My most common item I create as a gift for someone is a really cute, finely detailed apron…and if not self-drafted, there is one pattern that I use for all of them. It’s a vintage re-issue, Simplicity #1221, originally Simplicity #4939 from 1944. This is a true winner of a pattern, with one cut piece needed to make it and a good design that has a complimentary fit. Not every apron is so good at being fashionably waist slimming yet with full coverage for food stain protection, too. Neither are all aprons so good at being a one yard, two hour project! One of these days, I need to get around to making a version for myself, especially after making so many for others. Here’s the post on my first gift version of this same apron pattern. This particular one was going off to my hubby’s godchild as a present.
This is the first time I had made a reversible apron, and I love how it turned out. I wanted her (the recipient) to have something she would not find otherwise, something fun, and ultimately useful! Just one layer of material (printed cotton) alone was too thin to be a useful against food splatters anyways. As the apron design is so simple, it was easy to merely have the backing fabric become an optional, yet wearable, second side. The entire raw edges are encased in ¼ inch bias tape so they look the same on either side, too, besides being an easy and colorful finish.
The sizing is good for gifting, as well. It is in loose, general blocks of measurements as small, medium, and large gradients rather than precise numbered sizing. As long as I can estimate the recipient’s body as compared to my own, I can find the right size. The waist of the apron should just about cover the front 2/3 of the wearer’s waist, so that always gives me a good way to choose what size to make after measuring the pattern in comparison. The godchild is actually a 20-something who is my size body (or slightly smaller) so I made the apron to fit me. However, it is always harder to let something go to someone else once you try it on for yourself, you know what I mean?
I made the ties as long as the pattern calls for, which is short enough for only a knot and not a full bow. The neckline has no closures and flips over the head to lay on the neck and shoulders like a collar, so I feel the shorter ties complement the overall simplicity of the design. At the base of the ties, I added a small name tag to credit me, the maker, so the recipient can remember who gifted it to her!
My avid, life-long research into medieval studies, especially when it comes to manuscripts, is distinctly tied to my fascination for the revival of its tales and artistry through the Pre-Raphaelite movement, which spanned the 1850s to the late 19th century. The term “Pre-Raphaelite” is associated with the much wider and long-lived “Brotherhood” of English painters, poets, and art critics that included both men and women in its ranks and influenced architecture, music, and literature, as well. They developed a particular taste instead for medieval and early Renaissance art made ‘pre’, meaning before, Raphael, focusing on working from direct observation with dazzling, sparkling colors and incredible attention to detail. It is full of romantic idealism, old-style stories, and classically draped damsels in distress…perfect for a princess at heart!
My particular favorites are the pensive, realistically styled images in the latter half of Pre-Raphaelite art, particularly those of medieval characters or fictional fairytale damsels produced by Brotherhood members such as Rossetti and his followers William Morris, Edward Burne-Jones, and Evelyn De Morgan. The women in such art always have hair and clothing that are total romantic perfection while the men are yearning, staunch, and heroic…I’ve been entranced since my childhood. In a recent post, my sewing was inspired by the classical, flowing, Grecian style of Disney’s Meg from the 1997 animated film “Hercules”. Here I am continuing that idealism with posting the making of a dreamy, draping 1940s era “Goddess gown” with matching bolero and jewelry, all inspired by the medieval inspiration behind the Pre-Raphaelite brotherhood.
How did I link paleographic manuscript studies to both an art form and fashionable clothing? Well, just like Pre-Raphaelite art, my outfit has a blend of the medieval with the elements of other eras tied into one. The floral printed silk of my dress and the canvas print of my bolero are veritable copies of the beautifully scientific style of accurately painting nature as can be seen both on the pages of late medieval illuminated manuscripts as well as a tapestry of Burne-Jones. It was often in the page margins or borders of illuminations that such texts (primarily early 15th century) used flowers and insects so as to heighten and add depth of meaning by their symbolism.
This is no less the case with Pre-Raphaelite artistry where such a lush amount of detailed flora and insect fauna was frequently added in abundance (especially on tapestries). Doing so was not just to add beauty, although that is often the extra benefit. Both this 19th century art form and medieval manuscripts used the visibility of nature to aid and enhance our understanding of ancient stories and the people of the past. Every moth, every fruited berry, and every flower had a symbolism, a meaning that added to the message of the art, sometimes even hinting at whether well-intentioned or full of irony. Our modern times have forgotten much of the rich underlying meanings to such beautiful creations, and I say we need to relearn this knowledge!
