Hoppin’ Dots! My Bunny Day Dress

What would Eastertide be without bunnies?  This year, I made that stereotype an enjoyable reality by actually spending some time with some real, live domesticated bunnies at a local photography studio.  They were hosting the visit of a rabbit rescue foundation to offer some Easter picture opportunities for the public as well as adoption prospects for the bunnies.  Why does Easter enjoyment need to be relegated to just children when adults can do something like get dressed up and hold some sweet fluffy bunnies?!  This is my kind of fun! 

I hope you enjoy my Easter post, which will attempt to be not just about the cute critters I am holding but also featuring my newest handmade holiday dress. It was whipped together out of a thrifted bed sheet.  Am I really ever completely leaving my sleeping quarters if I am wearing a bed sheet for the day, even if cut, pleated, and manipulated in the most glamorous manner?  I love how when you start with a fabric designed to be pleasant on the skin like a bed sheet, the resulting project is so wonderfully relaxed.  This was easy to make, had a spot on fit right out of the envelope, is comfy to wear, and has just the right amount of details.  This is perfect for what I am looking for Easter 2022 – I just want to stay relaxed, but eat well, and enjoy my day.  This swishy, simple dress is just the thing! 

THE FACTS:

FABRIC:  a 60% cotton/40% polyester blend twin sized bed sheet (66 by 96 inches) for the dotted material and some cotton/poly blend broadcloth remnants to line the bodice for opacity

PATTERN:  Vintage Vogue #1043, a year 1953 pattern reprinted back in 2008

NOTIONS NEEDED:  lots of interfacing, thread, some bias tape, and one zipper for the side seam

THE INSIDES:  my dress’ bodice is cleanly lined while the skirt seams are nicely covered in bias tape

TIME TO COMPLETE:  My dress was completed in about 15 hours and finished on April 9, 2022

TOTAL COST:  pittance – the sheet cost just under $2 and the zipper and bias tapes were from a $1 a bag rummage sale find

The soft aqua colored polka dot print is easy on the eyes yet still cheerful.  I know the print is symmetrically round dots but it still somehow reminds me of multitudes of Easter eggs.   As I have said before (in this post), I am generally not a fan of polka dots and it has taken me years to be a bit more than tolerant with wearing garments which have that sort of print.  Yet, the irony to using this bed sheet for my dress is compounded in the fact I picked this up from a thrift shop a decade ago now…when I really didn’t like polka dots at all!  I love any aqua or teal color though, and I am always up for trying new things in my sewing project choices so I picked it up.  The fact the sheet was less than $2 also helped convince me to purchase it!  I had paired Vintage Vogue #1043 with the polka dotted sheet from the very beginning when I brought it home, and only just now felt the time had come to sew this project as I originally envisioned it.  I was finally ready for a full-on polka dot dress.  

At left is the underarm gusset first being sewn into the cotton lining. At right, I am showing the left side seam in the dress – you can see the sleeve gusset, zipper, and hand-stitched finishing details.

Since the cover illustration hides some of the dress’ details, let me give you a little general summary.  There is a basic four paneled ¾ circle skirt, and a simple dual darted back bodice (which I cut on the fold to eliminate the back seam), so the minimal pattern pieces were good for a bigger print like my polka dotted sheet.  Under the arms, there are gussets that form part of the sleeve.  This unique feature is the same as (seen here) the sleeves on my Princess Anna dress, sewn from a vintage Burda Style pattern.  Since that Burda pattern comes two years after the date of this post’s dress date of 1953, I found this an interesting nugget of information, but especially found it helped immensely to have done this type of sleeve gusset before. 

Other than the gussets, the majority of unique details to this design are in the front bodice.  It has an asymmetric faux wrap bodice, which creates a center front notch for interest at the neckline.  There is one deep knife pleat in each front wrap’s side seam to create soft fullness for the bust.  Yet, for as straightforward as this bodice may sound, I actually made it a bit more complex in construction so I could end up with a better finish.    

All the reviews I read through online about this dress pattern consistently mentioned 3 shortcomings to the bodice design if you sew it according to the pattern – a wrap front that is too shifty and revealing, a neckline that does not keep its shape, and finally facings which are fussy and cumbersome.  These issues were able to be ‘fixed’ through adding in a full bodice lining.  For the final touch, I added a trio of flower buttons along the chest of the bodice wrap so that it can stay down in its proper place.  The buttons add a little touch of fun and prettiness to this otherwise unadorned dress and keep the neckline notch looking as it should.  I wore limited jewelry (my Grandma’s earrings and an Easter hat, at least) to let my dress shine, with the pretty neckline details taking center stage.

