A dictionary definition says there are two sides to my title word. It is defined as “bubbles in a liquid; fizz” or “the lively quality of vivacity and enthusiasm”. Well, the word also happens to be the name for my dress’ fabric print…and it is every bit as lively as its name.
I am pleased it is also a play on the two Pantone colors for 2021 – “Ultimate Gray” and “Illuminating” (bright yellow) – in a manner as trippy as a psychedelic Ishihara eye test. This works perfectly for the decade of the 60’s. I had to oblige my inspiration by using a vintage pattern to make this dress a reality soon than later. I need the mood boost this color combo promises! Pantone explains it thus, “”Illuminating” is a bright and cheerful yellow sparkling with vivacity, a warming shade imbued with solar power. “Ultimate Gray” is emblematic of solid and dependable elements which are everlasting and provide a firm foundation.” Such a summary makes my dress sound like a grounded, tangible interpretation of effervescence to me, and I like the sound of that! Add in a dash of turquoise – just about my favorite color – and I am a happy girl.
NOTIONS: Lots of thread, one 22” zipper, and some bias tape
TIME TO COMPLETE: This dress would have been even quicker to sew if I hadn’t had fitting problems…as it was this was a reasonable 5 hours to finish. It was done on June 18, 2021 and ready to go with me for a weekend getaway!
This is yet another experiment with a border print fabric. This time I had the border run up starting from along the bodice waistline. With this layout the border ends with its vertical stripes across the bust line. The remaining overall print is used for the skirt as the border runs along just one selvedge. I have seen this layout in mostly 1950s era dresses, and I feel that a pattern from the very early 60’s wouldn’t be too far of a stretch. The perks to such a use of a border print is that it visually slims down the hips by overly emphasizing the bust and shoulders. Granted, this dress has a full skirt that sort of negates that benefit, yet I did greatly pare down the gathers from the original design in my own version. This was equally due to being short of fabric as it was because I wanted the skirt more manageable. I only bought 1 ½ yards of material because I originally planned on making a blouse. Soon however, a better idea presented itself, as you can see. I’m glad I chose to sew this up as a fun, simple frock.
I think the crazy print and the fact this is above my knee in length, as well as sleeveless, helps this dress has a slight 60’s air. Yet, the classic bodice and the gathered skirt, even if it isn’t very full, helps this dress be a call-back to the 50’s decade. I wanted this to be an example of what the fashion of the early 60’s was…a thorough mix of both decades. Styles didn’t change overnight. What we think of being the stereotype fashion for a decade in the 19-something era is often a fad that came later on at the end of those 10 years. The mod youth fashion of the 60’s wasn’t a widely adopted style until after ‘65. Before then, there were a lot of deceptively 50’s looks.
Let the ‘vintage’ labelling be darned here, nevertheless, because the bodice is pretty close to having design lines of a basic two dart bodice block, also called a sloper, and the skirt is self-drafted by me to accommodate my lack of yardage. Thus, I truly don’t know how 1962 it is on paper at this point. It’s all about the styling here I suppose. I almost always have a vintage influence in my choice of accessories and the way I fix my hair, so there’s that. I do love how versatile this dress is – it can be vintage looking or not as I choose. Either way, it’s a comfortable, sensible dress that will work for several seasons, too. Adding a grey blazer, fun tights, and booties might creatively make this dress work into the cooler temperatures of fall or spring.
For being so basic, though, the bodice of this retro re-issue fits horribly. For me, the torso length was very tall (long), the bust points were high on the chest, the shoulders were generously tall, and the armscye openings were very tight and restrictive. I needed to do lots of tweaking and try-ons, including cutting several inches off of the waistline length, which only made me crabby such a “simple-to-make” dress wasn’t living up to its promise. Yet, if you do the work at the pattern stage to perfect this bodice to your measurements this would be good shortcut to having your own sloper bodice block to use to future self-drafting.
