only contrast chest panel to blouses and dresses of the 1960s.  I suppose I was kind of vaguely inspired by seeing such patterns in my own stash (such as Simplicity #6801) or through perusing online (see Simplicity 7736).  Honestly, though, my refashion was merely the best I could do with what I had available…which wasn’t much to begin with!  I wanted to add pintucks or some other sort of extra details to the front panel but I felt lucky to get by the way it was.  My blouse is immensely more appealing to me than how it first was, so good enough is as good as done for this refashion project.  

I wanted to keep the popover simplicity of getting dressed in this blouse, for all its extra elements it now had.  However, it turned so very boxy in shape with the new panels added!  I had to sew in four deep, curved, vertical darts to the bust of the front and shoulder line of the back for shaping the blouse.  I made sure to not take in enough to necessitate a side zipper.  I was trying to ride a fine line of having it fitted yet still staying as a popover-the-head top.  I never mind installing zippers (I half enjoy the process, really) yet if I can avoid doing so, I will in no way turn down the opportunity.

Not only is my refashion an improvement on the overall blouse, but I am thrilled over the way I love the collar so much better by it having a wide open neck.  Most babydoll style blouses (and dresses) have a peter pan collar that closely hugs the neckline.  It takes a very specific interpretation (such as the 1930s; see my “Snow White” dress) in a select few colors (see this 40’s “Candy Stripe” blouse I made) for me to like what a peter pan collar does for my face.   I can afford to be picky when I sew my own wardrobe!  Then again, taking such an approach helps me hone my taste in fashion and cater to my personality unlike a dependency on ready-to-wear could ever offer. 

Re-working something your own hands have already made not only is sensible, eco-friendly, and responsible, but also it requires a greater amount of creativity and determination.  I will not deny, there is a dopamine rush from the amazing process of starting a sewing project from scratch and seeing it go from paper laid out on fabric to a wearable garment.  Sure, it would be much easier to merely donate and move on, but landfills do not need a single more item added to them when a few extra hours of my time can give me back a new and improved version of my own makes.  

I find a more innate sense of personal pride in my every effort to alter, tailor, or otherwise extend the life of the wardrobe I already have.  For me, doing such actions also shows me just how far I have come with my sewing skills to be able to add significance and worth to what I have made in the past.  I am constantly mending, letting seams out and taking them in, darning sweaters, dyeing, patching or doing some other sort of garment care for me and my immediate family (even for my parents, too, on occasion).  This blouse’s refashion is merely the most visually stunning recent example of all the mundane clothing care that I do behind the scenes of my blog!  I hope this post has inspired you to “give a darn and mend”!   

In Sporting Fashion

It’s not every day I go full on casual with what I am wearing, but doing so in vintage style is my preferred interpretation for having fun exercising in the great outdoors.  Spring marks the beginning of baseball season in the United States, and so what better way to test out my newest sewing make than during practice pitching and catching with my family in the local park’s field!  I now have the most chic but playful, bold yet practical pair of shorts I could ever imagine for summertime fun!  

They are pleated, bibbed, suspender style “short-alls” from the mid-1940s in the most luxurious cotton I could find locally.  This kind of casual dressing was the preferred choice of teenagers in WWII times, but I am more than happy to rock it as an adult on the 21^st century.  Here’s to having sporting fun in just as much style as when I have a fancy affair…because handmade fashion is for me something I can wear at any and all occasion at this point!

THE FACTS:

FABRIC:  Chartreuse lime colored Supima cotton in a sateen finish (same as what I used as the contrast facing on this 1960s sun set)

PATTERN:  Simplicity #1322, year 1944 (reprinted again under the same number in the year 1946) from my personal pattern stash

NOTIONS NEEDED:  everything I used came from the accumulated stash I have on hand – thread, buttons, interfacing scraps, rayon hem tape, and a 6 inch zipper

TIME TO COMPLETE:  this was made in about 12 hours and finished in August 2020

THE INSIDES:  cleanly bias bound for all the seams with vintage rayon tape finishing the hem

TOTAL COST:  1 ½ yards cost me $16 with a coupon

As mentioned when I first used small scraps of this fabric on my 60’s sun set (posted here), I have never really been a fan of chartreuse.  Nevertheless, I know it seems quite popular and a sought after color amongst vintage enthusiasts, so I have been wanting to cautiously try this color out for myself for far too long.  The fabric’s shade listed on the end of the bolt in the store was marked as “pistachio” but as it is darker and more yellow in undertone, I see it as a true chartreuse in person.  Considering my skin tone, I do not believe I’d like myself in chartreuse if worn alone as a solo tone. 

Nevertheless, made up in a separate piece as I have done here, whatever top is chosen to pair with the shorts is my chance to play with finding complimentary colors that I do prefer.  The suspenders holding up my bib extension integrate the chartreuse into my entire outfit and keep it from being distinct blocks of color separated at the waistline.  The only reason I went with a dusty blue tee here was because I had a baseball cap to match, but it was a hard choice.  I love the look of my shorts with tops on hand in all sorts of colors, and even with my printed, tight 90’s era tees (still in my wardrobe from when I was much younger) for a modern feel. 

I was so happy to find a Sears department store advertisement from Kansas City, Missouri of the same year as my pattern (year 1944) for some “short-alls” exactly like my own.  In this old ad, they were offered in a cotton twill and listed as “bib style buttoned panel, pleats front…a Hollywood favorite!”  Unlike my last pair of 1940s era shorts (which look like a mini skirt), these are a bit more structured and obviously shorts with their shallow pleats, higher rise, and slimmer circumference of hems, making them perfect for very active activities like baseball, tennis, or volleyball.  Under the same circumstances, my blue 40’s dupe-skirt shorts have me afraid of flashing someone with a peek of my undies and leave the fabric looking stained or limp when it gets wet.  These chartreuse suspender shorts do none of that.  Don’t get me wrong, though – each pair is appropriate for different occasions, obviously.  I equally wear and love both of my 40’s shorts, but the chartreuse pair avoids all the pitfalls I discovered with my blue pair.  Here, the suspenders and front bib even keep my top tucked in place!  