So why channel this classical idealism through a 1940s gown? I wanted to emulate Madame Eta Hentz, a designer born in Budapest and educated in Hungary who immigrated to the United States around 1923. She presented her distinctive masterpiece collection of Grecian themed gowns in circa 1943. Please click on over with the provided links to see Ms. Hentz’s “Athena gown”, her black and gold “Clytemnestra gown”, her “Iconica” pleated dress, her “Walls of Troy” butter yellow gown, and her unnamed but strongly classical evening gown, one in ivory and a version in black – all from the same Grecian collection at the MET museum. They are flowing, draping, asymmetric creations resembling either an ancient chlamys, a Roman palla, a column in the Pantheon, or a pleated Fortuny toga. Such a beautifully simplistic style of dressing has been around since the beginnings of civilization, but I love how the late 40’s and 50’s Hollywood puts its own subtle high-fashion spin on such a garment. Yes, there have been many other designers from many other eras who have created according to ancient inspiration. Yet, 1940s gowns are already elegant to begin with, and to combine such a trait with the references to the classical past gives a very winning result I had to try for myself.
Furthermore, the post-WWII (40’s into 50’s) boom of Biblical, early Christianity, and ancient history related films also resulted in the popularity of the sensual, sultry “goddess gown”. In 1949, the year after the pattern I used for my gown, Cecil B. DeMille released Samson and Delilah, a picture that became the biggest hit of that year. This was one of the very first big epic films made using the latest technology that ushered in the height of the Biblical silver screen drama so prevalent thereafter in the 1950’s.
Even before the popular quasi-religious films of the mid-century, however, Grecian style gowns were a go-to choice for either elegant evening wear or a classical themed costume in Hollywood at that time. In 1947, the year before the pattern I used for my gown, the famous Rita Haworth was seen in a sexy, one shouldered goddess gown for playing the part of a Grecian Muse in the popular musical film “Down to Earth”. Also in 1947, for a Christmas dinner party, the actress Gale Storm graced the screen during the movie “It Happened on 5th Avenue” with an asymmetric goddess gown. Next to the works of Eta Hentz, this goddess dress heavily influenced my own version. Similar to the one shoulder strap which mimics a climbing vine on Gale Storm’s evening dress, I incorporated me-made leaf jewelry as a compliment to my outfit. The accessories I crafted to match are a further nod to the sneaky Pre-Raphaelite inspiration of my outfit besides being a very classical touch. More on this further down in the post!
A goddess gown is usually a one-shoulder dress that is made from a quality fabric that drapes gracefully, simple in lines and inspired by the togas of old. It is so effortless, so ageless in style, and it’s wonderfully flattering for all! I went with a sheer floral silk underlined with an opaque rayon for my version to turn my goddess gown dreamily feminine rather than just architectural, after the stylizations of Waterhouse and Rossetti. The bolero is like a condensed minuscule version of the printed silk, and turns the dress into a refined look, with a bit of added interest, while also not disturbing the aesthetic. My bright green jewelry and vintage green suede heels freshen up the tone, saving it from being too dark. However, the black background for both pieces to this outfit keeps it moody and somber, just like a Pre-Raphaelite painting. We happily tuned into that for the photo shoot location. What could be more melodramatic than old building ruins around a pond with giant lily pads (just like John William Waterhouse’s painting “Ophelia by the pond” from 1894) or gliding into a weeping willow tree at dusk?! I’m living a dream.
PATTERN: Butterick #5136, a year 2007 reprint of an original 1948 pattern
NOTIONS: lots of thread and one zipper
TIME TO COMPLETE: The dress took close to 30 hours to make, while the bolero only took 3 hours. Both were finished in October 2019.
THE INSIDES: The bolero is fully lined, so there are no seam allowances showing at all! The entire dress and its rayon lining (which is separate, free flowing) are both finished in French seams.
TOTAL COST: The silk on discount and was ordered direct from Hong Kong through a shop no longer in business. The rayon crepe and the poly lining for the bolero are as good as free as they were leftover from past projects and came out of my stash. The bolero fabric was free, but I had to pay the shipping. So, between the silk, the jewelry I made, and the shipping cost to the bolero fabric, my total cost was about $40.