This is a fussy pattern, but once I found the original to the reprint, I feel comfortable surmising the reason why. Simplicity #3782 was originally a teenage and junior’s proportioned design. I’m wondering if in re-sizing it up to adult woman proportions, they drafted it badly and threw the fit completely off. How Simplicity allowed this to be printed this way is disappointing and beyond me. What about standard sizing and quality control? In whatever way it happened, something is wrong with the new #8591, and I might not be coming back to use this re-print again. If you do try it, make sure to be prepared for some fitting frustrations along the way to completion.
In all else, though, I love how this turned out. I achieved a very good zipper insertion despite doing it by machine, bias bindings were much simpler than facings, and self-drafting skirts is such a joy for me. The circumference of my skirt hem is the whole of the 1 ½ yard stretch of material and I took advantage of the other selvedge to avoid having to sew a hem. From the waist down, my skirt is about 22” because the border at the other selvedge edge went towards the bodice. As I my fabric was originally 45” width and I had to use extra inches along the border to match the stripes, this shorter-for-the-50’s-style skirt was all I could eke out…but I like it, after all as I said.
A fully gathered skirt would not work I knew, yet at first I gathered only the sides over the hips. This did not look right – it was much too poufy. I unpicked the gathers and made a few 3” long half inch wide tapered darts on each side to ease out the total at the waist without taking any out of the hips. This way I get a lovely bell shape to the skirt and an appearance of fullness to the small yard plus bonus length around. Ah, isn’t the best part of sewing the way you can make the most out of what little material you may have?!?
I keep surprising myself at the amount of dresses I can make out of just over a yard. This one has a full skirt to boot, though! It was a happy last minute creation that was whipped together so it could have its grand promenade on a trip out of town. Memphis, Tennessee was hot as blazes that day, but I was staying cool and looking good. What is there not to be ecstatic over here? I would say the print is very aptly an energetic word of life and activity the way my dress finally turned out, but then again most all of my handmade wardrobe gives be that happy confidence as well as this one.
Have you specifically tried to wear the two Pantone colors for 2021, separately or together? What do you see in my dress’ print – bubbles in a fizzy drink or a color test for your eyes? Do you believe along with me that there is a special “effervescence” which exudes from someone who wears something handmade?
Let’s ‘dive’ back into the 1980s decade with yet another installment to my ongoing “Pandemic Princess” series! My title gives away the royal fairy “tale” subject ahead of time here. This is inspired by Ariel, from Disney’s original “The Little Mermaid”, with an outfit dated to the year of the animated movie came out – 1989. My Pandemic Princess series was something I worked on throughout last year (2020) during the pandemic, and this outfit was one planned out at the end of the year for a wintertime visit to the new downtown Aquarium. Thus, this becomes a conservative, bifurcated version of Ariel’s mermaid look with a purple blouse and greenish trousers made for an 80’s interpretation. This is my only Disney Princess inspired outfit, too, which will not be a dress.
I wove so much symbolism, high quality, and love into all the details of what I’m wearing…Ariel was my first big deal, mega favorite Disney Princess, after all! Proof in point – my parents were somehow able to get me (as in bring it home to keep) the oversized window display which was at our local Disney store for the release of the movie. I remember dressing in a little purple bikini top and a sparkly mermaid tail to stand inside the 3-D display after they had set it up for me in the living room. I was part of Ariel’s world that day! So, please don’t mind if a grown up me obsesses over every little aspect to crafting her very ocean princess outfit, he he.
Be prepared for a “part two” follow-up to this post, also dating to 1989 and with more matching pieces to make this outfit a complete set. As big a fan as I am, one Disney’s “Little Mermaid” inspired outfit is not enough! I might also do a third Ariel inspired garment – a dress – in the future, but I know I need to curb myself in at the moment. For now, I felt it was important to channel the underwater princess as a woman with legs because, after all, her main longing was to walk, run, and dance on land! I also enjoy the juxtaposition between her wearing only seashells as her top becoming a very fun but conservative long sleeve blouse in my hands. All the blouse buttons are carved abalone shells instead!
