A “Mini-Me” Vintage Lounging Jacket

“Like father like son…” is a cliché that absolutely applies more often than not to my husband and our son.  So…one grown up vintage smoking jacket (previous post) deserved a half-pint version, too!  I kept with the family ties and made my son a fleece housecoat, or lounging jacket, using a vintage 60’s pattern that my husband’s mom had used to sew something for him when he was little.

Kiddie catered, this has a frog theme of my son’s choosing, with a printed fleece that reminded him of lily pads (they do see things differently and more creatively), with cute frog face buttons.  Anytime he is slightly chilly in the pajama time of the evenings or after his bath, this fleece housecoat is the perfect thing for him.  It was his Easter morning garb to rush outside from bed and look for eggs in the backyard!  He looks so grown up in this and it makes him so cuddly cozy to hug!

THE FACTS:

FABRIC:  fleece

PATTERN:  Simplicity #7407, year 1968

NOTIONS:  I used of some ribbon from my stash (leftover from the suspender straps to his 2017 Halloween costume) and he picked out the buttons on clearance at JoAnn

TIME TO COMPLETE:  The way I made it kept it fast and easy.  It was finished in October 2017 and it took about 6 to 8 hours to make.

TOTAL COST:  As with my presents, I don’t really count the cost, but I only needed just over one yard of clearance fleece so my total wasn’t much at all!

I made my son’s housecoat pretty much the same way as I had made mine own (posted here).  Fleece does need any edge finishing, which is so weird to me as I always sew with material which does fray where cut, so just like my housecoat I merely sewed ribbon along the edges for both decorative and stabilizing purposes.  I love the contrast ribbon edging gives.  It is just enough of a pop of color and keeps the fleece edge from rolling.

Of course no house robe is complete without a pocket (he loves to stash tissues, by the way!) so I gave a nice big oversized pocket.  I really don’t see how two pockets work when house coats wrap over almost asymmetrically, but the patterns almost always call for two.  The wrap edge would meet along the edge of the second pocket (if I would add it) and that seems weird to me.  Anyone know what’s up with the two pocket wrap-on house coat problem?

This was pretty much his exact size.  I just added a little more length in the sleeves to make sure and account for his growing like a weed!  The only thing I really changed was to leave out the waist tie.  Kids don’t need fussy clothes.  I just sewed down more of the ribbon around the waist to bring it in, anchoring it down with the buttonhole.

My son may not be as dapper as his dad is in his smoking jacket, but this one is perfect.  My son might look a bit serious in his photos but believe me he is hiding his giggles as well as the teeth he has lost.  I make sure not to forget to be fair with my sewing and make time to create for my family – they deserve nice things, too!  I know in my experience that home-time garments might not provide that fantastic of a post but they are the most worn and loved.

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Hubby’s Vintage “Non-Smoking” Jacket

With Fathers’ Day here today, let’s address something relevant which is in my craw.  Menswear seems so ‘bleh’ nowadays, in my opinion.  They do not get fantastic creations from off of the red carpet (when they do, it sure never makes headlines).  Their fashions relatively stay the same (most guys probably like it that way, though), which is not bad in itself, but the scales are disproportionately tipped between the sexes.  As style is so casual for pretty much all occasions (at least where we live) there is no real variety of clothing to give men an opportunity to express themselves…beyond printed tees.  Ah, men deserve better.  I believe it’s time to bring back a garment that always used to embody masculinity, giving men a sense of personal ownership of their own leisure time, and my hubby is happy with the creative result of my sentiment because he now has a wonderful, custom-made 1940s ‘Smoking Jacket’.

A smoking jacket doesn’t necessarily have to do with practicing the habit of smoking cigarettes or a pipe (it does as far as history is concerned, but more on that in a minute).  My husband doesn’t even smoke, hence my post’s title.  Neither does it imply a compliment to a man degree of hotness.  What we women know as a housecoat or lounging robe, men have had for the last several centuries termed as a loose informal jacket, donned after dinner to enjoy leisure activities, to cover up one’s nice clothes in between stages of undressing, or to receive guests in the privacy of one’s abode.  This type of garment is luxurious in materials and decoration, and is not as private as women’s lingerie, but have been immortalized by popular, public pictures of many famous men in history being seen wearing their smoking jackets.  The poet and playwright Oscar Wilde is THE man to have brought the smoking jacket to both popular and public consciousness, but even in our modern times, the great Martin Luther King wore a satin smoking jacket for press pictures during his recovery in the hospital in 1958, after being stabbed by a letter opener during a book signing in Harlem.  My hubby’s smoking jacket always comes with him on our travels, and the Art Deco halls of a 1920s hotel became the perfect setting for some blog photos.