My first step to making the bodice was to use the facing pieces only to cut out heavy weight interfacing for ironing down to the undersides of the entire neckline (for both my lining cotton and my polka dotted fabric).  This way the neckline was doubled up in support to keep its amazing face-framing shape and prevent the front notches from drooping (a problem I also read about in blogger’s reviews).  I only sewed together the back darts, the shoulder seams and godets with the right side seam at this point. The lining then was sewn in the method were all the raw edges were tucked inside for a smooth inside that needs no fiddly facings.  I bag sewed the sleeve hems before I tacked the lining down to the waistline and sewed the skirt to the bodice, wrapped over in front right over left. The white bed sheet was slightly see-through, so I needed a lining anyways, but doing so gave me a great solution to improve upon the bodice construction.  I am always willing to go the extra mile in my sewing projects if it will make even the smallest improvement to my satisfaction with the finished garment. 

Perhaps the best perk to sewing this dress together finally is discovering that it pairs spectacularly well with a short jacket that I sewed together years back.  This Burda Style “kimono jacket” has its own post which can be found over here.  Sadly this fabulous piece has hardly had any enjoyment out of the closet until now due to nothing specific ever really turning it into a “set”.  No other sweater or blazer or jacket in my closet matched with my dress, anyways, and this way my outfit is all me-made!  I love how the open lapels show off the neckline notch and decorative buttons on my dress.  I think the full skirt pairs well with the jacket peplum, too.

It is so funny how dressy and useful – in an unexpected way – something as mundane as a bedding can become.  My last bed sheet dress was even fancier than this one – a designer inspired 1950s Burda Style dress, posted here.  A micro-fiber bed sheet set went towards the lining of this 1990s jumper-sundress, posted here.  At the same time that I bought the aqua polka dotted sheet I used for this post’s dress, I also bought the tan floral bed sheet which went towards this 1940s dress, posted here.  I even had a post (here) about a top and a shopping bag both sewn from pillowcases.  It is not about the quantity or quality of what you have to work with, but how you use your supplies when it comes to sewing.  Even the most ordinary items can look glam or at least fuel your joy by supporting your creative ideas. 

Similar to the way sewing has given me an appreciation for using the most unexpected items others may take for granted, I found a new appreciation for bunnies at the Easter Selfie Room visit.  I realize the older generations do not view rabbits in a good estimation, especially anyone who has any interest or occupation related to the outdoors.  In our garden, they are such a bother (I’ll stop short of calling them a menace because they are cute, you have to admit).  Then again, I have loved the tales of Beatrix Potter since my childhood…so I can partially empathize with the plight of bunnies, too, at least from Peter Rabbit’s point of view.  The domesticated bunnies I met that day were soft and cuddly, curious and relatable, as well as free with their love and affection.  I was disarmed and touched!  What a delightful new experience, made even more special because I had the chance to share that event with my parents! 

I hope your Easter, if you celebrate it, is a wonderful, peaceful day full of happiness.  I hope the blessings that the beauty of nature can provide cheer your heart and soothe your spirit.  Also, I hope you have an outfit to wear to brighten your day, just as I have done for myself yet again this year!  I trust you’ve found an extra dose of rabbit appreciation through the critter cuddle pictures in this post.  Don’t forget to leave a carrot out for the Easter bunny!

Bittersweet

This time of the year always makes me a bit melancholy.  There’s just something about the beauty of gradually realizing summer is fading into fall, and seeing the season gently usher in the upcoming cold I despise.  I am not one to have Halloween in my blood the minute September rolls around.  Instead, I like to let the fall season come in barely perceptible stages, as it does naturally, and enjoy its every transition.  The sun might be just as bright but there is a different smell in the air.  The cricket chirps are louder without the competition from tree frogs and cicadas.  The night settles in a bit earlier.  Fall’s entrance is indeed bittersweet in emotion, which is why I find it so ironic I love the shades of bittersweet, the plant, because it also is the time of the year I can appropriately wear the most gloriously rich earthen tones of that vine – browns, tawny shades, dusty green, a wine red, and hues of gold.  This little vintage number is early fall embodied in a dress!