FABRIC: Pants – a 100% wool twill, marked on the selvedge “Alta Moda – Enrico Coveri”; Blouse – a soft but tightly woven cotton blend broadcloth
PATTERN: McCall’s “NY NY The Collection” #4537 pattern, year 1989, from my personal stash
NOTIONS NEEDED: Lots of thread, interfacing, several hook-n-eyes, vintage rayon tape for hems, and vintage buttons from the collection of my husband’s Grandmother
TIME TO COMPLETE: Both pieces received much hand stitching, but the pants more than the blouse. Even still, the blouse took me 30 hours and the pants about 40 hours (not counting the pattern re-tracing I needed to do on paper to re-grade the sizing). Both pieces were finished by January 15, 2021.
THE INSIDES: Most seams are covered by vintage rayon seam tapes, but the long pants seams are zig-zagged over along the raw edges.
TOTAL COST: This set cost me next to nothing – just a few dollars – as I bought everything except the notions (which were on hand already) at a garage rummage sale.
This set might have been practically free but don’t be deceived – it is not lacking in quality. The blouse fabric is very nice cotton, to be sure, but it just so happened to be the same purple as Ariel’s brassiere shells. What seemed like the perfect find was not even 2 yards in length (at 45” width) so I was able to just barely make this blouse work out with its long sleeves and peplum. Even still, my blouse’s cotton is a pretty basic score compared to the amazing find that was the fine woolen used for my pants. It is a very greenish turquoise perfect to complement the purple, but also a mermaid appropriate tone. It was a soft, supple, and fabulously textured cozy wool. Yes, there were 6 yards of the material in total.
However, those 6 yards were perhaps the most moth chewed piece of fabric I have ever seen…quite a freaky mess! There was barely a solid swath which didn’t have a hole in it from which to cut my pants. With that fabulous selvedge marking, though, there was no way I was going to pass up the chance to try and salvage what I could from off of it. Whenever you see a stitched on ‘label’ on the selvedge of material, that’s a clear giveaway that it’s something high-end, especially when it says “Alta Moda”!
Many people may not recognize designer material, so I’ll decipher why the selvedge marking here is so important. “Alta Moda” is an Italian noun for the world of Italian high fashion, Italian fashion designers collectively, and Italian couture. It is their equivalent to “haute couture” in French. “Traditionally, Alta Moda or Haute Couture is the creation of unique tailor-made garments made mainly by hand using high quality fabrics, decorations, applications and embroideries with extreme attention to details” says The Accedemia Costume & Moda in Rome. Dolce & Gabbana is most often associated with the term “Alta Moda” nowadays, but as a designation for the industry, the words mark the difference between Milan and Rome – the former is more known for everday wearable clothes (pret-a-porter) where the latter is known for extravagant high fashion (says “Dave’s Travel Corner”). This is significant because there is the name of Florence based fashion designer Enrico Coveri behind the “Alta Moda” designation.
Enrico Coveri was born in 1952 and studied at the Accadema delle Belle Arti in Florence. In 1973, he began working as freelance designer, creating knitwear and sportswear lines, while making his mark by being one of the first designers to use soft pastel shades. He moved to Paris in 1978 to work at the “Espace Cardin”, the vast design institute set up by Pierre Cardin, and the year after he debuted with his first women’s collection in Paris. Shortly after that, he returned to Italy to establish his own company in 1979. “You Young” is the name of one of the several seasonal Enrico Coveri collections. It is also perhaps the best description for his bold, unpretentious, and fun-loving fashion: strong, vibrant colors and striking, witty designs that have always been clear and intelligible, with zany prints and knits often incorporating Pop Art designs and cartoon characters. Although he excelled at casual clothing, even his eveningwear exuded a young, sporty, wearable feel. Coveri enjoyed shocking and going out on a limb with design.
