Persistence of Fashion

Even with my complaints in the last post about fitting my recently changed size, I still do happily fit in many of my old me-made items.  Not to brag, but not everybody can say that they fit in things back from 20 years ago, much less have them still wearable today in both condition and aesthetics!  I luckily liked to make rather classic pieces that still work with my style of today.  This post’s outfit is a prime example.  A skirt I sewed 20 years back combines with a 50’s style blouse I have been meaning to make since I first dove into vintage in 2010 to give me an outfit that perfectly defines my unified past and present outlook on my fashion.  Add on a little self-made flower sewn down to a hair comb and I am a contented little maker!

Andrea Venier of Recycrom has said, “One of the big problems is that today we don’t expect to wear something for a very long time.”  (The Italian Recycrom from Officina+39 is a revolutionary sustainable dyeing solution made of 100% recycled clothing, fibrous material, and textile scraps.)  Boy, Andrea has not met the likes of me.  There is a specific comfort level to wearing items that are old favorites, and for me, when they also happen to be handmade…all the better.  Sure they are made in ways I would not do today.  However, it is nice to keep these reminders of my progress especially when they are still wearable for me.  All it takes is a little something new to renew my excitement for an older me-made, and I feel like I have a fresh ideas and bright possibilities again.

THE FACTS:

FABRIC:  The skirt is rayon challis and the top is polyester shantung

PATTERNS:  For the skirt, I used McCall’s #8796 from 1997, while the top is Simplicity #4047, a 1950’s era ensemble released in 2006

NOTIONS:  Nothing unusual – a zipper for the side, thread, and interfacing for the neck facing is all that is needed for the blouse, while the skirt required thread and elastic.  Simple, really!

TIME TO COMPLETE:  The skirt was indeed a two hour project from what I remember back to 1998, and the top took me about 8 to 10 hours and finished March 17, 2018.

THE INSIDES:  My skirt has overlocked (serged) edges with a hem covered in hem tape and the blouse has bias bound seams.

TOTAL COST:  I have no idea.  You’re talking about fabrics out of my mom’s stash from over half my lifetime ago.  It’s all as good as free to me.

Let’s talk about the patterns first.  I’ll start with my favorite out of the two.  My skirt is from an old standby pattern, literally made into a two dozen varieties between 1998 and 2004 when I began filling my wardrobe with handmade, comfortable, classy, yet easy-to-make separates.  This particular rayon floral one was one of my first attempts.  I had made a paper copy of the whole pattern at my nearby office store because I was using it so much.  The slim, two-piece ‘View A’ I had used as a base for add-on details, a draft for lining other skirts and dresses, or just by itself.  The full, four-paneled ‘View C’ was the version I used the most, especially when using rayon or a lightweight poly print, while the in-between breadth of ‘View B’ was great for stiffer materials like cotton.  As the cover states, this really is a two hour skirt.  It took me 30 minutes to cut the pieces out of 3 yards for ‘View C’, and 15 minutes to cut out of two yards for the slim ‘View A’.  The elastic waist is easy to do and provides a nice waistband that doesn’t roll, thankfully!  The rest of the skirt is simple, long, straight lines, however, the wide, bias-influenced hemline takes up most of the rest of the two hours.  The simple pieces taught me how to successfully work with the bias grain as a beginner at the concept.  This pattern has a gold-medal in my estimation, amongst my substantial stash.

The blouse’s pattern offers such a wonderful variety for building a great basic 50’s wardrobe. Give me the most for my money, in my opinion!  This blouse is a very chic anchor to the ensemble.  I told you (a few posts back, here) I wasn’t done with the color blue and peplums, anyway! However, it frustrates me that I cannot authentically date this pattern, like most of the other vintage re-issues, by finding its original.  The iconic actress Lauren Bacall had a very similar blouse in the 1957 movie “Designing Woman”.  That year is a popular date for many of the 50’s reprints, so I’m guessing the styles are from mid to late in the decade.  They do have #4047 still as an on-demand custom print-out (link to that here), so Simplicity must realize how good this pattern is, too, although finding an old out-of-print copy would probably be a cheaper option.