THE FACTS:

FABRIC:  a sheer printed polyester crepe for the dress and some colored jute ‘ribbon’ with some leather cording scraps for the belt

PATTERN:  Vintage Vogue #9295, reissued in 2018, labeled as a year 1940 design.  The original pattern was Vogue #8241, an “Easy to Make One-Piece Frock”, featured in Vogue Patterns booklet for March 15, 1939.  What is up with the confusion of the original date on the cover of the reprint?  My me-made belt was made with no pattern…just an idea in my head!

NOTIONS:  I needed nothing but the basics – thread, some skinny ¼ inch bias tape, and a small 14 inch side seam zipper

TIME TO COMPLETE:  Even with all the fine finishing inside, this dress took me only 5 or 6 hours to complete and the belt was made in 30 minutes.  Both were finished in May of 2020.

THE INSIDES:  All French seams

TOTAL COST:  This dress is practically free as all my supplies came from a local sewing rummage sale where everything was $1 per pound of weight…so my frock may be a dollar at the most!  My belt was made from some sort of multi-colored jute ribbon I bought on clearance many years ago when the now defunct Hancock Fabrics was closing.  I bought 2 yards of it for about $5.  The leather cording is leftover from a hat I had on hand (free).  This is a $6 outfit!!!

This is quite an interesting dress, full of contradictions.  First of all, it is a very classic dress design for 1939, with a very basic general construction and silhouette yet very interesting, tricky-to-make little details.  It is a sweet and feminine dress and tries to be complimentary with no real body shaping profile to it at all.  It is certainly not your 50’s take on a ladylike style, nor even a 40’s ‘I’m-ready-for business’ style…this is softer and more delicate without being girlish.  Even though the drawing makes one think this pattern might be scaled for a very tall woman with long legs, the proportions seem to be the opposite.  Sewing my dress as-is straight from the tissue, no fitting adjustments, it turned out perfect for my almost petite height (5’3”) and my short (14 ½”) back-of-neck-to-waist ratio.  The envelope’s yardage chart recommends anywhere between 2 ½ yards to 3 yards depending on the fabric width, yet – believe it or not, but I am the queen of optimal pattern placement – I was able to eke this dress out of 1 ¾ yards, with no compromise on grainline.  What gives here?  Overall, this was a quick treat to whip together and is a new dress that I absolutely love to wear, so I will not complain…not a bit.  I’m just warning every reader not to read this dress by its cover.

The full skirt, puff sleeves, and the bloused-out bodice are the obvious, and well-known visual giveaways for its original date.  Yet, somehow, the way Vogue styled their model and sewed up their sample dress made it seem more like a 1980s garment.  Weird, right?  That is an unfortunate reference which I do believe has turned off a number of sewists from potentially picking up this pattern to try it out because anything blatantly 80’s seems to repulse many.  As I said above, do not judge this by how Vogue has marketed it.

The decade of the 80’s does not give me an immediate adverse reaction and neither do puff sleeves, and so I tried to focus instead on the line drawing and give the design a chance.  I’m so glad I gave it a go!  It does have a bloused-out bodice that is something not all women will have a taste for today, yet it is very authentic, if you look at how garments fit women in old photos from the 40’s.  This dress has good lines, but it just cannot make up its mind what decade it wants to be in, and is not as timeless as other vintage designs.

 I dare to say it has a “cottage core” or “Laura Ashley” aesthetic at heart, with everything I still love about the 30’s, 40’s, and 80’s, so I’m there for it!  It is as comfy as a glamorous nightgown, with no need to feel to have a certain body image, yet it is as pretty as a picture perfect picnic and as breezy as a romanticized run through a field of flowers.

The one major change I did do on this dress was to simplify the neckline.  The pattern calls for a short back neck zipper to be put into a slashed and faced opening, and then self-fabric bias facing to be sewn along the neckline and sleeve edges.  As my fabric was a delicate crepe, and sheer too, I disliked the idea of a bulky back neck zipper.  I tested out the opening space of the finished neckline and guess what – you really don’t need that closure!  The dress can easily pop over my head without it, thankfully, because I think the dress is much better lacking the back neckline zipper.  Then, I used vintage cotton solid brown pre-made bias tape in lieu of self-fabric facings.  I love the simplicity and bit of contrast that this little step added.  Granted, I still made sure to cut the pre-made vintage bias tape out according to the patterns measurements for the given facings, just so I knew I was still keeping to the correct neckline.  I love it when some of my sewing work is already done for me with pre-made supplies, yet by using such quality vintage notions, I’m not just taking it easy – only adding a singular touch and putting my stash to good use.

