My “Trial and Tribute” 1940’s Suit Slacks

I had a lucky happen-stance
To fit into a pair of vintage pants.
I made them “according-to-the-letter”
And, happily, they couldn’t fit better-
The best surprise ever!

I suppose my ditty almost says it all…my very first attempt at making pants did indeed turn out amazingly well. Slacks have always been a great mystery to me and a source of mental terror, feeling like they are impossible to be made perfect. After seeing the plethora of fitting tutorials and reading through tailoring info for pants, I really feel like I bit the bullet and missed a guaranteed failure with these pants by doing not one iota of adjustments and coming out with a great finished pair. There’s nothing better than a success when prepared for disaster! Plus, now I have a new and different vintage clothing item to wear – 1940’s slacks – along with more confidence and knowledge than before! I learn by jumping in headfirst and just getting things done. Those of you who have done pants already might think I’m overreacting, but, hey – everybody has to start somewhere. 100_4212a-comp

badge.80This post is part of my own “Agent Carter” 1940’s sew along.  Join me by leaving a comment to let me know about your own 1940’s sewing project.

Making and wearing trousers was totally out of my comfort zone. I have never found a pair of ready-to-wear pants which actually fit me, stayed up on me, and came at my true waist well enough to actually be comfortable and enjoy wearing. Thus, I have conventionally found skirts to be more comfortable and versatile (probably always will), but sewing my own pants is helping me realize why women of the 40’s wanted to wear pants. I may be on my way to being won over to the Katherine Hepburn/Marlene Dietrich style of feminine menswear. These pants fit too snug for a proper, looser, vintage style, and yet they fit very well for a modern style, so there is more work and fitting to be done with my next pair of slacks. I feel they are a nice in between modern and vintage to introduce me to pants wearing.

Hepburn and Dietritch in pantsNow, maybe you can understand why these are my “trial” pants, as my title says. As my first slacks, too, they are also a “tribute” to (as I mentioned above) three leading ladies of the 1940’s, Katherine Hepburn, Marlene Dietrich, and Veronica Lake, all of who made history with their remarkable style and the confidence with which they wore that style. Personally, I am self-conscious about my thighs and rear end when I wear slacks, and I’d like to have a bit of the confidence of Hepburn to not be afraid to feel the empowerment, freedom, and confidence to be one’s self and be a strong woman. Hepburn’s style gave me the idea to pair my suit pants with my basic 1943 power blouse. I love to dress up and go fancy, so I have always admired how Dietrich was able to pull off both dressing in classy gowns and conventional women’s wear as well as wearing menswear while still looking attractively feminine. Dietrich inspired me to add my hubby’s suspenders to my outfit. Veronica Lake is my idol when it comes to the most beautiful hairstyle for long hair – I styled my hair as my best imitation of her “peek-a-boo” waves for this photo shoot. I feel badly about certain parts of myself (I think most people have this, too), and I, as a petite lady, appreciate the fact that, for Ms. Lake being such a tiny woman (only 4’11), fashion was worked in her advantage to compliment her in a way so that they made the most of what she had. Three history making women, completely different, come together in my own way with my pants project.

100_4217b-compTHE FACTS:

FABRIC:  The fabric is a 100% polyester suiting from Hancock Fabrics. The suiting both has a nice texture on top and a basket-weave design between the black and the deep purple colors. Simplicity 3688

NOTIONS:  I had the interfacing and hook-and-eyes needed for the waistband, as well as the black thread. Basically, all I bought was a zipper.  I have a deep suspicion I should have used buttons for the side closing, they might be more authentic.

PATTERN:  Simplicity 3688, a 1940’s reprint.  It seems almost every vintage blogger who sews has made a neat pair of these pants 🙂

TIME TO COMPLETE:  Even with my trial attempt and a few things to fix slightly, they were done quickly, after maybe 4 hours, from start to finish, which was on October 23, 2014.

THE INSIDES:  …basic and raw.

TOTAL COST:  For two yards, I paid half price – $7.50. I set myself up for a disappointment by choosing a fabric I really liked, but didn’t pay too much for it. Thus, if the pants were unable to be salvaged, I wouldn’t be put out (although I haven’t yet found an item I haven’t been able to recover).

