Having a Monochromatic Summer

My go-to sundress of 2019 actually is a carryover of a favorite make from the end of last year’s summer. I had been putting my idea off for a few years because I was not sure it would work. It is so different from the rest of my summer wardrobe! It is not bright and bold, flowery or frilly, like most of my other sundresses but the color scheme and the effortless wearing ease of the style and its material cools me down in thought and body. I’m having a monochromatic summer moment in my favorite vintage 1940s style!

This is such a sneaky vintage dress – it certainly doesn’t strike me as coming from 1949! Although dating from the fabulous post-WWII era, the pattern is one of the more popular modern Vintage Vogue line of reprints. It has such simple lines, and such a body complimentary design that this is a great example of the classic timelessness for which I love to make and wear vintage fashion. Whatever the era the dress shows, it proves I am still not over my recent fascination with the late 40’s, apparently!

THE FACTS:

FABRIC: a cotton denim with a touch of spandex, lined in an interlock knit

PATTERN: Vintage Vogue #8974, year 1949

NOTIONS: I only needed basic, simple stuff – some interfacing, lots of thread, and a zipper. After it was finished, I also used an old bra…but more on that later!

TIME TO COMPLETE: This was finished on September 21, 2018, and took me about 10 hours to make.

THE INSIDES: All cleanly bias bound while the bodice is fully lined.

TOTAL COST: I vaguely remember picking this fabric out at the now defunct Hancock Fabrics years and years back. So, as it has been in my stash this long and well deserved to ‘break free’ of the fabric stash, I’m counting it as free!

It’s funny how things come full circle. It’s always so poignant when you realize that after the fact! You see, a year 1949 dress was actually the very first piece of vintage reproduction me-made (see it here from an old 2012 post). It was also in brown! Apparently, my go-to color is a pretty variation of dirt. The classic “little black dress” doesn’t get as far as a brown one. I personally love how brown tones work for so many seasons and are a good base for brighter colors and pastels without being as heavy as a navy or black, for example. To me, a good brown color is cool tone, very calming. Monochrome palettes (referring to a color scheme comprised of variations of one color) are themselves supposed to be soothing and create a good mood. Maybe the khaki, dark brown, rust, cream, and ivory tones in the subtle striping to my dress’ fabric was an instinctual choice for me to choose for yet another project on the verge of the 1950s.

Of course, the pattern showcases stripes to show off the grain line ingenuity and I followed along happily. I’m just trailing on the heels of my last striped sundress by posting this, anyway. My fabric’s striping is so small I did a general matching effort – nothing too meticulous because I was really pushing the limit anyway to make this work out of only 2 yards of material – and it turned out great. After all, this was a simple project to sew and I wanted it to stay as effortless to make as it is to wear. I think the mitered stripes do a lot for the slimming and trim appearance of this but it is so cute and attractive in any print, from what I’ve seen of all the awesome versions other seamstresses have made. It’s weird but this dress reminds me very much of my plaid 1940 sundress (posted a while back here) even though I know it is different and the styles are 9 years apart.

I have learned from years of summer sundress sewing that wearing them is so much more fun and easy if the lingerie situation doesn’t call for any extra thought. Thus I am a big fan of adding decent lining or even lingerie directly into the sundress to make it an-all-in-one garment that supports my “girls” in one easy step as I dress. I used a no-longer-worn bra from on hand – there are some whose clasps and straps bother me so I only keep them because the cups are still in good condition and fit. This was sewn directly into the dress at the proper place making this so comfy to wear, with all the good shaping I want yet not compromising on the breezy skin-baring qualities of my favorite sundresses.

I know the support should have been sewn in between the lining and the dress fabric to be ‘properly’ done, but I like the easy access of it if I ever want to adjust or change. Besides, my favorite part of having the bra visible to the interior of the dress is the linear symmetry it adds when it is laid out. Anyone who has followed me for a length of time should realize I am big into the mathematical perfection of sewing, and love to visibly play upon that with what I make. Besides, creative design lines, stripes (and plaids) offer great opportunities for such calculating. This dress gave me another taste that!