Such a subject brings me to unashamedly brag about the total splurge of my really good vintage supplies on a finish that no one but me will ever see in real life – old rayon hem tape.  This stuff is so wonderful, and if you’ve never tried it, please find yourself some, use it, and you’ll thank me.  The wide and full skirt of this dress needed a deep hem to hang properly and have the proper weight, yet doing so is normally a slightly tricky technique.  It requires the cut raw edge to be gathered softly in to fit.  A regular folded-under edge is harder to do with this kind of a hem and, even on a soft material like this crepe, can turn out bulky and noticeable.

To get the nicest hem that is also invisible when worn, soft rayon hem tape is an incomparable wonder which does the job perfectly.  One long edge is sewn onto the cut edge of the skirt and then the other edge of the hem tape is sewn down to the body of the skirt.  The fabric merely ‘hangs’ from the hem tape instead of being firmly sewn together to the body of the skirt.  A light steaming sets the hem and controls the gathers.  Being out of the silkiest rayon, it gathers in so nicely and its lovely variety of colors that can be found make for a cheerful little splash of added beauty.  I chose a sky blue pack from on hand, and it contained a 3 yard length which was just enough for the skirt width with an inch or two to spare.  I do get a little concerned every time I use one of these vintage rayon hem tape packs because I know they are a limited resource and are not made anymore.  When they are gone, they will not be coming back.  Yet, what good will such items do me stashed in my notions drawers when they can be used and both bring me joy on my handmade garments as well as teach me a better way to do a sewing technique?  I rest my case.

Keep in mind the tiny, 1/8 inch pintucks are oppositely directional. They fold towards the center for both the front and the sleeves.  This was quite a challenge to accomplish when also sewing the edges into the skinny bias tape along the edges, but a little hand stitching finished off what I could not do using my machine.  Since the neckline and sleeve pintucking is practically the only major detail to this dress, it is well worth the extra time it demands.  There were so many thread ends to tie off though!  I can imagine how wonderful the pintucks would look on this dress if it was made of a solid color fabric.  They do stand out on my version by difference in texture alone, but are a bit lost in the print overall sadly.  Who knew making so many tiny stitched pleats could make such a difference in shaping when you do about a dozen of them!?

I paired my dress with a simple handmade belt, too.  I had two yards on hand of this novelty ‘ribbon’ made out of different colored jute.  I figured it would brighten the dress up a bit to add in more color -the late 1930s frequently combined unexpected tones to great success, anyway.  So I cut the two yards into half (for two one yard portions) and sewed them together lengthwise using a zig-zag stitch to end up with double the width.  I instantly had one wide belt.  Next, bias tape was sewed over the two raw edges for a clean finish, and then the edges were turned under and stitched down to form a loop on either end for the leather lacing to go through.  My belt kind of has the same idea as the one that came with the pattern, but was more fun to construct because it was my own idea.  I somehow like the belt better when the lacing is at my back and not the front.

The rest of my accessories are mostly vintage originals.  My earrings are from my Grandmother, while my straw hat is a 1930s mint condition original and a lucky find, as well as my kidskin leather driving gloves.  My velvet vintage purse is the only item that is from the 1940s and not the decade before.  Since the dress is sheer, under it I wore this deep purple, full-skirted, opaque 1950’s slip that I sewed awhile back now.  The two-tone heels are reproduction Miz Mooz brand.  I highly recommend anything from this vintage inspired shoe company…it’s like walking on air, they’re so comfy, especially their heels, and crafted with high quality (I have several pairs from this brand now, he he).  Altogether jazzed up, I went for a visit to our neighborhood “five and dime” candy shop to sweeten the melancholy I get from early fall.

I realize that readers on the other side of the world from me are just now easing into spring.  That is the other season of transition, kind of like fall, but with much more of a cheerful flourish.  I understand – which is why a dress like this could also be very appropriately a spring dress, too!  A little multi-season sewing is the most bang for my time spent, and hopefully a good inspiration for my readers no matter where you live.  Have I convinced you to pick up this pattern and give that 2 yards of material which is floating in your stash a chance to shine with this pattern?  What are your favorite tones of the fall season?

Bright Sewing

This simple little blouse has everything going for it!  It is a small wonder project, literally, in colors that make me smile from the inside.  It is a little remnant of happiness and I need every ounce of that I can get at the moment.  The radio silence here has been because I have seriously been knocked down by sickness for two very long weeks.  Now that I’m slowly crawling back into humanity, it’s good to post something that is yet another amazingly simple design which calls for very little to make something so fun and creative.