Of course (knowing me) I slightly adapted the design (of the dress) to accommodate the border print of the silk, but other than that I made this entire outfit as-is out of the envelope…and it is to be highly recommended. Some vintage reprints have strange amounts of ease or finish different than the cover image, but not this one. It was indeed easy to make, as it says, too. It’s only because working with a silk or a rayon crepe is never easy that my version was more challenging. The bolero’s most challenging part was being precise with the stitching (and then trimming) the curvy seams around all the edges.
The one slight change I made to the dress can be seen when I walk away. I think the contrast panel train I added is a beautiful touch! I had to add a gored godet to the center back of my dress’ skirt because working with two yards of border print material wasn’t enough to go around the bottom hem. The one selvedge to the silk had the floral border I used along the hem while its opposite selvedge had a dense line of paisley ‘almonds’. I used this paisley along the other selvedge for the back skirt godet add-in, and drafted its godet point to start where the center back zipper ends and curve out past the hem to be a train.
The bodice was cut out of the material in front of the paisley selvedge where the underlying print is more spread out with only a few random bugs and flowers. I actually had to seam together several smaller pieces of rayon to make my remnants work for lining this dress, but as it is inside underneath the silk, the odd excess seams are unnoticeable. This was such close call of a project!
As it turned out, the heavy rayon lining sort of pulls the dress down on the one open-shouldered side, and I half think that adding boning as well an inner grosgrain ribbon waistband would’ve been a worthwhile idea to improve upon the bodice. It is just fine without such ‘improvements’ too, though. A structured bodice would bring this dress closer to the silhouette of a 1950s era dress and deviate the dress away from the soft, flowing overall appearance I was aiming for originally. It’s often good to leave what’s well enough alone. At least I did made sure to sew seam tape into my stitching along the top neck edge and into the dual skinny shoulder straps so these spots don’t stretch out of shape at all. As I’m my own garments’ maker, I’m naturally going to be hard on myself. I realize this much. Any small ‘faults’ cannot in the least make me love this outfit any less.
The bolero’s fabric was a happy find that just happened to match because, I’ll admit, it was only made as an afterthought. When first creating the dress, I discounted the hope of finishing a complete set as I had no idea what would be a good pairing. Would a solid color bolero overwhelm? Would a black one underwhelm? I was at a loss. What would remotely ‘match’ the printed silk enough to seamlessly blend in with the dress? Upon browsing the “Spool and Spindle” site after receiving my “Designin’ Designer” gift, I was looking through the Rifle Paper Co. fabrics (something nice I would never buy on my own). I happened to see a fabric print so similar to the silk goddess dress already made and jumped out of my seat. Serendipity had decided for me a matching bolero was on the table! Luckily, I only needed half of a yard for the bolero. Rifle Paper Co. fabrics are pricey and my certificate voucher just covered it. Yay! I loved putting my prize fabric towards a very special outfit like this.
Beautiful seams, amazing details, and clever construction are all packed into this little jacket. A backwards closing bolero comes across as very unusual to me, first of all. I added two shiny, faceted black buttons to close this behind my back neck with hand-stitched chain loops. The back opening lets the dress just barely peek from underneath. As if these features aren’t cool enough, there is that slight cowl neck front neckline fold, the front hem curve notch, and those perfectly curved cut-on cap sleeves which all totally vie for my “favorite garment feature ever” title! What makes this little jacket even better (if that’s possible) is the fact that it is slightly longer than most boleros, and actually comes down to the waistline, so it pairs with other things in my wardrobe, such as my black Burda pants (posted here)…among other things! Not that I ever wholly mind a one-way-to-wear-it outfit, but multi-use sewing is such a wonderful payback.
My handmade jewelry includes a full bracelet, earrings, and necklace set. The necklace is the main piece. It was two sets of enameled leaf ‘charms’ from the “Gilded Age Timeline by Bead Treasures”, a Hobby Lobby line of vintage and Steampunk inspired jewelry supplies. They were on deep clearance, probably due to having the date of 2013. Each pack made a chain of 7 inches, and I knew the base of my neck (measuring around tightly) is 15 inches…this would be a close call. The lobster clasp and loop closure, as well as the front ring that combines both leaf chains, added another 1 ½ inches so I ended up with a perfect length for a closely fitting necklace. The two leaf chains fan away from one another yet meet in the middle front and back of my neck, so my necklace ends up looking like a Grecian or Roman coronet.
In medieval imagery, a laurel leaves symbolize peace, tranquility, and the power of a promise. A simple internet search has shown me that 15 inch enameled leaf necklaces were not only existent but also popular, primarily in the 40’s and 50’s, so I was onto something era appropriate anyway, it seems!