It is noted that in Coveri’s styling, attention was always given to the particularity of the materials and fabrics. His favorite fabrics included stretch satin, superfine linen, silk, cotton poplin, and sequin-covered knits. Journalist Hebe Dorsey to dub Coveri the “Italian Kenzo” in the Herald Tribune. Coveri died in 1990, at the young age of 38. (This and the above paragraph’s information is from The Fashion Model Directory, Made-In-Italy.com, and Encyclopedia.com.) Please hop on over to my Pinterest page (here) for his work and check out how full of life Coveri’s designs were in his too-short career.
This line of NY NY “The Collection” McCall’s patterns are supposed to be designer drafted, after all, so using a fabric most probably leftover from Coveri’s work and then channeling his style to interpret my version seems so appropriate. Now, I’m not intimating this was his pattern, but after reading up on his life, it suits his exuberance and love for details. It also means this wool is from before 1990…bingo. I couldn’t have chosen a better designer to incorporate into my Disney “Little Mermaid” outfit! How this vintage Italian Coveri fabric got here in the Midwest of America and why it became so moth chewed is another mystery I won’t even entertain unravelling. I feel he would appreciate the animated character influence here, as well as welcome the color tonality, but I would hope Coveri would especially like the unexpected details to the blouse and the pants of my chosen pattern.
The most obvious special detail is the front waist of the pants which have a strong mermaid-reminiscent shaping. With the dipped center and the flared, pointed sides, it calls to my mind the common way to portray the joining of the human body to the fish tail at the waist of a mermaid or merman. It’s not just all design lines with no utilitarian purpose, however – these pants are a unique “fall front” opening! This is scarce on so many counts. Not only is this style of pants closing something relegated to menswear, but besides maritime military uniforms having a buttoned fall front closing, it is primarily a historical fashion point. The “fall front” means there is a panel (sort of like a bib) which is flapped up (after stepping into the legs of the pants) and either hooked, tied, or buttoned down to cover both an inner waistband underneath and the exposed lower groin.
This style of pants is most widely seen today on the handsome gentleman and their roguish compatriots of popular Jane Austen novels and early 1800 era stories in television and screen adaptations. The end of the Regency and Napoleonic eras were the last of the fall front’s common usage in trousers, excepting certain military uniforms (as I mentioned) or ladies Victorian “split” skirts for riding. Brann mac Finnchad has an excellent terminology post here on his blog “Matsukaze Workshops” as he explores drafting and sewing his own regency fall-front trousers. Modern pants are a basic form of the “French fly” closure style, also called “split-fall”, and this has been dominant on men’s trousers and denims for about 170 years now. It wasn’t until the 1930s that the “French fly” was utilizing zippers, as we use today, rather than only buttons.
I have not yet seen a decorative fall front pants, much less in modern times, and especially for ladies. These are THE coolest pants I now have. They are not trying to be historical, yet are a fresh take on a style long dead…not dated at all for coming out of the 1980s! Most importantly, though – the fall front incorporates deep pockets that reach down to my thighs. This is modern ingenuity combined with practicality for you. Even still, style aside, I love the way they are very comfy and easy to move in, besides being quite complimentary to my hourglass figure! Now I just need to make sure troublesome fabric pests do not find my pants…
My fall front trousers utilizes one snap set and a few hook-n-eyes. A 1 inch heavy-duty snap closes the inner waistband, as Brann calls the “binder”, and large hook-n-eyes to close the sides of the fall front flap. The original instructions called for me to use buttons and work buttonholes at all these closure spots, yet I wanted the smooth front appearance of invisible-from-the-outside closures. The amazing seam lines of these pants needed to take center stage without big buttons to distract! After all, I did not trust two buttons to alone hold the weight and the pull of the fall front. I want these amazing pants to last me many years. Not having set button holes will hopefully aid that by giving the versatility of being able to adjust the spacing of a hook or snap. Depending on how the fabric loosens or what my body is dealing with at the moment, “fit” is something fluid and not static and I sew all my clothes with some option of tailoring at a future date.