Sizing ran small for my blouse, and I do wish I had went up in size. After all, working with a tight, unforgiving woven like poly shantung leaves me no room for a big meal of a body sizing change.  Oh well, it was really much easier to make than it appears and poly shantung is not as precious as its silk cousin so it’s no big loss if I need to make another down the road.  The blouse pattern has a long back bodice I wish I had shortened, but otherwise came together beautifully, with good instructions and wonderful details.  There were no mistakes or hiccups encountered with the blouse.  It was whipped up with no alterations and fits as you see it.

Oh, how I wish I knew the name for the kind of neckline which is on this blouse!  I love it, along with the box pleats coming from the shoulder!  It is so unique and beautiful the way it all frames the face.  The curving and angles made the neckline by far the trickiest part of the top.  It’s not hard to do, I just had to be thorough with marking points and seam allowances before I could be precise with my sewing.  There are two ¼” wide darts along the back neckline to help bring it up to sitting above the base of the neck, like a collarless collar.  Then the sides of the front neckline bow out on the side to square out at the bottom, so there is lots of clipping and trimming of seams involved.  I never could get the darn shantung to not be puckered at the corners.  Deep down, I will always hate anything polyester.  Yet, the fabric looks pretty enough and only I will ever probably notice such “failings” so it is and easy success.

The skirt is very true to size but then again working with bias cut skirts with elastic waists is naturally going to be forgiving…the reason why I am still wearing them all these years!  Many times I even went down a size for the skirts to cut down on the excess material that needs to be gathered at the waistline (what I did for this version; see picture below), but also because I sometimes just added darts and only back elastic to make my skirts smoother fitting over the tummy.

Length measurements for the skirts can be deceiving, however, because of the sweeping hem fullness and bias grain.  My advice is to go long and try it on to decide.  Let hemming be the last thing you do after letting a skirt like this hang for at least 24 hours.  I learned the hard way with this rayon floral skirt.  Circle skirts or those cut on the bias, even if they are on a dress, change their hemline once the grain hangs down on a completed garment for a day.  I remember I was in a hurry to finish this skirt, and I immediately hemmed it as soon as it was together.  By the time I wore it, the hem was embarrassingly wonky, which was obvious because the original length was down to my ankle.  Even back then I hated unpicking as much as I do today, so I merely recut a new, slightly shorter yet straighter hem.  It was hard!  The fabric was always shifting and I got to a “good enough” attitude and used hem tape to cover the skinny hem edge.  Straight grain hem tape is not ideal for a curving hem, so I found out.  It is necessary to ease in the fullness of one edge.  Ah, you sew and learn.  You’d never guess the ‘oopsies’ I made with this, would you?!  The day these pictures were taken, it was windy so my skirt might still seem uneven, nevertheless.  Twenty years later, my sewing “mistakes” are still happening (but decreasing), and I’m still learning.  Just so long as my projects turn out just as successfully and are enjoyed as much as this skirt, I am happy.

My hair flower was a last minute creation to complete my outfit by utilizing some of the few scraps leftover.  I cut a pointed-end oblong piece on the bias, single layer, about 10 inches in length, about 7 inches at the middle where it is widest.  If you think of how a kid would draw the playing ball to the American game of football, that is what my piece looked like.  That was folded in half along its length, wrong sides in together, and loosely stitched along the curved raw edge.  The loose stitches are ties off at one end and brought in tight, and the piece is curled into itself, jellyroll style.  The raw ends are stitched together and covered with some fake plastic leaves after sewing it to a small hair comb.  I want to make every last remnant count for something so they might as well help me accessorize!

No matter how fast styles change, and how quickly clothing is given away before it has reached the end of its wear, fashion of the past decades is persistent and has a way of coming back around again.  I feel like the 90’s was the last of the good quality ready-to-wear that is part of the reason why the label of ‘vintage’ is synonymous with lasting style.  Now that we have had a few decades of cheap tees, under $30 dresses, and poor-quality clothing made in third world countries (paying them an un-livable wage) can we just go back to making garments that are worth wearing and keeping for even a fraction of how long I enjoy my wardrobe?  I mean the fashions of the 90’s is subtly coming back, and older vintage styles are comfortably mainstream, so I don’t know why wearing what one has for longer is such a hard concept for the masses.  Then again, what might be better for the world is not necessarily the first thought in the face of a flashy bargain…or good for the pocketbooks of big business.  I realize I might be “preaching to the choir” here, however, this is my site to write down not just my sewing process, but also my thoughts and the passion which goes into every outfit I share here.