As there weren’t any more of the necklace leaves to be had, I improvised to make something similar to complete the jewelry set. I chose green glass teardrop beads in the same deep but bright green color as the enameling on the necklace leaves. I made the bracelet and earrings reference the necklace by interweaving small metal leaf beads above each glass teardrop. I rather love the look of how this jewelry set turned out. There’s nothing quite like an outfit that is all handmade, excepting the shoes (and underwear), of course, ha!
This is a project into which I put a lot of thought and meaning, since not only have medieval subjects been a lifelong interest but I am also much more artistic on paper than I let on through this blog. Perhaps that’s what helped my outfit to be just as dreamy and romantic as the inspiration behind it, though. I could have expounded upon several points in detail but I reigned myself in to keep on topic! I only hope I conveyed some of my thoughts, inspiration, and construction notes in a clear and intriguing manner enough to maybe even interest you in finding a channel for your own goddess gown.
It really does take a lot of effort to come up with a completely me-made outfit and also make it look just like what was dreamed up in one’s own head. That is perhaps the hardest part to sewing up something based off an exciting idea…to have what you end up with be just as you had hoped. It doesn’t always happen that way for me, yet even still, I always make sure to be proud of what I made and even enjoy the surprises along the way. Not here, though – it’s all that and more! You know, the definition of a “reverie” – as used in my title – is “a pleasant state of abstracted meditation or fanciful musing; to be lost in a fantastic, visionary, or impractical idea.” I see that it is said reveries often never come to fruition, being often negatively labeled as only a daydream. Bah. Anyone who believes that has never sewn. To be able to swish and glide around in this 1940s set the same way as I had hoped to be able to as I saw it in my mind’s eye is a fantastic thing. Make that reverie work out in real life for you – it’s worth it!
Punjab, famously referred to as “The Land of Five Rivers”, is located in the northwestern part of the subcontinent of India. The word “Punjab” is made up of two Persian words – “Panj” meaning the number five and “Aab” means water. This name was probably given to this land possibly in an era when this region came into close contact with Persia. It is one of the oldest continuously inhabited cultures in the world – a multi-hued heritage of ancient civilizations and religious diversity dating back to 3,000 B.C. The Indian State of Punjab was created in 1947, when the partition of India split the former Raj province of Punjab between India and Pakistan. The mostly Muslim western part of the province became Pakistan’s Punjab Province; the mostly Sikh eastern part became India’s Punjab state (info from here). As I am in the mood for earthy tones and since we are coming off of the Festival of Diwali, I am presenting my Punjabi inspired finery in the form of a refashioned vintage sari sewn into a 1936 kurta tunic which (I hope) unites both sides of the territory.
FABRIC: a vintage silk sari with a ‘zari’ goldwork brocade border
TIME TO COMPLETE: This came together in about 10 hours (as there was a lot of hand stitching I did to finish the neckline). It was finished in May 2019
THE INSIDES: all French seams!
TOTAL COST: The sari was a special find at only $25
Re-making a sari into a kurta or a long anarkali dress are two of the most common uses for a traditional re-interpretation. Transforming this vintage sari by using a 1930s pattern was only natural to me as the next step. The sari is printed and dyed with a very Cubist-Surrealist design, something which was very prevalent in the 30’s, even in fashion. If I look at the design on the sari hard enough I think I see the face of a man sitting down weaving, but then doubt whether or not I am imagining what I want to see. Isn’t that the beauty of surrealist art? Cubism makes one’s imaginary pictures artistic. Admittedly, I am not certain what era of vintage this sari is exactly – it could be anything from the 1990s to the 30’s. Indian saris are meant to last generations and so they hold up very well if cared for, stored, and worn properly. Their traditions are timeless. Thus, dating them can be quite tricky. I felt the 30’s was the best interpretation for what I had.
Furthermore, the media’s inquiring eye was on many of the ‘princesses’ of India in the 1930’s while other women of India were making headlines by breaking societal boundaries. Bollywood was coming to its own, and many of the greatest fashion designers were incorporating the country’s influence into their designs. India of the 1930s was clearly edging towards its long-awaited partition already and many ruling women who could still claim royalty among the many dynasties dying out under colonial reign became a popular curiosity. Named photographers were capturing the posed glamour shots of the fading royals, rich socialites such as Sita Devi, as well as popular actresses dressed in both the traditional or western-influenced clothing – they were no doubt a global influence. In 1935, the French couturier Elsa Schiaparelli came out with an Indian inspired collection and a year afterwards the American couturier Mainbocher designed some very Indian influenced tunics (one such released as McCall #9082, see below far right image).
