’73 Coat-style Shirt Dress, a Turtle, and a Belt

This is a complimentary layered outfit of three pieces, working together as an effortless way to stay warm in the cold a la early 70’s style.  Three of the major pattern companies contributed towards my outfit – Simplicity, Burda Style, and Vogue – to spread out my contributing sources.

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This is also one of those fun oxymoron outfits where I find alternative ways to wear garments taken for granted…my shirt dress is actually worn like it’s a coat.  It is a heavy denim, flowered and all.  It’s like I’m bringing the flowers from out of season to the sleeping winter landscape.  My turtle neck top is not at all dated but actually quite enticingly fashionable, and it’s neither fit on its own for the very cold temps, mostly just a perfect layering piece, especially with its short sleeves.  The jeans were made by me as well, from a pattern of a different era (blogged about in a separate post here).  I can even eliminate the extra layers underneath and wear the shirt dress with my vintage 70’s heels and a neutral belt for a dressy outfit at the other end of the spectrum (seen down later).  Yeah, I love to mix things up and break boundaries – a least a bit when it comes to the clothes I make!

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This outfit is made for Allie J’s “Social Sew” for the month of January 2017 “New Year, New Wardrobe”.  There isn’t much I intend to change for this coming year’s sewing, social-sew-2017-badgebesides filling in new dates of historical sewing (teens era, and early 20’s), and continuing to try new techniques and having fun doing unique and meaningful outfits (loose resolutions, I suppose).  I feel that this outfit applies to the monthly theme because the dress was a U.F.O. (unfinished object) as of 2016 fall, and I was starting new tackling it and finishing it so as to be happy with it.  This outfit further applies to the monthly challenge because I have been meaning to make these items for a while, like since 2014 for the dress and turtle.  70’s style is still “in” so I guess there’s no time like now to just get around to a long intended project.

THE FACTS:simplicity-5909-yr-1973

FABRIC:  The Dress:  a cotton floral denim which may have a hint of spandex; The Turtleneck: a lightweight polyester jersey in a blue navy, leftover from my 1971 “Bond girl” dress; The Belt: a thin jersey backed vinyl, grooved and a bit weathered like a skin, in a cherry red cranberry color

PATTERNS:  The Dress: Simplicity #5909, year 1973; The Turtleneck: Burda Style #114 A, from December 2014, online or in their monthly magazine; The belt: Vogue #9222, from 2016, View vogue-9222-year-2016Eburda-style-turtleneck-114-a-dec-2014-line-drawing

NOTIONS:  I had (believe it or not) everything I needed to finish all this on hand already without needing to buy more than an extra spool of tan thread.  I used three different colors of bias tape (whatever was on hand), used a vintage metal zipper for the back of the turtleneck, and used vintage buttons and the belt buckle from hubby’s Grandmother’s stash.dsc_1033a-compw

TIME TO COMPLETE:  The dress was halfway made in October and November of 2016, and completed this year, finished on January 20, 2017.  I’m guess-timating a total time of about 25 hours spend on the dress.  The belt was made on October 21, 2016 in only 3 hours, and the turtle top was made one night the week after that in about 3 hours, as well.

THE INSIDES:  The dress is nice inside with bias binding, the top is left raw for the inside edges, while the belt has cut raw edges, too, finished off in my own special way (addressed down below)

TOTAL COST:  The vinyl was a remnant bought on double discount at Jo Ann’s Fabric store – a total of about $4 for one yard, so there’s plenty left over for a purse, yay!  The other fabrics were something on hand for so long I’m counting them as free.  Thus, between the vinyl and the thread, this outfit cost me about $6.  Sorry, allow me to pat myself on the back for this one.