I thought ahead to choose something equally soft as the rayon of my blue 40’s shorts but more stable and sweat resistant – all of which qualities I found in the Supima cotton sateen.  The beautiful, slight shine to the fabric dresses them up, but they are still just a very easy-care cotton, besides being lightweight and cool to wear, too.  My next choice after the Supima sateen was a light to mid-weight denim, and I do currently have some such material set aside (from my Grandmother’s fabric stash) for a future project of another early 1940s play set.  I successfully tried a rayon and silk blend twill for my personal version of the 1940’s “Harp” shorts offered by Tori at “Potion 23”, a local designer for whom I was the pattern drafter and sample maker.  My 80s shorts were a (border print) cotton shirting and for the 50s I did a short romper in pique as well as shorts in heavy hopsack linen.  I now have a good arsenal of knowledge when it comes to what works best for different kinds of shorts.  Fabric choice has so much to do with the success of every sewing project but I find this fact especially true for shorts.  Such a simple little garment of summer has given me so much bother trying to perfect!

I claim home base!

The only reason these shorts ended up being closer to fitting like modern clothes in the first place was really due to a re-drafting ‘mistake’.  I only realized after assembling my shorts enough for my first try-on that the pattern was sized for teenagers.  This explains why the crouch depth sits so much higher than what I expected of a true 1940s pattern.  WWII era trousers for women had roomy bottoms for a fit that did not reveal a body form shape as do pants of today.  Using a true 1940s pattern is the only reason such a ‘mistake’ worked out okay after all.  As a teenager’s design, the distance between the hip line and waist line is really 2 inches too short for me.  My hips are about 7 inches down from my waist and not 5 inches, as given.  

I should have at least suspected that this was a junior’s design since the high school teenage crowd of the 1940s were the ones most commonly rocking the sporty, fun-in-the-sun clothes of WWII times.  The envelope back said this was either for women or junior misses and recommended Simplicity #1315 (reissued in 1946 as #2062) to complete it as a “mother-and-daughter set” of matching designs.  At least I was thinking ahead enough at the pattern stage so as to grade in some extra space at the seams of the centers and sides to bring it up to my waist and hip circumference.  I had to add in a total of 4 inches because a size 12 from back then is for a small 24 inch waistline, which is a modern size 0…definitely not me.

I am no less happy with my finished item even with the little unexpected – but no less welcome – hiccup in its making.  Now I have a decision waiting for me the next time I pick up this pattern (and I definitely will be coming back to it).  Do I keep the modern fit of reduced wearing ease (aka, current juniors’ sizing) or draft in the proportions of an adult size for a proper 1940s appearance?  Either way, I may just wear the heck out of these shorts and sew another copy in the exact same color and material.  I may just pick another one of the other styles given as an option in the pattern to try.  Nevertheless, I like these bibbed suspender shorts too much to not just end up making them again in some manner.  I kind of want to revisit this same design anyway so as to redeem the crazy and confusing way of closures that I opted for in my version.

The pattern for these shorts calls for workable buttoning front bib.  I did not do that on mine.  To get a snug fit on a pair of shorts meant for athletic activity does not seem compatible with a handful of buttons.  The Supima cotton is a fairly thin, loose weave that snags, ravels, and puckers easily.  Even if properly interfaced, I did not want to compromise the material with buttonholes.  Also, I could envision the front buttons being a hazard and getting caught during activity and ripped off…this worst-case scenario would not end well. 

To end up with a stable, secure closure that keeps the look of the bib front simple, I went for the tried-and-true, good, old reliable vintage metal zipper closing, albeit hidden under the front flap.  Over the tummy and under the bib, a short zipper connects the center front seam to an extension piece I added to left side of the shorts’ main body (since the pleat is only stitched part of the way).  Then, I have an inner button and elastic loop to fully connect the waistband, as well.  The entire right side of the shorts’ pleat and bib front is stitched down in place and all of the closures are accessed from the left side only.  This was all my own idea and it works pretty darn well.  I do not know whether or not this method of closing is something which would have been used back then or not, but it just made sense from an engineering outlook.  Yes, sewing is engineering sometimes.  I do happen to be married to an engineer so I suppose he rubs off on me. 

At least I have the suspenders with real working buttonholes!  There would be no easy way in or out of these shorts otherwise, from a practical perspective, though.  The straps are stitched down to the front bib, but come detached at the back waistline where there are the cutest imaginable flower buttons in a bright lime green.  The crossing point of the suspenders across the back of my shoulders is lightly tacked together so that no matter how I move, the X shape stays in perfect position.  It’s not that I really need suspenders to actually hold up my shorts.  This is why I have them as laying somewhat loosely over my shoulders.  Yet, I just love how there is just as much interest to the design of these shorts as seen from behind with the suspenders and the cute buttons. 

I enjoy the fact that I have such me-made vintage pieces to help me look forward to getting my exercise now that warmer weather is here.  I never was a big fan of shorts until I discovered how cute and appealing the vintage-style kind could be.  No matter how simple, any garment can be elevated by good design and tailoring.  I certainly put this particular shorts model to the test run right away for the sake of my post’s pictures, too!  I hope you enjoyed the change of pace by having photos of me in the action shots.  Don’t you think I am able to pull off chartreuse after all?