The first Indian woman to fly an aircraft, Sarla Thakral, made history in 1936 at the age of 21 in her “Gipsy Moth” biplane. After a hard-fought suffrage movement, about 6 million Indian women (only covering 2.5%) received voting rights in 1935 under the British Government of India Act, with Parliament even reserving seats for women in the lower house. Women of India were achieving strides of modern progress in the mid-30s, making notable 21st century history. These are only a handful of examples – I could go on! It’s no wonder Western fashion took note, even though they sadly did not concern themselves with proper provenance.
This kurta tunic combines proper approbation together with a past time in the history of India. In this past Indian-inspired outfit’s post, I addressed what is a kurta versus a kurti, but this site also defines the difference nicely. The way this tunic is dressy and festive, as well as longer (knee length) it is decidedly a kurta. The darker earthen tones with the orange and golden colors, as well as the distinctive “zari” goldwork along the border makes this a northern Indian heritage piece. The word “kurta” has Persian origins much like Punjab region. It means “a tunic, waistcoat” and the word dates to the 16th century (when the Mughal period began) even though its popular English usage is traced to the writings of the famous Lawrence of Arabia. Nevertheless, garments very similar have been worn for centuries – it is basic and versatile in usage, and composed of simple shapes. The traditional Punjabi kurta is wide and falls to the kneesand is cut straight but today’s version is the ‘Mukatsari’ kurta which originates from Muktsar in Punjab. This modern Punjabi kurta is famous for its slim-fitting cuts and smart fit designs. With the popularity of peplums and tunics in the 30s, this straight fit but very chic vintage design was a perfect choice.
Despite its deluxe appearance, it was pretty simple to make – quite rectangular with subtle curves and detailing like shirring. It has a high sweetheart neckline and angular empire waist seaming. There are loose and comfy cut-on flutter sleeves. Simple shaping is achieved by a few rows of loose stitching pulled up to a slight gather over the tummy and at the sides of the neckline. I chose to leave the back seam open for dramatic effect. (I did wear a cropped cotton top underneath for comfort, though.) The sari silk was really quite stiff and medium weight so this pattern would look different with a loose weave like a rayon or chiffon. No matter – either way, this is a fantastic pattern which I will definitely come back to again, even if to only sew up something using the other high-necked, puff-sleeved view!
Contrary to many styles like this in the 30’s, this one is surprisingly cut on the straight grain rather than the bias, so it was perfect for taking advantage of the decorative border. However, because of where else I wanted the border to be running, I also had to take the gold “zari” border and cut it out from the sari along what parts I did not use, then stitch it on other edges much like an applique. The front skirt just below the waistline is the true border as well as the back skirt hem. However, the front hem and the back bodice had their “zari” trim applied on. Understand that the zari embroidery border runs the whole 6 yard length of either side to my rectangular sari, and is separate from the decoration on the “pallau” (the ornamental end piece of the sari). In this post of mine there is a perfect example of a Gujarati sari with zardozi work along the border (see the red and blue one).
Zari embroidery is basically understood as thread traditionally made of fine gold or silver used in traditional Indian, Bangladeshi, and Pakistani garments, especially as brocade in saris, woven into fabrics (primarily of silk) to make intricate patterns and elaborate designs of embroidery called zardozi. The Muslim (Mughal) invasions into Gujarat ca. 1300 brought in new textile influences and forced the dissemination of many weavers and their traditions into surrounding Punjab, but even as far as Delhi and Madras. Even still, the town of Surat in the state of Gujarat (on the west coast of India) is still the world’s largest producer of all types of zari threads (thanks to government tariff protections put in place in the 1920s). Zardozi weavers are special enough to be known as “kaigar”, which means ‘artist’, rather than by the common word for weaver, “jullaha”. The very term for their work is a yet another Persian word recalling how gold specifically is used in stitched decorations, calling to mind the royalty and deities of their culture and religion. Thus, the practice of zardozi is linked with northern India today, particularly the town of Varanasi. It was this town’s famous golden brocades that the East India Company ‘took over’ the administration of so that Varanasi became a center for brocaded (zardozi) textiles.