Once I graded up the paper pattern according to the given size chart, these pants turned out close fitting yet exactly my size, luckily, so I could focus on perfecting every feature as it was out of the envelope with no alteration. The pants’ legs are tapered slimmer at the leg hems, the waist is high above the natural line, and the hips are roomy across…all in a nicely subtle 80’s way. They are dart fitted across the back, unlike Regency trousers which were laced to fit. The inner waist facings were in many different pieces across the back to accommodate the curving fit. I kept the pants unlined so they would be more lightweight and therefore versatile for a mild spring or fall season. The wool is so fine it is not really itchy. I did finish the hem in a bright, cheerful lime green vintage rayon hem tape. Only I really see or know it is there, but sometimes it’s those hidden fine details that make all the difference, right?!
Now compared to the pants, the blouse takes second sitting, yet it is still packed with unusual, special details, too. It is more of a 1980’s classic, though. As the envelope summary stated, the blouse was designed to be very over-sized, except for the close-fitting hips and wrists. Combining these features with the dropped shoulder line and lowered armscye, as well as knowing my tiny wrists, I presumed correctly that the only place where I needed to size up was from the waist down. The size of my pattern was two sizes too small for me according to the envelope chart and yet the main body finished up fitting well yet with a comfy amount of room to spare – just the way I figured it. Sizing up was challenging as it is a darted one-piece in the front and a separate peplum with defined waist seam only in the back. I merely slashed and spread the front blouse panel open to the necessary increment starting from the hem. Then, I came back to retrace in the original pleats again. When a pattern says “generous fit”, believe it only so far and measure at the pattern stage (as I did here) to see just what is going on ahead of time for a perfect fit in the end!
The pattern calls the back bottom portion a peplum, but I see it as a clever way to keep a poufy blouse tucked in and looking neat. This blouse is onto something smart – don’t you hate it when you tuck a blouse into pants or a skirt which fits snug over the hips and the top just gets all bunched up and obvious under your bottoms?! I am glad for the longer, lower hip length of the hem because it not only stays tucked in nicely but also looks great worn untucked, on its own. 80’s oversized blouses can overwhelm a smaller frame like my own, so the slim fit for the waist and hips makes this style work for me, I think.
An unusual part to the blouse is for sure the sleeves, the way they are so deep set and super gathered at the center top ‘shoulder’ seam. I have not done a tapered sleeve like this before either, nor does one often encounter a smooth transition (no tucks, pleats or gathers) into the fitted, rounded cuff. I love it! Even still, one little detail of two carrier tabs at both the back collar and front button placket makes all the difference here. It keeps a contrast scarf in place (the way I am wearing it), but the pattern calls for an ascot to be made (included in the envelope, too) and worn in a way similar to a man’s necktie. No wonder the pants had such a masculine influence! The whole ensemble owes its design to guy’s clothes, even if the details are inherently feminine. The collar otherwise is pretty much the same as the cuffs, with curved ends, yet was sewn down with a man’s shirt-style collar stand.
I felt that true shell buttons were the only thing appropriate here to keep “The Little Mermaid” reference strong but subtle. Abalone shell buttons, if the underside is unglazed and raw, can fall apart easily. However, I was able to find ones stable and uncracked for my blouse in the amount I needed (a total of 11) out of a good number more (about 18) in the vintage notions stash of hubby’s Grandmother. Shells are intertwined with every mermaid legend it seems, but I figured abalone shells would be Ariel’s preference the way they have an iridescent shine in her classic colors of turquoise, purple, and pink.