I understand that for most people, making a pants pattern “as is” would not turn out a nicely fitting finished project. Thus, I would like to share the sizing I chose and the adjustments made in case it might help someone else. Just to be on the safe side, I ran on the slightly larger size range for below the waist when it came to cutting out. I made the corresponding size for my waist measurement at the waist and the waistband, but for the behind, crouch, and legs I went up a size. The waistband turned out fitting quite well, almost snug, so when the pants were finished I added a second hook and eye further out when I feel like I need some extra room. The inseam fit well but rather snug, so after the pants were sewn together, I decided to unpick the length from where my tailbone is to halfway up the front and slightly adjust. Instead of a wide ‘U’, which is what the inseam looked like originally, I cut a new lower inseam dipping 2 ½ inches lower where the inner pants seam meets. Now the inseam is closer to a curved ‘V’, but now I have just a tad more room – all that I need for my slacks to be just right!

100_4215compAfter briefly wearing my pants for the first time, I felt the waistband to be a bit wide and overwhelming. They tended to sit very high on my torso, even higher than my high waist. I did a quick and easy fix by merely folding the waistband in half inside the pants, and hand-stitching things down.

Hemming the pants was a very hard part for me to figure. Hubby’s help was needed for this step. I kind of felt weird for it to be so hard for me to find the right length to hem my pants, but a skirt or a dress is what I’m used to working with and they are so much easier. You can stand there and figure out where it falls, but for pants, the hem is at my ankles, and I can’t reach that far (no, duh, right?!), nor can I understand how to measure down from the inseam…see…I have to get used to sewing slacks. Every time I move the pants hem changes and moves too – even just bending over to look down changes things. Oh well. I’m just thankful for hubby’s help. Now, with these trousers, I have a sort of “bench mark” to go by to figure out the hem for my next pants.

100_4078Simplicity 322 & 3848 pants patterns comboTrying to do a Google search for the original version of my 40’s slacks, or even similar styles, afforded patterns from the early to mid-1940’s. I have already made the blouse (see the blog page for it here) from the same pattern used for my pants, and I had found out that the pattern (including the blouse, jacket, and skirt) was a reprint from the year 1941. Apparently the trousers were added to the Simplicity 3935 yr 1941 original envelopepattern’s ensemble from another different release. These slacks do not have front pleats and the slightly roomy fit of 1940’s casual bottoms, so I’m assuming they are supposed to be dressy, as I made them. However, as you can see in my post’s picture above, I tried wearing the pattern’s satin blouse with the slacks and thought it looked just so-so, not as great a combo as when worn with my cotton 1943 blouse. I have since made and found other blouses and tops that also work wonderfully with my 40’s dress slacks, making them more handy and versatile than first imagined.

Agent Peggy Carter took advantage of the versatility and convenience of pants many times when her job demanded a highly active, risky, or even professional situation. She owns the “wearing of the pants” with a confidence and realistic fit which is a beautiful thing. I especially love the way her pants seamlessly work into her existing wardrobe, mixing and matching with the blouses and suit jackets I see worn with skirts, as well. Oftentimes, I enjoy noticing that when Agent Carter wears her pants she takes on a slightly masculine touch to another part of her ensemble – like a chunky, leather belt or an over-sized military-style shoulder bag/pouch. Agent Carter’s slacks seem to fit more on the snug side, very similarly to my own. The “Black Widow” villainess Dottie also takes on wearing pants suits, in a very modern way, once she shamelessly shows her evil side at the end of the series. Women wearing pants had a significance in the 1940’s, and it is seen in the quiet undercurrents of both Agent Carter and in true history.

Peggy in pants - ValedictionDottie and the doctor,cropped

Taking photos for this post was an incredible amount of fun – so much so that my little man got into the whole “say cheese” thing (as he calls it).  I can’t help but feel great in these pants…and I think he caught on to my happy mojo.  I am a shorter average height and these pants make me feel tall, slender, and curvy.  How many pants for women nowadays are so tailored they get ironed?!

100_4221compBy the way, pardon all the terms I use for my newest creation, but is it “pants”, “trousers”, “slacks”, …or what?  I know there are several terms for bifurcated bottoms, and although all of the terms used in my post are probably appropriate, I have a feeling certain words are more traditionally suited to a particular use. I read somewhere (sorry I don’t remember) that “trousers” were for designating men’s wear bottoms, and “slacks” for women’s wear. When did the term “pants” come in and become popular, is my question, since this is the term I hear and see the most in our modern days. Your insightful comments are welcome.

Whatever the term, my new suit slacks are another victory over what had been a sewing hurdle, and another new thing for me to try. Now that I’ve become acquainted with pants, there a whole other world of techniques to I’m itching to try – front fly zippers, rivets, and hopefully men’s vintage trousers. The world of sewing seems to offer limitless possibilities, and my “trial and tribute” 1940’s pants just widened that vast realm a bit more. Sewing is indeed a wonderful worthwhile skill to exercise.