I am so, so happy to have finally found a use for this floral denim.  It had been in my mom’s fabric stash since I can remember, then she gave it to me for my stash and I had no intention or even remote idea of what to do with it for so many years.  There were 4 freaking yards of this dated-looking flowered denim that could be from the 80’s for all I know.  So when I happened to notice my Simplicity #5909 1973 pattern having a similar looking fabric, I was sold.  Choosing the ankle-length, long-sleeve option was a give-in to use up all of the bolt, as well.  I might have been taking an easy road to follow an existing drawing, but – hey, at least I found a use for what seemed doomed to be an ugly duckling in my fabric stash!

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Making the shirt dress was technically not hard – it fits me great out of the envelope with no real fitting.  What was difficult about it was dealing with the large amount of such a heavy fabric.  Marking all those pleats and buttons all the way down was exhausting.  Besides, the stitching required to sew this fabric hog together was boring, straight, and monotonous, especially when it came to the long side seams.  Just trying to stitch on it was its own problem.  Half of the time it took me to stitch was I think spent throwing and pushing around fabric so as to even get it laid out right just to sew on it.  I’m not meaning to complain, just wanting to throw this fact out to anyone who is thinking of making a 4 yard denim shirt dress, too – you’ve been warned what you’re in for.  Like I say, though, it’s worth it in the end.

I’m loving the features of the shirt dress.  Of course it has the large collar lapels that are so traditional on 70’s clothes, but this collar also has an all-in-one collar stand.  There are separate chest front and back shoulder panels which keep the upper bodice flat, without the pleats of the bottom 2/3 of the dress.  There are long horizontal knife pleats in pairs all the way down the hem, four in both front and in back.  The extra wide cuffs have a lovely double button closure, with a continuous lap opening (for which I merely used pre-made bias tape rather than self-fabric).  A baker’s dozen of camel-colored vintage buttons complete it.

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This dress pattern’s long version was definitely designed for a woman with weird proportions – tall women with petite length arms.  I am about 5’3” and I had to do a 4 ½ inch hem to have it fall at my ankles.  However, the sleeves were so short, and I had to add one extra inch in length to make them appropriate for my arms (and my arms are a ‘normal’ length, not petite).

The denim is soft with the little bit of stretch, but still heavy, so in lieu of interfacing I chose only to use a medium weight, non-stretch 100% cotton.  It stabilizes the cuffs, collar, and upper back and front bodice panels with making them stiff.  I do have to laugh at how much of a rustle my dress makes when I move.  The fabric is not a heavy of a denim as my husband’s Levi jeans, but it sure does make a heavy, sort of muffled static “white noise”.  Definitely not the best dress for sneaky espionage work…no possibilities of quiet stealthiness in my denim coat-dress. I’m just doing some silly reflection.  It is a great winter dress!  Someone that recently gave me a compliment on my outfit commented that you just can’t find anything like this to buy – yes, that’s why I sew!burda-style-turtleneck-114-b-dec-2014-model-shot

The other great chill buster that keeps me cozy is my lightweight turtleneck top.  I figured the turtle pattern would work well with my 70’s dress because the Burda model picture looks very late 60’s with the equestrian-style helmet/hat, her long hair, and A-line pleated skirt.

This was so ridiculously easy to make I couldn’t stop voicing my amazement for a while after I finished – just a few hours and voila!  Of course, my top was made up more quickly without having the full long sleeves, but even still this is a great pattern.  I barely had a yard of the interlock knit leftover and I was able to make this!?  I’m so tempted to whip up a dozen of these turtles in every variety – quilted knit, sweater fabric, sheer fancy stuff, and more especially I’m hoping to find a funky printed knit for a true Space Age look to go with my ’67 jumper.

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The long sleeves are something I do love, but they have more of a 1930’s look so I might end up using them as a replacement on an old-style elegant Art Deco dress in the future.  I will say the body runs small – I almost wish I had went up a size…but hubby’s happiness with how it looks on me makes me say, “Nah, I picked the right fit…”

dsc_1027a-compwThe back neck exposed zipper is sort of mixed feelings sort of thing for me.  I love the modern way it looks even though it is a vintage 50’s or 40’s era notion.  I do not enjoy how it almost always gets caught up with my hair even though I close the zip with my head upside down so my hair isn’t in the way.  Oh well, win some, loose some – I cannot think of a better solution so I’ll shut up about it.  Hint, hint – when in an adventurous mood, you can even wear the back neck unzipped and the stand-up collar lays flat on the chest for a completely different appearance to the top!  O.K., now I’ll move on.