Look for more of my old reiterations of this skirt pattern to show up in future posts.  I am still going through my past makes and constantly finding new ways to style them with my even newer makes!  As for my blouse, this might not get a whole lot of wear in shantung, and I might not fit in it before I wear it enough to satisfy me, I’ll figure out something for it when that time comes.  Until then, I feel so special in this set!  I am stubborn about what I want to wear.  I like things that make me feel good and confident enough to be myself.  Yes, that does include things that are not necessarily new or up to date…and I’m quite okay with that.  If you have something made years back but you are still proud of it, please do share!

Tribulations of the 400th

Sometimes the easy patterns really throw me for a loop and make a sewing project surprisingly, mystifyingly challenging.  It’s when I least expect it, of course, and it never makes sense why.  The added pressure of reaching a milestone number for such a project probably didn’t help, too.  This post’s vintage dress was unexpectedly a tough one to reach nicely wearable status as my 400th project since 2012.  I had our last vacation of the summer as my motive and encouragement to power through and finish it, at least.  I do love a new me-made item whenever we take a trip and this bold little tropical hottie is here to show off her grand day out for fun in the sun.

Back in the late summer of that year of 2012, I started sewing again in earnest after a few years’ break and started keeping a log of all the projects I was making both for myself and others.  Mind you this by no means counts the paid-for commissions that I do on the side (which you don’t see) and the countless projects I have been creating before 2012 since my first lessons at seven years of age.  Most of the logged projects do appear on my blog eventually.  Even still, 400 is the last big milestone before I hit the grand number of 500 in the future!  Meanwhile, I have a lovely success story to share here and some wearable proof to my dedication to sewing all these years.

THE FACTS:

FABRIC:  a Hawaiian printed rayon challis

PATTERN:  McCall #5918, year 1944

NOTIONS:  all I needed was thread, a zipper, and a set of shoulder pads

TIME TO COMPLETE:  It was finished on August 22, 2019 after about 30 plus hours of effort put into the dress.

THE INSIDES:  A mix of French and overlocked (serged) seam finishing

TOTAL COST:  This fabric has been in my stash for so long I’m counting it as free, but I know it came from what used to be Hancock Fabrics many years back.  I always got the best deals from them so it probably cost me less than $15 for sure.

The dress pattern has an interesting story to it which I’ll explain first.  Back when I posted about making my mid-1930s lingerie set (post here) I found a random sleeve piece from a completely unrelated pattern with a date about a decade later in the mid-40’s.  It is a very clever self-faced cap sleeve I imitated when refashioning my nightgown (see it here).  Finally sighting the counterpart cover image had me speechless at its amazing details.  I posted about that mystery homeless sleeve tissue piece (here) and the kind seamstress Eszter at “Em Originals” let me know she had an original of the pattern that matched it. We exchanged pattern copies as a trade and now I have the whole dress!  Oh, the wonders of the global reach that the internet makes possible…

It was tough to feel out what fabric to match with the pattern, though.  I wanted something that screams daring and exotic and warm temps.  However, I also realized the lack of complicated seams would be perfect for a bigger print.  Letting go of this hibiscus blue-toned Hawaiian inspired rayon from my long time stash was quite hard to do, however.  It is such a saturated coloring in a print you don’t find but in vintage fabric.  Yet, I felt it was a perfect pairing.  Yes, the rayon provides great draping for the bias grain action and the neither the dress nor the design overwhelm each other, just as I had hoped.  Great fabric is meant for more than just ogling and petting while stuffed in a stash.  I think it deserves to be made into something to enjoy being both worn and appreciated no matter the risk!

The center front bodice completely carries this whole dress with it.  It is such a smart feature because it is not just for aesthetics but actually a really smart way to shape the bodice without a single dart necessary.  It made for a very interesting pattern piece that was good for my technical brain to see and understand.  The bottom of the V neckline ends at a casing that opens up the middle of the bodice.  There are ties that run through the casing and, when tied together, forms a little open spot that is so racy for the 40’s but low-key enough I don’t feel exposed.  The bust gets shaped from the center out this way in the best way possible, especially since the center casing is cut across the bias grain.  At the pattern stage, the front has the casing veer off away from the bodice so it ends up on different grain than the main body.  A double-fold, self-facing to finish the edges is included, too.  This one little detail more than makes up for the simplicity of the rest of the dress and was not as hard to make as it might sound.  I have seen this same kind of detail used on sleeves before (see here) so now that I understand how it works you might just see me try this on other garments in the future!