Gold Digging Like It’s 1940…

…in the year 2014, courtesy of a Vintage Vogue pattern and some killer Hollywood style.  Not that I’m really gold digging – I have a hubby already.  My desire to try my hand at a couture classic/vintage suit set and my love for Busby Berkeley‘s movie “The Gold Diggers of 1937” were the dual impetus towards this lengthy project.

This suit dress and jacket set is special to me like no other garment I’ve made.  It sets the record to date among my creations for the most time spent, as well as the longest to get done, but also my first jacket, even if it for a suit.  My suit set is truly worth its weight in gold!

100_2738THE FACTS:

FABRIC:  The primary fabric that for my suit dress set is a very thick and stable cotton double knit.  It has a faint print in a textured sort of brush-stroke blend of gold, bronze, and light blue on the right side.  The print is nicely subtle, and looks like it could be part of the fabric, but it does rub off (bummer).  This is especially true in places where I did some heavy duty stitching or handling of the fabric, such as the buttonholes.  For the lining of the dress and jacket, I used a very sheer, lightweight, and silky polyester interlock knit.  It was bought to make a Halloween costume which didn’t happen, so it went to my suit set.  The thin poly interlock makes the perfect lining layer – thin enough not to add much bulk, but silky enough to keep my main fabric flowing and effortless.

NOTIONS:  Most everything I used for my suit dress set had to be bought, such as extra interfacing, extra thread, the buttons, the dress’ zipper, and more machine needles.  One hook and eye set and some bias tape that was needed were the only notions from on hand in my stash. VV#2636

PATTERN:  an out-of-print Vintage Vogue pattern re-issue, #2636, originally a year 1940 design.

TIME TO COMPLETE:  There is no way to even count this part.  All I know is that I spent at least 30 hours on each of these three steps: the dress, the jacket, and lining the jacket.  I’m just figuring this set as my 100 hour “century of time” project which was a sometimes frustrating labor of love.  My dress was finished first, on December 28, 2013.  Next the jacket was done, sans lining, on April 8, 2014.  Finally, the jacket was completely lined and finished on October 18, 2014.

100_4233THE INSIDES:  The dress’ seams are double stitched, with the edges left raw and merely zig-zagged together.  Both the lining and the suiting knit do not fray, so there was no real need for better seam finishes.  Besides, the fabric was too thick for my sewing machine to realistically handle, thus the hard fact was that any seam would only be thicker and unable to be sewn.  For the jacket, every raw seam inside is covered by a full lining, complete with box pleats at the waist, between the shoulders, and on the chest to give ease of movement.  The bodice was sewn to the shoulder seams first, then the sleeves were added in for a complete professional finish (and a bad case of carpel tunnel from so much hand work).

TOTAL COST:  My set’s main fabric, the printed double knit, came from JoAnn’s fabric store.  It was bought September of 2013 (last year).  I needed 3 1/2 yards, and the regular price was a whopping $20 per yard, but, luckily, I got it at half price for $35.  The thin lining material came from Hancock Fabrics, and was bought dirt cheap (5 yards for $10) as part of an after Halloween discount.  The buttons and all other notions also came from Hancock.  So…to make a long explanation short finally, my total cost is just at $50.  I don’t think I’ve spent this much on any project yet, but the total cost is still very reasonable considering the quality, fit, and time put into my set.  RTW prices would be double for an item much less worthwhile.

I loved the pattern details, seaming, everything…except I knew the dress neckline Veronica Lake similar dressneeded some added interest and (like I said) I had some classic Hollywood inspiration to help me out with an idea.  Firstly, there are plenty of pictures of the iconic Veronica Lake in a metallic lamé dress (from the 1942 movie “This Gun for Hire”, see far right) which has a very similar arched torso and V-neckline to the Vintage Vogue dress 2636 pattern.  Secondly, the actress Glenda Farrell wears a beautifully styled basic black dress (above) that I loved the first minute I saw it on the “Gold Diggers of 1937” movie.  Why?  Not only do I greatly enjoy watching the actress Glenda Farrell, but, together with her friend the actress Joan Blondell, someGlenda Farrell bar shot ‘to-die-for’ fashions, catchy Dick Powell sung songs, and a great plot, makes the Busby Berkeley movie “The Gold Digger of 1937” an all-time favorite in my book.  The lame metallic gown of Veronica Lake inspired me to use the bushed gold/bronze black knit fabric I chose for my suit set, and Glenda Farrell’s black keyhole-neckline dress was ultimately what I copied onto my own dress.  Between the two main inspirations, there is a strong theme connecting everything together of the richness of metal, timeless beauty in design, movie inspiration, and a turn of the decade style.