It is hard for me to tell if the border of my sari is imitation, electroplated wrapping, or true gold when it comes to quality grade of the thread, yet is was most certainly machine work by the exact repetition of the intricate patterning of the embroidery. Nevertheless, my sari border is quite stiff and substantial and was almost impossible to sew through (definitely stopped the machine needle a few times), so I have hopes that this might be the real deal. Real precious metals are the traditional choice, besides the most practical one, for embroidery in a sari because nothing goes to waste and there is always something left to be passed down the generations. Even when such a sari deteriorates or wears out, it can then be burned down to just the gold embroidery to be turned into jewelry or woven again into a new sari. How smartly ingenious and touchingly poignant is this?! If only the rest of the world’s fashion industry would learn from this we would not have many of the current problems of lack of sustainability as well as surplus unused excess.
The very fact that there is the gold embroidery on a silk sari transformed into a longer length tunic automatically makes this a fancy and special occasion item which is not formal either. This makes it perfect for the holiday of Diwali in this years’ Covid-downgraded festivities. This kurta also lends itself to the more elegant option of a skirt and not just trousers underneath. After all, modern India’s younger set are all about a good spin on traditional wear! I chose an older RTW bias cut brown poly crepe skirt, which has a wonderful 1930s air to it. I had my burnout paisley satin dupatta shawl with me too, something I picked up from a Pakistani vendor on one of the trips to Europe when I was teen.
The real star of my accessories is the authentic Indian gold ruby bracelet, necklace, and earrings set. It was something that came through my husband’s friends from collage of Indian heritage (and who are as close as family to us, and the catalyst behind my adoption and interest of India’s history and traditions). Long before my hubby and I met, he paid for her to bring back a precious jewelry set from their family jewelers on one of her yearly visits back to India. It is very heavy jewelry and very impressive and beautiful! This set was his investment in his family, though – it wasn’t just for me, although I am wearing the full set on loan for this occasion. His mother was given the necklace, his sister the bracelet, and I received the earrings when I was married to him. It was a poignant Indian gesture of affection to the women in his life, besides (for me) a lovely connectivity with the female in-law members of my family!
So you see now that mindful and symbolical use of what we embellish our bodies with has gone hand in hand with smart re-use and re-fashioning for years under one of the oldest cultures of the world. The clothes of India may be complex in understanding, meaning, and manner of wearing, but the use of each individual piece is ingeniously versatile and simplistic. The straightforwardness of their construction makes the details such as embroidery, weaving, and textile shine. The simple elegance of the 1930s had an all new interpretation for me this time! Anyway, look for a lot more varieties of Indian tunics to show up here on my blog. Just to ‘wet your whistle’, all of them have amazing imported fabric, simple but elegant shapes of vintage inspiration, and intricate decorations that took me almost longer to add than making the garments themselves – and I can’t wait to show you more!!
Most estimates on the death toll of Hindus, Muslims and Sikhs alike state numbers over 250,000, even up to 800,000…it is not fully known as many victims were displaced migrants. 10 million Punjabis had been driven away from their ancestral abodes making this the greatest forced migration in modern history – all in the course of a month or two! It is a bitter history that the region has to live with and a major fact that is often ignored over the greater information celebrating the Independence of both India and Pakistan.
I truly hope this beauty of this kurda tunic brings an opportunity for others to hear about Punjab, discover its amazing history, see the beauty surviving amidst a painful history, and find a new respect for another one of the seemingly limitless magnificent cultures in our world.
There’s been a lot of overly basic sewing going through my machine over the past months – and I’m talking about more than just masks. The couple that wears handmade clothing stays together…did I get that right?! Thus, I might as well spice that necessary stuff up a bit to make my practical sewing more interesting.
Not content with once around, the leftovers of one recent refashion plus some lace remnants were enough to eke out a special little sewing for my intimate wearing! Then, some one yard novelty fabric remnants went towards making some quirky new boxers for my hubby. Sorry if this is quite “too much personal information” to share, but I am proud of all the sewing I do and this stuff would never be seen otherwise if I didn’t post about it! (That might be a good thing…anyway.) I do think these look nice enough to share, especially my pretty bra, and yes – they are brand spanking new at this point. It’s so hard to show how wonderful these items are without modeling them, but we’ll spare you that! You’ll just have to believe our words and settle for my beginner’s ability to pull off an interesting flat-lay. I paired the items with something that recalls the era of the pattern date. You can see a peek of my silk true vintage 1930s pink bias slip as the backdrop for my bra, while hubby’s favorite vintage 60’s skinny tie and his monthly magazine subscription are the accessories paired for his boxers.