The sizing was pretty much spot on for this pattern, maybe even a tad on the roomy side along the top bodice edge, but I don’t mind. The dress also ran really long, and would have been to my ankles if I had cut according to the pattern. I left it a mid-calf (midi) length because I think it makes the dress look more elegant as well as hang well. A longer length is very circa 1949-ish, anyway! Finally, I raised the dip of the front neckline V so it wouldn’t be so revealing but that is the last of the tweaks I made. This was a pretty quick and satisfying make! I do want to come back to this pattern and make the killer cute cropped swing jacket that comes with the dress. It will definitely have to be a different fabric, though, as I have nothing but a few measly scraps leftover. So many projects on my mind and so many sewing decisions to make!

The earth monotones matched perfectly with my favorite comfort sandals from Hotter brand shoes as well as my “Cinnamon Spice” brownish undertone lipstick from the brand “Wet n’ Wild”. Too bad I don’t have more of a bronze glow on my skin to match, as well. A simple walk through our neighborhood was the casual backdrop to our pictures.

This is my 1940s installment in my “Indian Summer of the Sundress” post series which began with the making of this sundress when we had an extended time of unusual warmth. This just about wraps it up, unless I happen to crank out a 1970s sundress! I had to basically end it with my first sundress, the one that started it all anyway! Kind of like that other 1949 brown dress that started all my vintage sewing…

Savoring the Harvest Sun

Not too many years do we have the chance this year is giving to shop for pumpkins and Thanksgiving items with a balmy feel in the air.  Despite the fact we did receive about 5 inches of snow less than a week ago, little more than a week before that I was wearing a sundress just to stay cool.  Not only are we having one weird fall season here, but it is also a wonderful extended summer.  I love this because I can wear more of my favorite bare shouldered garments…but I am a warm weather girl at heart, after all!  Thus, for this second part to my ongoing blog series called the “Indian Summer of the Sundress”, here is a rich harvest-toned vintage 1950 sundress and sheer redingote set.  It has all the colors that the falling leaves and cornucopia fruits of the earth both sport for fall so I can feel ready for Thanksgiving no matter what the weather outside us is saying!

Now, just to clarify right off the bat, I only made the sheer redingote (also the hair flower and jewelry) for this ensemble, so this post will mostly be about the portion I crafted.  I did not make the sundress.  It is handmade by someone else.  I know – what an oddity here on my blog!  It is a display “inspiration” garment from the “Cloud 9 Fabrics” company, and was made by a certain Catherine Zebrowski using their “Sow & Sew” organic cotton collection from designs of Eloise Renouf.  (Follow the link and you can see they made this same dress in a blue, grey, and black colorway, as well!)  For this dress, the “Sprouts” print is the contrast along the bodice edge and waistline while the “Herb Garden” is used for the rest of the dress.  I love the take they took on this pattern – it’s a complimentary boldness that is cheerful and intriguing, besides being a different, unique take on understanding the pattern.  I’m so pleased to have the opportunity to acquire this dress, give it a happy home, and let it shine by completing the vintage pattern set with my redingote!

THE FACTS:

FABRIC:  Redingote – a brown-toned Goldenrod colored poly chiffon from a big-box fabric store chain

PATTERN:  Simplicity #8252, a reprint of a year 1950 Simplicity designer pattern #8270

NOTIONS:  I needed thread, a large hook-n-eye, and some stiff, sheer organza

TIME TO COMPLETE:  The redingote came together more quickly than I expected.  It was made in about 6 hours and finished on September 19, 2018

THE FINISHINGS:  A sheer dress deserves only the prettiest (and the strongest) seams that you could see on a see-through chiffon!  French.  The bottom hemline was yards and yards long (being so full skirted) so I used an overlocker (serger) to make tiny rolled hem edges.

TOTAL COST:  about $25 for the whole set!

Cloud 9’s vintage dress gave me a much appreciated boost for making this Simplicity re-print.  I have been wanting to make it, but my mental caveat was saying “there is a lot of fabric needed (a couple yards) for each piece”, and I knew each one would take a good amount of time to finish.  Don’t get me wrong, I am not against spending whatever time is necessary to make the outfit I set my mind to making!  I just didn’t relish the idea of spending the time it would take to sew a completely indulgent and unnecessary item like the sheer redingote after making the sundress, too.  The sundress was what I primarily wanted and will wear the most out of the pattern but knowing it has a matching cover-up that goes with it sort of ‘guilted’ me into feeling like the redingote had to be made as well.  I am hoping that I might wear the redingote over something else in my closet so I that it, too, sees more wearings than if it only is paired with its matching sundress. Nevertheless, I thoroughly enjoyed making something based off an idea I love from another creative maker out there!