Making the keyhole neckline on my dress was actually really easy.  It just took some forethought.  Basically, I drew my own template to keep things exact and made the front like a regular facing.  The dress’ facing is really deep and wide, so that fact worked to my advantage.

100_2732100_2571a     I made a paper copy of the front facing, then folded it in half at the center bottom of the V-neck so I could trace out the keyhole shape and have it even on both sides.  See my pictures.  Instead of sewing down just the V-neckline (facing down, right side to right side), I went in one continuous line all the way around down and around the keyhole too.  It was quite tricky on the facing to make the neckline/top keyhole point so close, barely touching, but still apart.  I think I held my breath sewing that spot.  Taking my time, I carefully turned everything right sides out and top stitched down.  There is a tiny hook and eye tucked in the spot where the keyhole point and the neckline V meet and hand stitched down.  This way I can undo the hook and eye to make getting the dress on over my head much easier, but also I accomplish a nice, tiny point much more precise than if the corner had been sewn together.  Utility and fashion are happily combined in my neckline refashion.

Glenda Farrell’s “Gold Diggers” dress had open, oval, cut-out shoulders as well as the keyhole front neckline, and was racking my brain whether or not to add the open shoulders, too.  Had the fabric been less thick, and the dress itself not so heavy, I might have had the open shoulders.  However, as you see, it didn’t happen.  It’s best not to mess with good thing sometimes 🙂

100_2753a     Other than grading, the entire suit set was made as is according to the pattern.  The small amount that I did need to add to the hips and the waist (only 1/4 inch) was added at the “on fold” end of all the waist middle pieces and the dress skirt pieces.  This way the curvy side seams retained all of their amazing original shaping possibilities.

I was tempted to bring in the hem of the sleeves into a box pleat to make my dress more of a late 30’s garment.  But the sleeves weren’t meant for that.  Puff sleeves of the 30’s did last in the early 40’s (no later than WWII), but the type of sleeves that are on my dress were “the new thing” for years 1940/1939, as a transition into a new decade with differing styles.

100_2752     The hardest part of the entire suit set was hands down the gathered slashed above-and-below bust gathers on the jacket.  Not only were they hard, but small, tricky work, too.  To top it off, I was obsessing just a bit to make sure that all four of the slashed gathers looked even on both sides of the jacket.  The instructions for the slashed gathers are a bit strange and different, but works in the end.  You cut the slash spot, sew a gathering stitch on the one side, and pin on this ‘sword blade’ shaped facing to help support and match everything.  Somehow you have to sew each side of the slash separately, so you can then cut an opening in the facing to turn the whole thing inside.  Both facings get pulled together (either above or below the gathers), to be sewn together by top stitching down with the edges meeting so as to cover up the facing.  At this seam, there is literally so much fabric, and to add the gathers was more than even my sewing machine could handle (and my Singer is a workhorse).  To top it all off, the ‘below bust’ slashed gathers also have the bodice panel ending there so it had drop down vertically along the button placket.  For the reason of ‘too much fabric’ alone, the jacket bust gathers are (in my opinion) a difficult, almost faulty design, but that’s no one’s fault, especially Vogue’s.  It just makes for more experience…that’s how I explain a frustrating sewing experience to myself.  If you want to make this pattern, too, I hope I haven’t discouraged you – this spot is not impossible (as you can see on my suit).  I just hope to help or prepare others.

As my very first suit coat, this is also the first time I have done bound “window pane” button combobuttonholes.  I am happy at how well everything turned out and I don’t feel that I really could have done better.  I found Gertie’s blog tutorial to be very helpful before I went and did the buttonholes.  Several trial runs were done first to make sure of the correct size for my buttons.  I even made a template rectangle to make sure all of the five buttons down the front had uniformed sized holes.  It was really fun to do (surprisingly).  The buttons are an antiqued gold, open worked filigree design, bought new, so they’re not authentically old looking.  More metal!  There are basic black buttons sewn on the under ‘wrong’ side as a backer support.