I think it is important to post about making underwear and lingerie so as to show others that it is much easier to make your own basic necessities than you might think. These items are 100% more comfortable on us and much better fitting than any store-bought RTW items. No wonder – they were tailored along the way to fit each of us, besides being incredibly personalized with the materials chosen, turning into an everyday treat to wear. Also, everyone can see how pricey it is to buy quality, name-brand underwear and lingerie. With remnants and under a yard of material, you can sew yourself something better than RTW at a very low or even free (if using scraps on hand) cost. It’s a win all around. Especially when these are such easy-to-make patterns, and vintage designs to boot!
FABRIC: except for the little bit of lace on my bra, every item shared here is in comfy cotton – each one is just a different variety and weight of cotton (I’ll explain in further down in the rest of the post)
NOTIONS NEEDED: Luckily, I had the specialty bra making supplies already as part of a $1 grab bag of notions I bought a while back at a rummage sale. Besides that, everything else I needed was basic – thread and elastic.
TIME TO COMPLETE: The brassiere was made –from start to finish – in 3 hours and was made in the afternoon of July 27, 2020. His boxers were made here and there over the past few months and only took 1 ½ hours each to make.
THE INSIDES: The insides of the bra are cleanly hidden, encased between the layers, while hubby’s boxers are zig-zag stitched finished along the edge.
TOTAL COST: Each boxer cost about $2 to $4 (what a deal) while the bra materials are as good as free, being mostly leftovers from something 15 plus years ago.
So – where to start? At first, the motivation for such sewing was both pure necessity as well as an inability to shop for such things in person (as we prefer). But you know, what? Somewhere along the line such basic sewing became more enjoyable. We normally make sure to save my time and buy such items, yet the amount of 1 yard or less cuts that I have on hand are so plentiful and the perfect resource. Besides, they both were quick projects that required barely an hour and so were practically perfect for the small segments of time I have for sewing recently! It is nice to have a fast turnout item in between more complex projects, like the over the top dresses that my pandemic brain has been needing as of late (more on that soon). It’s wonderful to have a completely handmade wardrobe inside as well as out, and it is also really special to be able to share that feeling. I suppose doing such would be weird to share with anyone else but a partner, anyway!
I will start off with my selfish sewing. The 90’s plaid skirt I refashioned to become this 1940s blouse had a basic cotton lining underskirt to it which was left behind. It was a very small amount, about a half yard wide by about 25 inches long, but in simple A-line shape with only the two side seams so it was as good as a folded fabric remnant. While it was out and not stashed away yet, why leave that good fabric neglected without a productive idea to match with it? That would not be me! So I reached for something that would need very little fabric, be different to make, and be something I could use at a practical level. The basic ivory color and semi-sheer thickness dictated using the leftover lining cotton for some garment that was not to be seen.
This vintage year 1937 lingerie set has been a pattern I have been itching to try ever since I picked it up when it came out and so it was the natural choice. Even though I was only able to use the skirt lining for a half set – just the bra (and the leftover fabric went towards two face masks) – this refashion was an immense success that makes me excited to pick up the pattern again and make a full set in a fashion fabric. This is a very lovely surprise project, and a totally wearable muslin test.
As the lining cotton was a plain ivory and almost sheer (even with two layers), I realized mere dyeing to change the color would not add both a special touch and a bit of decency to this bra the same way layering it with some leftover lace did. As the pattern is not complex and has very few seams I chose a posh French lace from on hand to layer over the outside. Wow, does that lace addition really elevate this bra!
Yet, without realizing ahead of time, I found out it is a good thing that the lace was so delicate and the cotton was so soft and thin because it was quite hard to gather the middle seam of the bra down to the length the pattern intended. As it was, I could not gather any tighter and that spot is still ½ inch longer than supposed to be. If I had used a fabric any thicker this detail would have been even more difficult. It is important to get this section as closely gathered as possible because it provides the bulk of the bra’s shaping, beside the small underbust darts. The lesson learned (without having to recover from a failure) is to keep to lightweight, thin, and drapey for at least the brasserie half of this vintage reprint design.