Another amazing thing to this outfit is the belt.  Look at that asymmetric loveliness!  It’s freaking awesome.  I look at it and can’t believe I made it, it seems so professional.  This is a really great design and it has wonderful shaping for around the waist – this is not a straight rectangle sort of pattern.  Belts might seem hard to make or even mysteriously different and even intimidating (working with vinyl or leather), but all of that is blown away by using Vogue #9222.  The instructions are clear and all the designs are so neat I intend to make all of the views available.  In your face ready-to-wear, store bought belts…I can make something better than you, you are often only half belts, with elastic across the back.  My belt is all belt, 100% my style and my make!

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My only caveat is that I wish I had extended the length of the belt to go up to the next size.  Cutting out a paper pattern on a slick vinyl leaves room for shifting and a small margin of error.  In order to get the two belt pieces matching together, I had to trim them down slightly, and thus I ended up with a belt that was a little smaller than the pattern intended.  This is why I recommend adding an extra 4 or so inches to the belt length going around the waist.  You can always cut some off, but you can’t add it on, especially when it comes to vinyl.dsc_0002a-compw

I was able to machine stitch most all of the belt, but I used a tiny ‘sharps’ sewing needle to hand sew on the buckle and the belt loop.  I did not want to test four layers of vinyl on my machine so I did not fold in the edges of the seam allowance.  I left the edges raw and tried something experimental.  Taking a hint from store bought belts, which have some sort of seal along the raw edges, I used a matching colored nail polish (yes, fingernail lacquer) to paint over the edges of my belt, both coloring and sealing them at the same time.  It’s a rather permanent option, nevertheless I did see some faint rubbing off of the nail polish onto my dress after one wearing.  So – it’s not perfect, but an easily available solution that I am happy to see worked out so well.

This was the first time making grommet eyelets and I think they are a success.  I have tried before again and again to get metal grommets to turn out right, but that was experimenting on fabric (for a corset) and this time they came out much better in the vinyl.  It was like a boost of confidence I needed, feeling that ‘o.k. I can do grommets, I understand how they work now’ so maybe, eventually I can have them turn out well for my future corset.  Does anyone have any tips to share about the keys to successful metal grommets or even what to avoid?  Should I add some glue to the back (to keep them in place) and can you replace one if it gets wonky (or does that not work)?  Just wondering.

dsc_1041a-compwI hope this post has inspired you to see outside of the traditional box for sewing and making every day-type of clothing items.  There is so much room for inventiveness when you make things yourself, the sky’s the limit!  A dress that is a shirt-dress worn like a coat, a belt finished-off with nail polish…a girl’s gotta do what she has to do when she gets an idea with a sewing machine, some material, and extra time on her hands!  Yup, I live on creativity and can’t stop.

Do you, too, have any big hopes for making some neat things this year, something which gets you all amped up just to think about it?  Do you too have some ‘ugly duckling’ fabric around just waiting for the ‘right partner’ in the form of a pattern to complete it (or did you ditch it)?  What is your favorite way to put yourself together to combat the cold weather?

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Candy Stripe Blouse

dsc_0976-compwI don’t know about you, but we have plenty of candy leftover still from Christmas (and even a little from Halloween).  Among the candy, we had so many candy canes we actually were able to decorate the tree with them!  Now that the tree and Christmas are past and out of sight, we have to work on finishing those candy canes still around.  Well, how about instead taking care of some scraps of red and white candy striped fabric?  As one who’s not that crazy for sweets (I know, call me odd…), this ‘sewing option’ to finishing off some ‘candy’ is my kind of thing!