I had to dramatically grade up to make the pattern wearable for me, adding just over four inches.  While I was at it, I slightly tweaked the pattern.  To avoid breaking up the print even further and simplify the design even more, I joined the bodice and the skirt sections for a waist free back half.  The front has a skirt with the center seam cut on the straight grain to save room on pattern layout.  The darts to the back half met at the waistline anyway so I just turned them into one-piece “cat-eye” (also called “fish-eye”) darts on either side of the long, vertical center seam.  Changing the grainline in the skirt pieces works in favor of the dress I believe because there is now a bias which wraps around my hips for a wonderful shape and subtle flare at the hem.  I lengthened the dress as well to a ‘not very proper for war-time’ longer midi length because I personally liked how it adds to the silhouette.  A mid-length dress is more versatile and makes the most of the slinky rayon!

The main difficulty and frustrations with this dress primarily had to do with a new self-realization stemming from finding out that I had made a dress which was impossibly too small for me in certain areas…and I had absolutely no extra fabric to fill in for my oversight.  Cutting out this dress on just under two yards of fabric – even if it was 60” width – was extreme pattern Tetris.  A few inch wide scraps were all I had left.  I love being so efficient at using fabric but that means I have to be perfect with my cutting.

I do believe a third of my fitting problems with this dress might have been from tweaking the pattern the way I did.  The other third is probably from a dress designed with a very slim skirt – surmised afterwards both from the rather straight lines on the pattern and looking at the cover illustration (those two ladies have absolutely no hips whatsoever).  The last third of this dress’ issues originated from the frequent ill health I have been experiencing this year.  I only realized by making this 400th project that some of my body’s sizing has changed.  My proportions are slightly different now than what I have been for a good number of years.  My body had changed but the sizing I was drafting onto my patterns had not yet caught up because I didn’t know any better.  This kind of thing is never a pleasant pill to swallow and has been very demoralizing.  This 400th make was tough in more way than one.

Somewhere in the back of my consciousness, I had wondering why some of my garments had been fitting me differently just lately.  I’m sure it is the kind of thing only someone like me would ever notice, because I am merely talking about a few inches more in difference, particularly over my hips.  Even still, I hate having to spend my extra time tailoring my garments to accommodate illness aftereffects I don’t want but have no control over at the moment.  Yet, at the same time, I am extremely thankful that I can even do such a thing to ‘save’ my clothes in the first place.  Ready-made and store bought items with their overlocked insides do not provide the leeway for extra room that ¾” or 5/8” uncut seam allowances can give.  This is why I prefer time-honored finishing techniques over using a serger.  Taking out both side seams as well as the center back seam all the way out to ¼” from the waist line down gave me just what I needed for the perfect fit to happily have a wearable dress.

A large part of the success to sewing, I do believe, is all wrapped up in the tricky knowledge of how to fit and adapt clothing.  Granted, getting to that point of a perfect fit was literal hell for me – I hate unpicking, especially when I originally made lovely French finishing inside, like I did for this tropical dress.  This is why the bottom half of the seams to my dress are unfortunately overlocked along their edges…I know, I just preached against it, but I was tired, down in spirits, and desperate.  A French finish on tiny seams is not something I wanted to take time for on what was supposed to be an easy-to-make project.  I was running out of time to finish the dress before the trip, too.  Nevertheless, as disappointed as I am with how this dress came together and failing in my ‘normal’ standards of quality, this dress is a joy to wear.