The way Enrico Coveri was obsessed with matching, curated accessories, I followed suit with this outfit. Where do I start? My shoes are perhaps my favorite compliment to my outfit, but then again I do greatly enjoy matchy-matchy footwear! My facemask reminds me of the interesting and slightly alien texture of coral and was made by me of the lovely shiny turquoise rosette fabric leftover from this vintage inspired Whitney Frost dress copy (posted here). My purse might be the most obvious accessory – it is a “Unique Vintage” brand cosmetic case that I added pearl straps to so I can use it as a purse. My bracelet is really a necklace, but it is long enough to wear around my wrist when wrapped three times. It has a sterling silver mermaid swimming across it!
My earrings are genuine shell carved in the shape of a starfish. I have had these earrings since I first got my ears pierced as a little girl. I know there is a story to where they came from which I cannot remember yet, so but nevertheless I hold them as special for the reasons I already mentioned! I could have flaunted off so many of my old original charms, pins, or pendants which I have from when I was little and the movie first came out…but it looked too gaudy. I wanted to go all out with this princess out, just to let you know, but I kept it tame…I really don’t want to cause any more attention (at times) than my vintage way of dressing already does!
So, regarding our shooting location, if you ever find yourself in St. Louis, Missouri I do recommend a visit to the Union Station Aquarium. This is something worth seeing (from a land locked Mid-Westerner’s point of view) plus it makes for the best pictures! I couldn’t have asked for a better outfit to wear, though…the anticipation of the visit helped spur me to finish sewing it. My Ariel inspired set totally put in the frame of mind to appreciate the underwater realm in an immersive state of mind…which was easy to do as some of the expansive tanks wrapped around and over between rooms! Although I will not say “it’s better down where it’s wetter” as Sebastian sings, watching the fish and their counterparts do their ‘thing’ (“just keep swimming”, right?) was incredibly relaxing for us, compared to our working hours up on land. At least it was fun to pretend to be a grounded mermaid princess for a day!
Peony buds are so pretty but quite fussy to appreciate in their prime beauty, much like finding the perfect ripeness of an avocado. The peony bushes are one of my favorite spring blossoms in our backyard except they have a very small time frame before they get musky in smell, with wilted petals and droopy stems. It’s as if they are either bashful beauties or merely overwhelmed by their own superfluity. This year though, we not only were able to photograph that ‘sweet spot’ for our peony bushes, but I also matched with their particular color, too! So – small, urban backyard ugliness be darned – I happily sported my newest vintage-style make for the occasion.
This simple dress has all the qualities to be a chic, versatile, comfortable, yet easy-to-sew wardrobe staple item. There is no interfacing and closures needed (no zippers, hooks, snaps, or extra notions) so it’s perfect for these Covid times when sewing supplies and mail deliveries are hard to come by. You pop it over the head and you’re good to go!
Only two yards was enough to work with (no matter what the envelope back says) so it is not good for smaller remnants – unless you use one fabric for the front panel and a different one for the back…just a wild thought! Crazy prints, large scale florals, and hard-to-match designs are all great fabric choices for this pattern as there are basically two very large cuts with nothing to break them up except for two, small, French-style bust darts in the front panel. Unlike many of the other “Jiffy” line of patterns in the 60’s and 70’s which I have tried, this one does have the best shaping and fit out of all of them. As you can tell, I am completely sold on this pattern and wish I had sewn this dress a few years back as I originally intended! I am so glad I finally got around to whipping it together.
The shoes (60’s era), bracelet (80’s from my childhood), and earrings (from my Grandma) to my outfit are true vintage items, but the flower accessory you see along the waist was made by me. It is a trio of airy rosettes composed of lime green chiffon leftover from this retro dress project. It was a quick and relatively easy accent to assemble that I think provides the right contrast to the overwhelming amount of pink in the print. As I used a duckbill clip on the back, I can also wear this in my hair if I please! There is a Threads magazine tutorial which I used as my guide – you need no pattern – and a scrap of heavy muslin or interfacing as a base. It’s all in the article “Coming Up Roses” by Kenneth D. King from the Threads magazine #142.
FABRIC: a sheer polyester crepe print fully lined in a solid light pink sheer cotton batiste
TIME TO COMPLETE: Making it from start to finish took me about 6 hours. It was finished on May 3, 2020.