Other than the challenge presented from the fabrics I was using, this pattern was a breeze to sew. I found the size spot on and the instructions good. The shaping of the bra is well done and the support is gives is just enough to do its job while still being comfortable to the point of feeling heavenly. Of course you can see I upgraded to modern bra notions when it came to the notions used just so that this can be a vintage merge to get the best of both worlds. There are times where I like to go all out vintage so I can both learn a new, different way of doings and also come from a historical perspective to try to understand how things used to be. I did that already, however, for this earlier 1930’s lingerie set (posted here). That aqua bra was finished the way the old vintage instructions dictated – with twill tape straps and such in the non-adjustable manner – and it needs constant tweaking to be brought back up fitting me as perfectly today as it did when I made it. This time, I was determined today’s pretty little project was going to be more enjoyed than the last vintage lingerie, and what better way to do that than make it fully adjustable for my body and a touch more up-to-date?!
Next comes my unselfish sewing project! This trio of boxers were very much mindless sewing I really didn’t have to think about how to construct. They were pretty much the same as the 1940s pajama pants I had made him (posted here). To save on interfacing for the front fly, I merely tripled up on fabric layers. Interfacing and elastic still seems hard to come by, but luckily I had a pretty good stash of 1 inch wide elastic from my deceased Grandmother. Thus, with the exception of the first pair of boxers I made for him – the animal print ones – which were two channels of ½ inch elastic, all the rest were a single piece of wide stretch waistband. The instructions said to make two channels, but he seemed to find the dual channels of elastic would twist and line up wrongly as they get worn, so a single wide elastic waistband is always less fussy…and who wants fussy underwear?!
I gave myself a bit of a break when laying out the pattern for these boxers. I laid the lower bottom edge out along the selvedge to save myself a bit of extra time to do hemming. Also. I cut them opposite the grainline to save on fabric and better align with the directional prints on two of the boxers. All of the pairs are cotton wovens that are not shifty and so going a bit against the rules of sewing and fabric isn’t a big deal, especially when you’re talking about mere underwear. I normally never do such a thing so I was really in a special mood for such a disobedience to happen in my sewing projects.
Each pair is a different weight and kind of cotton. As I said, I was not only using what was on hand but was experimenting to see what he would prefer. The animal print ones as a tissue weight voile, the Captain America print is a medium weight quilting cotton, while the red print is something you might recognize, leftover Indian block print from making my sari ensemble choli blouse (posted here). The Indian cotton was actually my part of a deal he made with me. He encouraged me to not be feeling bad for placing a big fabric order from “Fibers to Fabric” on Etsy (yes, I honestly sometimes feel guilt for adding to my already generous sized stash of sewing supplies) as long as he gets a little something made for himself out of it. I said I would use one of the fabrics to make him boxers, because I know how luxurious Indian cotton is, and underwear is the best way to appreciate good material. It seems this is his favorite pair on account of the fabric – it is almost like a silk in the way it is very breathable, cooling, and weightless.
The voile is lightweight, yes – but not as silky the Indian cotton. I know, he put up with me sewing him the animal pair, but I couldn’t help but think of Tarzan when I saw this one yard remnant. Those were my crazy choice and my hubby has humored me. The quilting cotton is a thick and tightly woven, as I’m sure many of you know (us vintage enthusiast always get tempted by its pretty prints for day dresses!), that has way too much sizing in it so it’s not the best choice for underwear. Many washes will fix that eventually and break it in…and by then it might be looking almost worn out. Ah, yes, I have a love-hate relationship with printed quilting cotton. Yet, the Captain America print is so darn fun it has to be the winning boxer pair, though! It is a print that is practically made for our family interests. I actually ordered enough of this official Marvel brand fabric to make several face masks for each of us, with a yard still leftover to sew some pajama pants in the future for our little guy out of it as well.
The frequent wearing of loungewear along with finding ways to be self-dependent both are having a strong moment this year. As we are all staying at home and outdoors more frequently, whether for work, play, or eating. Crafting your own ‘unmentionables’ for your own personal comfort and enjoyment might just become as much of a thing as the “Nap dress” or food canning. I love to be on trend using old trends. Drive-in movie entertainment is coming back, so hey – anything is possible!
Handmade lingerie is really not as impossible a task as it might seem at first, and it is a fantastic way to use up small fabric scraps and bust that stash you’ve been holding onto, as well as be as sensible, sustainable, and thrifty as possible. Besides, the holidays are coming and a handmade intimate garment would be an easy and cute little gift – just saying! The world will never know how handmade your outfit really is when you make your own underwear…it’s merely a little undercover secret about your modern day superpower.