Hubby thinks of the hospital volunteer “Candy Stripers” when he sees this blouse.  I know the two share similar fun red and white stripe usage, but they technically wore pinafore-style jumpers and my garment is just a blouse.  Still, both a pinafore and my 1940 blouse are peasant themed, and a rather “cute” (yuck – hate that term) style which tends to make one seem younger than one’s actual age (I don’t need help there).  Both are from the same decade – my pattern dates to 1940 and Candy Stripers originated in 1944.

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However, my blouse has something extra to it that makes it uniquely special in its own way, apart from any history or style or whatever.  It is made from fabric given to me by my Grandmother.  This post is in memory of her, as she is now deceased as of this past weekend.  The fact that the fabric for my blouse was from her gave me some stress and self-inflicted pressure, at first.  I wanted to make the very best I could with what she gave me, but I realized when planning to make this blouse that she would want me to only enjoy and be creative with what she gave me, and nothing less.  I felt the fabric and the pattern were made for on another, so it must be the best re-use of her scraps – I am quite pleased with my blouse, and thankful for her always encouraging appreciation of my talents.  She was seamstress herself, as was her mother, too, so she had some awesome and useful sewing related items she was sweet enough to want to see what I would do with.  Grandma, this blouse is for you!

dsc_0974a-compwThe date of this design (as I mentioned above) is 1940 – thinking back, my Grandmother was 10 years old that year.  To make this blouse all the more poignantly related to Grandma, the family (myself included) suddenly realized, while looking at pictures of her long life over the weekend, how very similar her face and mine are to one another.  Goodness, we seemed to have more in common than I knew.  She was such a lovely woman, always with a kind word, a smile on her face, a thoughtful act, and a love of nature and of family, just to name a few qualities.  I just hope I can be more like her, not just in face, but in person, too.

THE FACTS:hollywood-1991-year-1940-envelope-front-compw

FABRIC:  a 100% cotton flannel scraps, from the stash given to me from my Grandmother; linings and facing are cotton broadcloth scraps from on hand in my stash

PATTERN:  Hollywood #1991, year 1940

NOTIONS:  The only notion I bought was the trio of front buttons; otherwise, everything else was from on hand – the thread, bias tape, and hook-and-eyes

TIME TO COMPLETE:  This was relatively quick – 6 to 8 hours were spent to make this blouse and it was completed on February 4, 2016.

TOTAL COST:  Just the buttons were bought (modern & basic red half-ball type) , so only a few dollars in total

This was a fun, intriguing, yet challenging project all-in-one.  I had plenty of inspiration that I had found for late 30’s and early 40’s striped blouses (many of which can be found on this Pinterest board of mine) so it was just a matter of choosing a combo of directions 100_6728a-compwfor each section of my own blouse.  This part was quite the memory game, trying to remember which pattern piece was for which section of the blouse and trying to lay it out in the intended stripe placement, all the while remembering to match lines!  At first, it seemed I was quite limited as to what I could do because the fabric was a scrap piece, all cut up already in odd places.  But, some mind crunching and much switching around of pattern pieces (again, like a puzzle game) and I was able to get what I intended, with only the blouse bottom waistband being necessarily cobbled together from four individual parts to make a whole.  In all, this was another “close call” sort of project where you cut the pattern squeezed onto the fabric so much so that you barely have a few inch scraps leftover – so difficult but these kind make the most of every inch of fabric.

As was the case for other Hollywood patterns, this blouse again ran large.  I know it seems it is supposed to be quite poufy and generous by design anyway, but I accounted for it by slightly downgrading with bigger, more modern, seam allowances.  My only complaint to this top is that the button front neckline does not give me enough room for my head.  I am able to put the blouse on as you can see, but getting it on is like some sort of skin pulling, “second birth” experience (sorry ‘bout the mental picture) that leaves the tasks of fixing one’s hair and applying make-up to be something that comes after being dressed.100_6948-compw

The awesomely full and puffy 30’s style sleeves are my favorite part to this blouse, besides being proud of the matching I achieved in the arm pleats on the side (see right picture).  Also, this is the first Peter Pan collar that I really actually like on myself for some reason.  The controlled, even fullness of the bottom band is easy to wear – nothing to come un-tucked!  The flannel keeps me just warm enough on chilly days but the short sleeves prevent me from being overheated when being inside.  In all, this blouse is a great wear, so comfy with full movement, bold statement striping, and a vintage look that is a good kind of unusual.