Now, I’ll be the first to admit this smoking jacket is glaringly made from the wrong (traditionally speaking) materials.  Smoking jackets are supposed to be make of posh, deluxe fabrics like satin, velvet, and brocade for some examples.  However, as this was going to be all his own – and a very useful, around-the-house item at that – I let him pick out all the fabrics, materials, and color scheme himself to perfectly accommodate his taste.  He is quite good at the preliminary creative process to garment crafting, although he doesn’t want to admit it!  I believe presents should be personalized to the recipient’s wants, after all, and what better way to do that than having them involved.  Besides, I figure this very basic version of a smoking jacket can be my uber-useful test run for learning how I want to approach the next one…a truly proper and over-the-top fancy smoking jacket.  I have some quilted burgundy velvet, and some black satin cording, so his next smoking jacket will be more in the style of the Victorian times, the height of the garment’s popularity as a status symbol.

THE FACTS:

FABRIC:  a brushed all-cotton flannel lined in a crepe finish polyester lining with faux suede collar and pocket detail

PATTERN:  Simplicity #2172, year 1947

NOTIONS:  I needed lots and lots of thread, plenty of interfacing, one button, and lots of macramé cord (I’ll explain why below)

TIME TO COMPLETE:  This took me about 40 plus hours to make and was finished on September 6, 2017

THE INSIDES:  What insides?  This is fully lined

TOTAL COST:  Well, my Mr. Cheapskate picked out everything for his smoking jacket from the clearance section at our local JoAnn store, so the total must have been reasonable although neither of us was really counting too much as this was his present!

At-home Robe (Banyan) with Matching Waistcoat France, 1720s

It is very telling that this pattern is from 1947.  The Second World War was over and men could again reclaim their right to rest and relaxation, and take time to building up their household and adding to their bank account with a job less life-or-death related.  The post war period of the 40’s was reclaiming the feelings that created the smoking jacket in the first place.  Sure, the trend for the popularity of Turkish tobacco and the Egyptian cigarette, adopted by the British, French, and Russian soldiers of the Crimea War (1853 to 56), had to do with the creation of men’s lounging rooms for them to enjoy their new found habits in a social setting that celebrated leisure time and stereotypical masculine pastimes, such as newspaper reading.  By 1903, Turkish cigarettes accounted for 25% of the American market, and smoking was considered an expected masculine activity all the way into the mid-century.

At-home Robe (Banyan) England, circa 1880

However, beyond the tobacco portion of the smoking jacket’s history, the idea of a robe for personal leisure time began all the way back with (again) Turkish and also Oriental influence of international trade and political climates in Europe of the late 17th century.  Foreign textiles, and the fashions which inspired them, were being highly sought after as imports, and a form of the Japanese kimono called a “banyan” began being worn by men of the elite classes for informal home time, such as non-physical games, fireside discussions, or letter writing.  “Caftans” – a full length, long sleeved loose jacket-like garment traditional to parts of the Middle East, North Africa, and Eastern Europe – were also popular because of their textiles which were often used for the popular fancy, floral, frilly waistcoats which men, especially those deemed as “dandies”, were wearing, particularly in France, during the 18th century.

In the mid—19th century, the Industrial Revolution was adapting traditional Kashmiri shawls’ traditional motifs into a commercialized paisley print and this influenced a change in the ethnic influence of the smoking jackets.  They became more Turkish (again) and even India-inspired as the tobacco influence of the Crimean War settled into many various cultures as the soldiers settled into their respective homes.  Satin smoking jackets are a slight carry-over from the more Oriental influence, but after World War I, the smoking jacket of the 1920s and later seemed to lose any obvious cultural significance and become a sexy and intimate part of a man’s home life, if looking at advertisements and silver-screen movies is telling the truth of the times.  At least post-WWI eras equalized the smoking jacket for all men of all classes.  Only then in the 1970s, Yves Saint Laurent confused the traditions of the smoking jacket with the release of his tuxedo-inspired collection for women in 1966, calling it “Le Smoking”.