I chose the 3/4 length sleeve length for the suit coat to make it more of a transitional weather piece.  The lining inside and the heavy weight of the knit fabric makes the suit coat more of a jacket for me.  If you hadn’t noticed, the collar stays open, flap style, and doesn’t button up any farther than you see.  And just because you haven’t seen it yet, look at how the back of both the dress and the suit coat mimic one another with the drop arch of the middle bodice panels.

100_2759-combo     Sewing this suit set ended up costing even more than first realized because it literally broke my machine.  The fabric was too heavy, the knit was too very tight, and I ran over too many pins, breaking too many needles.  Bad me!  The sequencing was knocked off kilter on my sewing machine, plus a gear was slipped out of place.  The needle bar was off center, too.  At only 8 inches away from the last stitch that would have completely finished my machine stitching for my suit…the machine gave out.  “I can’t, just can’t do this anymore!!!” I could hear my old standby machine screaming.  It was needing a visit to the repair shop anyway, poor thing.  I just didn’t mean to torture it.  I suppose that you can tell one does a lot of sewing, and loves it, too, when one begins to speak of their machine(s) as you would a pet.  So it goes!

This whole suit is a very worthwhile satisfying project that demands some dedicated time and effort to finish.  Don’t expect to whiz through it or get by without a good amount of hand stitching time, as well.  Nevertheless, the final piece is a very classic, figure-flattering garment which has top notch style features that seem current in any decade.  If a garment can possess those qualities, then that is the true proof of quality fashion.  I am very happy with VV2636.100_2749

I accessorized my suit set with the most era-appropriate shoes and hat and purse of any outfit yet.  Everything you see on (well, not my glasses, sorry) and behind me is historically correct, plus, in this case, also has a personal story.

Let’s start with the story related to my shoes, which is about my backdrop: the International Shoe Company building.  It is an absolute, humongous, Art Deco gem (as you can see) built in 1910, remodeled in 1930, and has many references to the cobbler’s trade in some of its hard-edged designs.  In fact, if you look above me in the very first picture of this post, there is a cobbler sewing a shoe in a very dramatic pose.  In 1911, International Shoe Company was created by a merger of the Sam Peters Shoe Company with the Roberts, Johnson, and Rand Company (taken from here).  Washington Avenue, the street these are on, became known as “Shoe Street U.S.A.” because it “claimed more shoe trade than any other street in the world“.  My shoes that are worn with my suit set are old leather originals that have a stamp inside marking them as “Peter’s brand” ‘Smart Maid’ shoes.  With a bit of research, I was 100_2775able to find out that the ‘Smart Maid’ line of shoes were a short-lived line produced by the International Shoe’s Sam Peters through the 30’s and ending about 1940, pre-WWII.  Thus, I can date my shoes to a very specific time.  Cool!  More or less, I’m taking these shoes back to the place that made them over 70 years ago…and they’re still good enough to wear!  Wearing an old shoe made by the International Shoe Company is a small honor in its own way because my maternal Grandmother had a job here helping to make their shoes when she was young.  In fact, she likes to relate the story of how the great Major League baseball player Joe Garagiola happen to fall into a large vat of shoe glue at the factory.  It sounds humorous!

Gene Tierney in a slant top hat100_2767a-b     Now, for my hat’s story.  It came from the collection of an acquaintance of ours who also has an appreciation of all things vintage.  When I brought my hat home, I did some research to find out the era of a hat with such a special and unusual shape.   Looking at my old fashion catalogs (reprinted by Dover publications), it seems that slanted top pillbox hats and other unusual shaped millinery was worn in the late 30’s to early 40’s.  See at far left a 40’s picture with Gene Tierney, or look at the fashion picture from page 101 of this Dover book for two examples.  Though you can’t see it, my hat is a fine beige wool crepe with yellow gold embroidered flowers and intricate gold seed beads over the flowers.  The inside of my hat makes me think it just might have been handmade by a very talented milliner.  I feel as if I have properly matched up this interesting hat with a proper outfit appropriate for its era and formality.

100_2733     Hopefully, this suit set is the first of more to come…which I anticipate will not take as long to finish as this first one.  Oh well, taking the time to make sure to make something with quality is always worthwhile.

More pictures can be found at my Flickr Seam Racer page.

The “Lake Girl” Wanna-be 40’s Satin blouse

I suppose I am stretching the rules a bit at first glance with my submission for the “Wardrobe Staple: Shirt Challenge”. However, my husband made the point that while shirts are not blouses, perhaps all blouses are shirts. Despite this confusion, at least this IS my new dressy ‘wardrobe staple’ and I am VERY proud of how my blouse turned out. I love to wear this!!!