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In order to avoid a side zipper being too stiff for the side closure, I buried my intolerance for hand stitching and sewed in snaps.  The snaps keep the bottom blouse poufing out like it should above the bottom band.  A strong waistband hook-and-eye holds the waist 100_6946-compwtogether.  Sometimes I tuck the waistband into my bottoms (as when I wore my 40’s style denim skirt) and sometimes I leave the blouse band out (as when I wore it with my 40’s jeans), and I can’t decide what I like better.  The blouse appears more like an Eisenhower-style jacket when untucked and closer to a blouse when tucked.  Either way, I guess I do need to find more than just navy and denim bottoms to match with my blouse, at some point.

This last mention is no big deal, but I wish I had thought about “setting” the colors before100_6949a-compw I washed the blouse fabric.  It was a crisp red and white originally with a generally smooth feel, but after washing the flannel its brushed finish fluffed out more than expected and the red leaked slightly into the white turning some stripes into a faded pink tone.  The color problem is not something obvious enough to really show in our pictures, however I wish I had thought of it beforehand and am keeping this lesson in mind for the next bold two-tone fabrics that have to make their way to the washer.  Any suggestions on how to do this “setting” of dyes that leach?  I have seen salt water soaks being recommended, but does anyone have first-hand tips to share?

I attempted to channel to quaint hairstyle on the cover of the pattern envelope with a simple ribbon headband.  In the one set of pictures I even tucked my hair up to have more of a late 1930’s look, then the other pictures have my hair left down long for more of the ‘40’s young lady’ look.  It was after the pictures for this post were taken that I saw these old photo booth shots of my Grandmother in 1940 when she was 10 (center) and some others as a teen in post WWII times.  In the 1940 pictures, she had her hair short and curled, wearing the same ribbon-headband-with-a-little-bow just like me, but the teen pictures are pretty alike, too!  These old photo booth pictures make me see similarities between us all to well…

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There are many ways to remember the past, but remembering it through fabric is kind of special.  You get to wear it, do creative things with it, and it can be seen in pictures for a long time after.  Admittedly, there is nothing that can beat a memory but clothing certainly can add to that recollection or bring it back.  This might not be the best garment I’ve made but the special background to it makes it pretty great to me.  Now that the time for stories coming directly from my Grandma is past (sadly), I’ll keep paying attention to my her pictures and maybe I’ll see a glimpse of what she made with the other part of the fabric I used to make the blouse in my post.

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“Saddle n’ Lace” Sleeveless Tunic Shirt

Howdy!  Here’s a loose and comfy western-themed modern shirt, made from a vintage novelty fabric with a little bit of lace, a little bit of denim, and a secretive bit of skin for the sun to shine on.  To go with the subtle motif of the shirt, we chose an equally understated western scenery of dry desert cacti and succulent plants.

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This is the garment of oxymorons – I’m wearing a shirt, just a really long one adapted to almost be a dress, and although it has a collar that comes up around my neck, I’m not all that covered up…my back and chest are showing.  The idea associated with a saddle and its gear, along with blue jean material, is one of general rugged toughness, yet there is a good amount of delicate sheer lace to add contrast femininity.  A front placket of brass buttons isn’t completely working, actually, and old fabric goes to make something modern.  I guess it’s merely a case of “opposites attract” or my enjoyment of making my own clothes…probably both!