Whew!  As exhausting and complicated as the history of the smoking jacket is – and believe me when I say I just gave you a general overview here – making a proper one is equally arduous and time consuming!  Every detail counts on a smoking jacket.  This one has full body lining.  There are several belt carriers around the waist to hold the belt tie.  The sleeves are the two panel construction similar to a suit jacket.  The solo closing button is vintage and came from the notions stash of hubby’s grandmother, so it is very appropriately on something for him.  I wanted to add some fringe or a tassel to the ends of the ties, but he hasn’t been keen on the idea quite yet.

Whenever I let my man choose how he wants his garment to be made, he tends to choose materials which make construction a challenge.  Luckily, I convinced him that a shawl collar, and not pointed lapels, were the only, true smoking jacket version of the pattern to go with, or else my work would have been much more challenging than it already was.  At least he now has an item that he loves to wear the heck out of, something he never knew how he did without before.  Those kinds of makes are the best kind!

For this, he wanted piping to match the creamy tan lines in the printed flannel, and I agreed that doing so was necessary to ‘the look’.  It’s only that fact that the perfect pre-made piping was not to be found!  I had to make myself all the 5 yards which were necessary, using macramé cord and extra of the same material I used for the full body lining.  Granted, my custom made piping was so much better than the pre-made stuff, but it was an exhausting effort that ultimately paid off since I think makes the smoking jacket overall fantastic.  I personally think this has been my best installed piping to date (it was so hard to make a complete circle around the cuffs, finishing the ends smoothly) so of course I am biased.  It is always nice to see going the extra mile was worth it, though!

What really made me question my offer to make this for my hubby was ultimately working with the fake suede he chose.  It was more than a micro-suede, it was every bit as think and stiff as a real leather with all the problems of being a polyester…horrible stuff to work with that appears remarkably nice to touch and see.  Wherever the faux leather met up with the piping was hard on my machine, my hands, and my nerves but I eventually wrestled it into proper submission to be exactly what it was supposed to be.  The faux suede was not interfaced, it was troublesome enough, and it is on the contrast pocket top edge as well as the whole length of the collar-facing piece which goes from hem end to hem end wrapping around the back of the neck in the process.  Most of the corners were hand-stitched to give my machine a break, but even still, the darn faux suede was too thick for my regular leather thimble and poked my fingers too many times.  Not too many of my own projects do I bleed over just to make, so either my hubby is a lucky man or I was crazy to keep going!  I really don’t want an answer to that…

Just because you are comfortable doesn’t mean one has to quit being stylish, and oppositely, sophistication doesn’t mean an end to ease.  I like Oscar Wilde’s Aesthetic ideals behind adopting the smoking jacket as a visual and material manifestation to his creativity.  He wanted “to exist beautifully”.  There is something very uplifting about lounging around your own domicile in something nice, by which I mean something other than your lowest grade clothing.  I do believe that clothing for your relaxation should be something we look forward to putting on in a way that makes us appreciate the beauty of the little things around us.

Luckily there have been some luxury brands bringing back versions of a smoking jacket in the forms of velvet of brocade lounge suit – looking at you, Marc Jacobs for Louis Vuitton in 2005, in particular, but Tom Ford deserves some credit, too, as well as Alexander McQueen’s 2013 Fall collection…ah, the classiness of the old-style lounging man.  See this page for some serious eye candy.  The jackets all are something like a cross between a sumptuous robe and a casual tuxedo.  Let’s re-claim those personal hours (or minutes, if that’s all you have) of recharging and personal enjoyment as a continuation of our individual beauty.  No one needs help in this area more than men, since they rarely care for any extra fuss and nonsense on their own.

A picture from the exhibit “Reigning Men”, with (from left to right) a May’s Co. Dept. Store short jacket from 1948, a Victorian-era engraving, and a Smoking suit in satin from ca. 1880

Red Roses for a Vintage Style Lady

Admittedly, for someone that briefly worked as a florist, I’m not much of a real roses fan.  Don’t misunderstand, I regard them as simply beautiful, and when in quantity add up to a good day’s total at the cash register.  As a customer, though, they just wilt too quickly for their cost.  Even the outdoor bush and plant variety always seem to soon enough become sick or mutated and die in our yard, sadly.  Now I have the kind of roses whose beauty will last and make for a great deal!  Heck with the old song, “Red Roses for a Blue Lady”.  These are roses for a lady who likes vintage styles!