All of us who sew probably possess or have found leftovers in an amazing fabric that are substantial enough to save yet small enough to stump creative expression.  Or perhaps you have seen or own a vintage or modern scarf that you love but have no use for.  Not only is this post’s simple top the perfect answer to such dilemmas, but it also only took 2 hours to come together…aaand there is more than one way to wear it.  Plus, my version is in my favorite colors of pink, purple, and turquoise.  I’m in heaven!

My trousers are an older make, see their blog post here.  They were made of a colored denim and an early 40’s vintage original pattern.  My earrings are old originals from my Grandma.

THE FACTS:

FABRIC:  a 100% rayon challis, in a Kathy Davis Designer brand print

PATTERN:  Vogue #5524, circa year 1945 (check out the original garment label that was hiding in the factory folds!!)

NOTIONS:  …nothin’ but thread…and a quarter in monetary change!

TIME TO COMPLETE:  under 3 hours, closer to two.  It was made in one afternoon on July 16, 2019..

THE INSIDES:  cleanly French seamed

TOTAL COST:  about $7

This pattern is so much smarter than is looks at first glance.  A one yard project is always great, but this top design calls for a square 36” scarf as an optional material source.  How awesome is that?!  There are so many absolutely lovely vintage scarves that would be stunning made up into this blouse.  As the envelope cover illustration shows, a scarf with an all-sides border would give such a unique look.  But wait – that’s not all (cue the selling point)!  There is no designated front or back either, and this is reversible!  The draped neck can be worn in the front (which I prefer) yet will also work worn in the back.  There is no zipper or buttons, no facings, and very few seams for an easy, simple, fun project!  I am thoroughly tempted to whip up a dozen of these in all different fabrics and colors, trying out drafting a long sleeve adaption, too!  There is so much potential here.  It is the epitome of smart 1940s wartime rationing that did not cut corners with style at the same time…truly a smart design.

The way this top works being reversible, with no closures needed, relies on the cut of the bias grain.  Each bodice piece is tucked into a corner of the one yard (or scarf) which is laid out flat, single layer, not folded.  This is why this pattern would work so well with a square scarf.  There is one small and odd-shaped sleeve piece that needs to be cut twice, and I also squeezed out a belt as well, but that is all.  The pieces just make it.  What an efficient little number this pattern is!  So many sewists have a hard time understanding or even working with the bias grain, and this pattern would be great place to start

To enhance the drape of the cowl neckline, the pattern instructs you to choose a moderately hefty button and attach it to the inside point with a thread chain.  I like to keep my buttons for being seen (most of mine are treasured vintage pieces from Grandmothers on both sides of the family) and I pictured that danging button as perfect for being caught up and snagged in the wash machine.  Instead, I made a tiny square pocket, just the size of a quarter in change.  Only one side of the pocket opening was stitched down to the inner drape point.  This way I can remove the weight easily before washing and even control how much drape I want – sometimes I go for two quarters or a lighter weight dime in the tiny pocket.  Versatility is everything to me when it comes to my own sewn wardrobe!

I didn’t change a thing to the pattern.  Its sizing is broad – merely a range bulked into a small, medium, large rather than the traditional numbers.  Even though this looked like possibly a size too big for me, I went with it because I figured a pop-over top never hurts to have some extra room.  I like the loose and flowing fit, but for a different fabric I might size down next time.  I left the blouse length as-is and it is almost too short to stay tucked in easily, yet I must say it is a good length to be just as nice untucked.  Of course, I did leave out the directed adding of shoulder pads.

I realize that I have been posting a lot of one yard or less and remnant projects, and I will take a break.  However, they are really as good as I tout, and really necessary to counter the fast fashion of today.  I have an inkling that it might be an unrealized, underlying mission to find and use as many of these one yard projects in my lifetime as possible.  Such economical projects are not as well advertised (or as easy to find in modern patterns) as I think they should be.  This one is the cream of the crop in my opinion, which is why I am considering offering copies of my Vogue #5524 pattern (at a minimal price) for your own enjoyment.  I have not decided how or through what method I would offer the patterns because it would depend on the interest.  Please, just let me know if you would be interested in a copy by commenting to this post or send me a message.  I will keep all of you posted!

In the meantime, I will follow up this post with something different, but connected to this post – a smorgasbord of inspiration about ways, both vintage and modern, to wear and use scarves.  Curious after finding this pattern, I ended up coming across too much more scarf inspiration not to share.  Get your one yard squares ready!

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…