THE FACTS:

FABRIC:  The printed fabric is a vintage cotton/poly blend gabardine, the lace is a poly polka-dot ivory, and the denim is a medium-wash cotton.  The denim leftover from my arch-waist 1940’s jeans, the lace came from my untouched stash of laces, and the printed gabardine was bought as a remnant at a vintage market booth.Simplicity 1422 cover pic

PATTERN:  Simplicity #1422, year 2014

NOTIONS:  I had all the interfacing and thread I needed, but after a last minute design idea I had to go out around town and hunt down some denim bias tape in a matching color.  The buttons are modern, bought a few years back, and were in my stash of notions.

TIME TO COMPLETE:  This took maybe 8 to 10 hours and was finished on September 9, 2015.

THE INSIDES:  All bias bound or self-fabric covered

TOTAL COST:  I’ m counting the lace and denim as free, so my only cost was the special denim bias tape and the vintage fabric – maybe $8 total.

I had as much fun making it as I do wearing it – very much!  Wearing a tunic is new to me (yes, believe it or not) so I did have some trouble figuring out how to make this and what to do with it, but now that I feel as if I understand how to make it work.

My husband’s workplace was hosting a family “picnic” get together at our town’s zoo, and this was in early fall when the weather here is generally warm, but the breeze and shady spots can become a bit chilly.  Thus, my ‘saddle and lace’ tunic was perfect for the day, besides giving me a reason to sew up a fun, new garment for the occasion.  Wearing leggings underneath as well as the denim collar around my neck kept me from getting too chilled but the open top half kept me cool enough in the warm sun.  It is modern, yet not too edgy nor boring at the same time.  Plus it has a level of nice casual wear that I really enjoy.  I really need more casual wear like this in my wardrobe.

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The fit of this pattern’s blouses is generous and but I tend to think the excess ease looks good here.  The pattern was easy, and everything fit together very well, but I especially love the all-in-one collar, where the neckline stand and the first button are part of the lapel.  I think this designing touch amps up the pattern from interesting and different to quite nice.  The overall lengths seem to run quite long in everything – the sleeves, the waistline, and the tunic hem.  Slouchy is the key here, anyway, so no problem, after all.

I must say my choice of using denim for the button placket was not the best decision, and neither was my choice in buttons, but I made it work.  The denim makes the front placket so thick and stiff, besides being quite a challenge to make button holes in and sew through to attach buttons.  The buttons are working but it is such an ordeal that wears out my fingers I never bother because the shirt is loose enough it slips on anyway.  The bottom band I added prevents my shirt from being fully un-buttoned anyway (the reason for adding the bottom piece along with the further contrast it gives), which is why I think of this as more of a tunic.  It was either add the contrast or make an arched-side shirt–tail hem, and you can see which of the two I chose.

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My unusual polka dot lace makes me happy.  With a solid or floral version of this shirt, I think a floral lace would work fine.  However, floral laces that I had just didn’t look good to me with the novelty print so I pulled out this dotted lace.  It’s been in my stash for over 10 years, and I didn’t have that much of it.  Working with this soft lace was worse than dealing with silk.  It was so slinky and shifty, as well as having crooked lines of polka dots.  The shiftiness of the lace was one of the main reasons I realized I needed a stable binding for the armhole edges – more denim.

100_6078-compThinking about it, I coined the print as western, but actually the detail of the print is a bit more about equestrianism, particularly English style.  The saddles are drawn quite nice, with a fancy riding whip cross-wise behind it, so it is more like a reference to classy sports riding for show.  Nevertheless, having saddles and their related gear pictured all over my shirt I couldn’t pass up a chance to ride a wild animal…on the carousel!  I chose a warthog and our son rode the giraffe.

There were so many ideas in my head of what I could make with the saddle printed fabric, yet what I did make was what really appealed to me.  Fancy western shirts, tailored with contrast details, or even a fun 50’s novelty-themed skirt were all on my list of possibilities here.  Then, as the indecision kicked in, I was tempted to save it, but it is too cute to hide in a fabric bin.  I suppose most of those who sew have one of these projects that somehow begs to be made up a certain way, no matter other ideas.  I’m glad I listened…

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