Here is yet another garment where I’ve repeated what I know I love in a project – channeling a feminine ‘Betty’ outfit from the television show Mad Men again (second season this time; other Betty dresses here and here) and also using a true vintage fabric (my most recent one here).  As good fashion never really goes out of style, I do think this dress has the same qualities as the costumes of Mad Men, period-appropriate but also timeless and fashionable even to modern viewers.  I paid attention to details like I had all the time in the world, and did tons of hand stitching, even adding seed beads, for a dress which is my own perfect Valentine’s Day treat!

My fabric choice is a pristine condition, polished, printed cotton from the 1950s (surmised from many recurrent similar extant garments of that era).  I found it as a lonely piece at a steal of a price thrown in the corner of an antique mall shop.  How could I just leave it with its saturated red goodness at that cost?!  So – a good fabric deserved a really great pattern…one that has intimidated me every bit as much as I adore it.  I came upon a find, I saw a perfect project in mind, and I have conquered it!  However, the finished wiggle shaping ends up making my body look like a very shoulder-and-hip-heavy hourglass ‘Joan’ silhouette that I really am not used to but am completely taken by nonetheless!

THE FACTS:

FABRIC:  a true vintage cotton lined and contrasted in a solid black cotton broadcloth

PATTERN:  Simplicity #2727, a ”Slenderette” pattern, year 1958 (I plan on coming back to this and making the jacket, yet!)

NOTIONS:  The basics I needed were on hand – thread, interfacing scraps, a hook and eye – but the zipper (22”) and the beads I bought recently just for this as I realized exactly how I was going to detail it!

TIME TO COMPLETE:  It took me about 10 hours to finish, but I actually spent a handful of hours just on figuring out the pattern piece layout before cutting out…there was no room for error…or the pattern pieces, really…

THE INSIDES:  A fully lined dress means all inner seams are not to be seen…

TOTAL COST:  This vintage fabric was only 8 freaking dollars, people!!!  The cotton lining I received for free, and the beads were only $2.  So this is an under $10 dress!  Such a deal.

Why, oh why is it that the best fabrics I find seem to frequently come in small cuts?  It’s like some sewing Karma wants to test me at every turn and always make sure my projects are a challenge.  This rose fabric was in a ridiculously small 35 inch width (one of the reasons I can estimate the vintage) and was a hairs breath under 2 yards long.  Under the envelope back listing for 35” width fabric, it says I needed 3 yards for this dress.  Yikes!

The only way I could make things work was to piece together a full one side back bodice panel and to add a horizontal waist seam to what had been intended as a smooth center front.  The print is complex I do not think the extra seams are noticeable but I know they are there, nonetheless (well, so do you now).  The center dress panel change especially makes me a bit sad (seen or not) because I loved the streamlined look of it with one-piece, streamlined, princess-style drafting as on the original design.  Not too shabby of a compromise, though, and at least the lining was cut properly without extra seams!  Granted, every piece was butted up against one another when laid out, so it’s a lucky thing I did not have to grade up in size at all.  The skirt had to be shortened by about 5 inches and the kick pleat eliminated to make things work, so I was literally left with nothing but tiny triangles of scraps leftover.  Although stressful, even mind stretching, it feels so good to be super-efficient and determined with a project idea!  If there’s a will, there’s a way, as the saying goes.

I am glad I had put off tackling this sewing project until now when my sewing skills are where they are at.  The overall dress was not hard to make.  It was the detail points that were the challenge, which was a difficult one that I have not had in a while.  Luckily, I had some practice ahead of time to help me out on the trickier spots of this dress.  A few of the projects I have made already have had some of same the details I encountered in making my red roses dress when all of them were in one project.  The underarm bodice panel/kimono sleeve combined into one element reminds me very much of my 1955 Redingote, as does the belt attached in at a front waist dart.  The side paneled bodice shaping is just like on my recent 70’s style Burda jumper.  The pleats which cover up a seam, like the ones at my waist, are call to mind the pockets on my “Spring Green” Easter suit of 1954.  It is good to challenge oneself, but at the same time I want to stress it is beneficial to work up to that scary hard pattern by finding projects ahead of time which prepare your skills for a successful turnout.  A fruitful finished sewing creation makes all the difference in confidence and estimation of worth in time and effort.