THE INSIDES: What insides? All raw edges are encased by the cotton second dress I sewed inside lie a lining.
TOTAL COST: I really don’t remember. I bought this on deep clearance when the now defunct Hancock Fabrics was closing. Two yards of each fabric probably didn’t cost me much!
Sure, this might be a pattern from 1969, but I think it is quite timeless in design, if a bit unusual. A kind and knowledgeable reader commented on this post on my wrap-on, 70s era, apron-sundress to let me know about Andrea Zittel and her “Smockshop” project of 2006. Andrea Zittel’s basic smock pattern – with her simplified outlook to the basis for creativity – is really no different than this vintage pattern when you look at the basic outline. A little tweak here and a tweak there to Zittel’s basic idea and we have this pattern. I am not saying that either copied off of the other, but I’m just sharing a different way to look at this style of garment. If you Google all the amazing versions artists and creators came up with using Andrea’s smock pattern (A wrap-on evening gown? Yes, please…), I am envisioning all the different ways this vintage 1969 pattern could be tweaked to make something completely different than where it started. This pattern has so much hidden potential. Certain slight details to this dress have won me over. For instance, I am completely enamored by the squared neckline. It is such a subtle feature yet so different and appealing. Something I never expected from making this dress is the way the back wrap half opens up when you walk or when the breeze blows and gives the impression of an overskirt. The front skirt half fully wraps around to the back for full coverage and no fear of a peek-a-boo of thigh, but at the same time this makes the skirt seem more slim fitting than the back half which wraps over it. Yes, the fact that I used a solid contrast color to fully line the inside of this dress emphasizes the impression of an overskirt. But either way, this pattern’s neckline and lovely skirt were two surprises I did not see coming when looking at the tissue pieces as I was cutting it out. Beforehand, I looked at plenty of other reviews on blogs as well as Instagram, with no hint or mention of these features, so perhaps it has to do with the very lightweight fabrics I chose. Yet, I believe it has more to do with the slight changes I made to the pattern.
The most obvious change is the fact I added sleeves. Sleeves to a wrap-on dress are not the norm, and you all know I like a challenge! I traced out the little cap sleeves which are part of this mid-1940s dress because I liked how the ‘hem’ is really a fold so that there is two layers, i.e. self-faced sleeves for a pretty underside. For a wrap dress, pretty undersides are important because fabrics’ wrong sides and any raw edges are easily seen unless the garment is fully lined or has French or bound finishing. I slightly altered the sleeve pattern to have a longer armscye to work with the wrap under the arm and I also added more curving to the shoulder portion so as to match with the dress’ non-40’s style of a sleeve which is set further into the main body. It was really much easier to add on than I expected and completely upgrades the overall appearance to the dress from saying “summer fun” to also “chic” in a really subtle way.
As a side note for clarification, I keep calling the solid light pink cotton side of my dress ‘a lining’ because I do not like polyester against my skin. Because of that, I only intend on wearing this with the floral side out. Technically, this dress is completely reversible, and the pattern intends it to be that way but I just do not really like this solid color when worn on the outside. I look too washed out and think the dress seems more like nightwear that way. I have a few reversible dresses already (here and here) and so I felt I did not really need this particular one to be yet another. The blush pink is pretty enough as a sweet flash of a contrast.
The second major change I made to the dress is how I redrafted the tie closures of the front to be just above my waistline. The pattern design has the front ties end at an empire level, just below the bust. I am not a big fan of the empire waist on myself unless I am wearing a historical Regency clothing, or a style with similar proportions. So I lowered the arching of the front overwrap, which is on the back panel, by just over 2 inches and redrew the curve. I am so glad I did this adjustment but – as I said above – I do think it changed how the overskirt lays. Even if some small intricacies to finished dress’ features came out as a very good surprise to me, I did engineer the rest of the features to be just how I wanted them. Those turned out just as nice as I expected. Every little tweak you do to a pattern has an effect on other parts to the overall design you might not expect. Sewing is so interesting, exciting, and complex, isn’t it?!