There were some minor changes I made to the pattern.  My adaptations only made the redingote easier to make!  Firstly, the skirt portion is insanely full…a total fabric hog (nice to twirl in though).  The tissue pieces are almost out of hand, especially the skirt fronts.  They are quarter circles that make the front twice as full as the back.  Thinking about the skirt of sundress underneath, I realized that it has all of its gathered fullness in the front while the back is smooth and paneled.  This would mean that the redingote for over it would practically be the same way – most all of its fullness in front.  I didn’t like the idea of doubling up on poufiness in the front, so the redingote’s skirt was changed to be the opposite of the sundress.  I added an extra half-width panel into the skirt back and I folded the patterns skirt fronts in half to cut them out smaller.  This way there is partial fullness in front and more in back to even out the poufiness when the set is worn together.  My adaptation not only evens out the layers of the skirts but it also makes cutting out the skirt portion a little more manageable.

Secondly, I did not cuff the sleeves but chose a wide hem instead.  I ended up rather liking the way the longer sleeve ends looked.  I felt they widened my shoulders illusionally, thus complementing the waist.  Not cuffing the sleeves really made things easier anyway.  No really, I did like to look better…I just wasn’t being lazy.

Finally, there just a few last cosmetic changes to list!  I eliminated the center seam to the bodice back and cut it on the fold instead.  In lieu of using interfacing in the sheer collar and taking the risk of either having it be obviously in sight or changing the chiffon color, I used transparent organza to shape and stiffen it.   The organza is wonderfully invisible sandwiched in between the golden chiffon and it adds enough body to keep its shape but still be flexible.  Lastly, I ditched the fussy front ties shown to close up the front bodice – they’re too distracting if you ask me.  I merely put one big hook-and-eye at the waistline, tucking it inside the seams.  An open bodice to the redingote shows off the neckline to the sundress underneath.

I did make sure that the waistline on this sheer over-dress was nice and strong so that a hook closing wouldn’t rip anything.  As I mentioned in “THE FACTS” I did all French seams, even for the waistline.  To make the waistline stronger, I turned bodice over the French waistline seam and stitched it down on both sides.  It ends up looking rather like a belt, in my opinion, because of the thickness from all the layers of fabric.  Besides, anytime there is gathering into a French seam things can feel a bit bulky, so stitching it down made it more comfortable to wear, after all.

My accessories add a rust tone to the browns, ochre, and dusty grey and pink flecks by being a deep, burgundy red.  My bracelet matches with my earrings – both I made using Czech glass teardrop beads ordered from Etsy.  Since clip-on or screw-back earrings are vintage, I used some old-style blanks that I ordered from a jewelry supply shop in China and tied a handful of the beads so they look like a cluster of berries hanging down.  In lieu of a hat, the hair flower is made by me with just two, oversized fake chrysanthemums attached to a hair comb with floral wire and floral tape.  Happily, practically the same tone red, described as “sunny terra-cotta”, can be found in my lipstick, “Happy“ from the Besame cosmetics “1937 Anniversary Snow White 7 Dwarfs Collection”.  My necklace and gloves are true vintage.

Finding, wearing, and buying someone else’s me-made has helped me appreciate others’ sewing.  It has also made me realize just how spoiled I am by doing my own sewing…this handmade dress was the only way I felt comfortable and happy buying something new and ready-to-wear!  But really – the fact that it was a vintage design fits perfectly into my style.  Vintage styles are the best way for me to express my style and feel at ease in what I am wearing.  I want to say I don’t think I could have done better, though.  It was luckily sewn in my size!  I’m impressed by the details and lovely construction to this pattern – they even sewed in an invisible zipper up the side!  Besides, I haven’t yet splurged on organic cotton for myself.

So – on top of all the other benefits I’ve already listed, this dress is a real treat.  People don’t know what they are missing.  If you can’t make it yourself, the feeling of having something made for you can’t be beat.  Make what you wear, handmade or store bought, “yours” in some way, even if that something is as little as a family jewelry piece or a full out sewing project like I did.

Extending heartfelt wishes for a wonderful Thanksgiving weekend!  Don’t forget to be thankful in both word and deed because “Feeling gratitude and not expressing it is like wrapping a present and not giving it.” – William Arthur Ward