The bodice panels turned out the best I’ve ever done yet, happily, thanks to knowing what to expect.  I do love the way such a design element in the garment provides the best ever shaping for ones bodily curves, besides being the most comfortable form of a kimono sleeve…better than one with underarm gussets.  Look for something similar to try for yourself – you will love the way it wears!  Only, I thought the bust for this pattern ran large until I put on the period-appropriate longline bustier.  Then, suddenly I had that curvaceous 50s figure and a perfect fit that put me in awe.  So, a word of warning – in a 50’s pattern, beware that their curving accounts for more than what modern women are used to with the lingerie of today.  Unless you are willing to try a different style of underwear, or unless you find such a design element in a pattern from another decade closer to now, the wonderful shaping which you will find with a bodice panel/kimono sleeve combo might be more than you expect.

Those front waistline pleats where the belt is attached were the toughest part to tackle.  It took me about 4 attempts to figure them out correctly…but just look at them!  They remind me of the interesting pleats which can be found on some 50’s or maybe 60s couture garments.  Two of the pleats that provide the slight hip poufiness are angled out and folded down.  The pleat that encloses the belt and bodice side panel seam is perfectly vertical and folded towards the other two pleats away from the center front…so confusing on paper but awesome finished properly.  The fabric makes it really hard to photograph these details as clearly as I see them.

I’m not complaining about this wonderful fabric one bit, though!  Modern cottons are sadly missing out on the lovely sheen which vintage polished cotton has, not to mention the saturated dying process that makes it almost reversible.  Yet, vintage polished cotton is a bit sheer and stiff on its own, thus another solid opaque layer was needed under my dress for a non-transparent and natural-bodied hand to the fabric.  Besides, I am silly and would rather make a whole second dress as a lining so as to have an impeccable, second skin finish inside…not just to cover all the seams but mostly to eliminate the fussy neck facings.  Having more than enough cotton lining gave me an opportunity to cut the dress out the way it should have been with no adaptations.

Except for the major seams inside, all else to this dress was hand stitched invisibly.  This has been the first garment where I really sense that my hand sewing skills have grown to be similar to my machine skills – accurate, fast, and efficient.  The lining is hand tacked to the zipper (which was also hand installed to the point it is as good as invisible); the neckline, sleeve hems (after a machine added ¼ inch bias binding), and skirt hems (after lace tape added to the under edge) hand finished.  Not that it matters – who else but me really sees inside or even gets close enough to notice the details?  Whatever.  It’s that choked-up, happy emotion I get inside seeing the unnecessary extra particulars so fine as I’m dressing.  It makes you feel special, and reminds me that the beauty inside a person, like a garment’s inside, although unseen, is the best part.

It’s these same sentiments and the urge to try something new that prompted me to add a bit of beading to the neckline.  Not that the neckline is not a statement in itself!  This is one of the best fitting boatnecks I have come across, and the little notched front heightens the neck and shoulder emphasis by centering under the pit between the collarbones.  I merely added some clusters of 4 to 6 seed beads at a rose center which might be near the neckline center top edge, with a few smaller 2 or 3 bead accents on some petal tips as shading.  I was tempted to go and add the whole package of beads so it would show up better, but there is something I love about the understated elegance to not going overboard.  I do not want gaudy or distracting details to subtract from the dress and its fabric, and the more I bead, the more there is pressure to turn it into some sort of defined design…then my beading skills have to be better.  I did attempt to make a simple 3-D flower out of strings of beads to add on the end of the back waistband.  It’s not perfect, but pretty nonetheless, and just the perfect touch if I do say so myself.

Vintage is admired and long lasting because of its understated quality and beautiful ingenuity…these are the details I miss the most in modern ready-to-wear.  So, if I can bring a small part of that back in my own life and be the example, then I am happy.  If I can remind others they are worth feeling good in their skin by a wonderful dress, and that creating is good for the soul, than my garments are beneficial to more than me alone.  Hopefully with the time, attention, and care I put in towards my dress project, this red roses vintage fabric will have a lovely new life for many more years to come!  I know this dress will be seeing more than just a Valentine’s Day wear!