The appearance of the dress can be slightly changed up just depending on what you do with the long closure ties. If I want more of a loose and straight A-lined dress I merely tie the front ends in a bow or leave them hang. If I want more of a defined waistline I wrap the long ties around my waist twice and knot in back. I did choose to make my ties half the width as the original pattern. To be clear, one tie cut out according to the original pattern gave me two ties because I cut the width in half. They are just as long still, but I personally like the delicateness of skinnier ties. They are much easier to tie anyway than wide ones, even though skinny ties are miserable things to turn inside out when making them.
The back closures you don’t see and the dress length were the last things to mention that I also changed. I added a whopping 8 inches to the hem. Yes, it might have been overkill, but I am all about midi length dresses at the moment and I like the elegance of it on this dress compared to the very 60s style shorter length of the original. After making this 40’s era wrap top, I knew I didn’t want a repeat of the fussy way it closed behind my back. This 60s pattern called for the same deal – two sets of ties. The ties on that 40’s top tend to come undone on me after some time of wearing and if I make a sloppy bow they are a tad bulky.
Thus, for this dress I made small loops across from oversized buttons for a secure and simplified closing that is super easy to execute blindly behind my back. The top closure to my dress felt better on me with an extra extension so I added a second loop for more than one option of comfort. I was also able to make useful two random, mismatching, oversized buttons, too! I know I said this dress was wonderful because it needed no closures, but then I go and add some so I can sound like a hypocrite. Ah, anyone who has sewn long enough can sympathize with how sometimes a project can take an unexpected turn. However, I suspect I secretly love to overthink things sometimes. That is life. I forget I tend to be a perfectionist.
To talk about trying to think about everything, not only did I come up with a clip-on flower, but I even made a face mask to match my dress! This mask and all the ones I make have several layers for protection (one is polyester, two are cotton, with one extra interfacing layer). I only had enough of my dress’ floral print scraps to make a second copy of this exact mask for my husband’s mother. The pattern I use for all my masks is a free download from here (youtube.com/anjurisa), and I highly recommend it. I slightly altered the pattern to give more room in the nose (many members in my and my husband’s family have a more endowed schnozzle than I) and figured out how to save on elastic by having most of the strap be a fabric tube, except for a little 2 inch stretchy section in the side of the mask. Yes, here I go overthinking again. Yet, my efforts do yield a very good, full coverage, highly filtering mask I do believe!
They are a necessity of the times, and all the other colors besides pink in this particular floral print – the green and purple – help the mask co-ordinate with plenty more outfits besides this one. I personally don’t completely mind matching my mask so exactly to my outfit of the day, yet it brings up my self-consciousness that I am making it way too obvious to viewers I am wearing a self-made outfit. Not that this is a bad thing, because I am proud of what I sew and am personally confident in my creations, it’s just I have been careful not to be overwhelmed by mask making efforts. If you highlight the fact you make masks, there is the chance you can get inundated by peoples’ orders. My stress levels have been high over these last few months and that is causing all sorts of unpleasant side effects to show up on my body by now. Mask making stresses me out further, but I do realize over the past months, it is one of the most important efforts one can perform using a sewing machine. Self-care is also very important in our world today, too, so I limit my mask making and keep up my sewing projects in between everything.
This is so far off from where I started talking about how peony flowers are like avocados, isn’t it?! I’ve covered everything between my inspiration leading up to this outfit, making a flower brooch and a mask, to Andrea Zittel and her ‘Smockshop’. It just goes to show that things are not always what they seem, nor do my ‘simple’ projects always end up so straightforward. It is often the more basic sewing which leaves room for extra creativity, anyway. After all of this, I hope you pick up this 1969 dress pattern and find your own way to personalize it the way I did so you can enjoy this easy but cute wrap frock the way I am!