100_0747THE FACTS:
FABRIC: ivory crepe-back satin ($6.75)
PATTERN: Simplicity 3688, a 1941 re-issue (99 cents) for the blouse; New Look 6000 for cuffs

100_0694NOTIONS: ivory pearl buttons ($1.75), metrosheen thread (around $2), tidbit of cording (20 cents); already had interfacing and sharps needles
FIRST WORN: to a concert with my husband; I finished the blouse on Oct. 19, 2012, sewing the loop closure and the buttons just 45 minutes before leaving time…close call.
TIME TO COMPLETE: I took my time, as this was my first time sewing with satin-so this was an experiment in preparation for another project with satin. The cuffs took longer to make…so…at least 8 hours to finish, maybe 10

I had been wanting to make this pattern for quite a while, but never found the right fabric looking on my own. On one visit to the fabric store, I showed off my S36688 pattern, asking for recommendations in a wear-with-all ivory color. Michelle, the employee, showed me this soft and silky satin with the mind-blowing suggestion to switch the sides of the fabric. I had no idea this fabric could have no “right side”- apparently it was all a matter of taste. Michelle’s suggestion really made this blouse such a winner! I had already planned on adding cuffs from my New Look pattern, so I made the cuffs and the top bodice panel in the crepe back. This crepe/satin side switching seems to highlight the neat design of the blouse and break up what could have been too much shine.

100_0750The pattern was made as is (besides the cuffs), and it was both a breeze and a delight to sew together. I was doubtful at first, thinking it would be big on me when I saw the generous ease, but it fits nicely and comfortably, with the cute waistline darts to bring it in.
I love the pleats/tucks at the top of the shoulders on the sleeves. I’m thinking those darts are meant to be filled in with shoulder pads.  I might add them at some point, but I don’t want an 80’s look mixed in with the 40’s.

The cuffs fit onto the sleeves like they were made for this pattern. Also, the whole interfacing and straight points on the cuffs turned out very well for me. I even cut out a second bias neckband, cut it in half lengthwise, hemmed the pieces, then sewed the strips over each cuff/sleeve seam inside for a smooth, professional look. A button is sewn on each side to simulate fake ‘cufflinks’!
After I made this blouse I was disappointed to see not many raving reviews among Sew Weekly. Meg the Grand was pleased with her version of this blouse, while Debi Fry and Liz seemed o.k. with it but less than pleased with the envelope picture. Oh well, the blouse does refuse to stay tucked in when I move, just like Liz had said. As for myself, the pattern envelope screamed “Veronica Lake”- and that in itself was reason enough for my interest.

100_0748Simplicity 3688 reminded me of Veronica Lake’s train traveling outfit in the black and white 1942 movie “This Gun for Hire” (the first major film together for actor Alan Ladd and Ms. Lake). This pattern’s ensemble isn’t exactly her outfit, just similar (in my opinion) style-wise, so don’t tell me I’m wrong if you watch the movie. Besides the movie and pattern sharing the same original release date of 1941, the envelope model also has a good Veronica Lake ‘peekaboo’ hairstyle going on there. I’ve attempted to imitate the peekaboo lately, but, if I try harder, I will do Ms. Lake’s hairstyle yet.

Hollywood tidbit: It’s amazing how her fame was so short lived (1940-1949) and revolved around her hairstyle. She couldn’t dance or sing- but her appeal alone got her far. Her long, blond ‘peekaboo’ hairstyle was so widely imitated that she was asked to cut her hair for the duration of WWII since such a hairstyle was seen as hazardous to females working around machinery. She boldly made a public service video to address the safety subject with her hair pinned up.veronica lake in war helmetveronica lake with hair in gear pole

She may have been the most famous actress during the war. She vied with Dorothy Lamour for some influential roles. She herself said that if she hadn’t been such a rebel she might have gone far, but she didn’t want to be a Hollywood puppet, and held onto her freedom without regret. It’s a shame she’s been labeled so maliciously now by history.
Speaking of short, the main reason why Veronica Lake was paired so often with Alan Ladd is because he was about 5’5″ and she was 4’11”!  At left is a publicity shot of Ladd and Lake from “This Gun for Hire”.

VeronicaLake-picSo, anyway…back to my sewing. I have a full shot picture – and a humorous shot of the back of the blouse.

My husband didn’t tell me till AFTER I posed that my skirt label was showing. Very funny…but it happens, so it’s kinda cute. While trying to be fashionable, I go tell the world my size – just lovely!  Visit my Flickr page Seam Racer for more pictures.

100_0749