The colors make me happy, and can pair with so many combinations.  I chose aqua and turquoise accessories for these pictures, but light blue items really soften the tone and navy blends in.  Black heels and a fancy necklace with simple earrings brings this dress up to evening wear standards.  Better yet, the comfort on this is first rate.  It feels like I never took off my nightgown.  I realize, now that I have been sick for an extended time, I find myself tending more towards easy-wear vintage pieces.  Sure, I still love my tailored pieces with cinched waists and perfect darts that require me to wear my old-style lingerie to keep a perfect form and stature.  Yet, something as ‘throw-on-and-go’ as this dress is priceless.  Great details are not neglected, though, thanks to the never failing wonder of fantastic vintage designs.  It’s no wonder I make my own clothes, because I have no idea where to find anything comparable in ready-to-wear, even if such a thing is out there.

Collage of Vintage Scarf and Handkerchief Ideas

This a fun and different follow-up from my last post about the one yard 1940s top which calls for an oversized scarf as an optional material source.   Scarves – and handkerchiefs – have been used towards making something to wear for decades, but sadly it seems to out of favor today.  As I have a plethora of scarves on hand, and always see so many hankies and scarves for sale at vintage shops and antique stores, I think being creative with these little pieces from the past are not just an old fashioned ‘thing’ but can actually look quite cute and be useful!  Modern fat quarters would I believe do just the thing as well.  They are a similar size after all.  Quilters listen up – your fat quarter stash can become much of what is shown below if you want to switch over the apparel sewing!

Enjoy the following inspiration and eye candy.

Here is yet another 1940s pattern for a blouse that is made from an all-around border small scarf, fat quarter, or hankie for view 3…or remnants when it comes to view 4.  It is Hollywood #1523 pattern.

McCall #1525’s outfits are also made from multiple small hankies or scarves.  The full ensemble – dress, purse, and hat – takes 6 squares, I believe.  The hankies used make it look quite quaint, but out of modern printed fat quarters I think this would look quite fetching and fun!

Mena at “Make This Look” on Instagram posted a super cute and very much a regular shirtdress or skirt that is also made of hankies.  This could totally be much more coordinated and aesthetically pleasing if one went for using modern fat quarters to piece these outfits together.  This pattern is my favorite but I have no idea what its number is, so this will be hard to find.

One of the easiest and frequent way to use scarves with no sewing or alteration needed is to turn a scarf into a halter top.  This method of scarf tying has been popular since the early 30’s when it began during the rise of the resort-leisure and sportswear fashions that spawned beach pajamas.  It can be done with just a necklace and a safety pin needed.  First you fold the large scarf into a big triangle.  The folded edge goes around your waist.  Lay it over the front of you and tie the two ends at the lower back waist.  The two raw ends that make the third corner of the triangle go over your necklace and are pinned in place so that you easily end up with a cute sleeveless and backless halter.  The neckline corner of the scarf can be over or under the necklace and the pin can be seen or not seen (your choice).  I love it as an easy bikini top cover-up, and depending how you style or accessorize it, this simple halter can look 30’s vintage, 70’s retro, or modern.

The most amazing and hard to believe inspiration of scarf and hankie fashions is this old late 1930s “British Movietone News” clip – watch it yourself here.  It shows you how to fold and otherwise tie yourself in the “latest seaside fashions”.  I love the hilarious commentary, “It is difficult to imagine blowing your nose in anything as smart as this!”  The coat made of four scarves is the thing I would like to try to most.

There is another video from 1921 (seen here) that shows two hankies being turned into a brassiere (screenshot at left).  Granted, the final result looks very homemade and unattractive to modern eyes, but we must be thankful.  The modern divided cup bra had its origins – as the legend goes – from an everyday woman experimenting with two hankies.  At right is an early 30’s Kestos style bra made from a delicate embroidered hanky that is much lovelier to look at.

Such a bra like this is not only easy to whip up and very modernly appropriate, but I can attest that they are very comfortable.  The 1920’s bra I had posted about here called for hankies (but I used cotton scraps) and the book where my pattern came from, “Vintage Lingerie” by Jill Salen, has several other patterns that call for a clean square of fabric originally meant for your nose.

The most popular item of clothing that I see made from oversized scarves in the 1920s seems to be hankie-hem (uneven hem) dresses as well as caftans.  However, the great designer known for her work on the bias grainline Madeleine Vionnet made her famous “scarf dress” around 1919-1920, copied by many for years after.  It is made of four large square pieces of fabric which give you four “flaps” (or jabots I think is the official term) on each side of your body, a deep V neck on the front and back, with twisted shoulder straps and a sash to tie it all together.

There is a free and simple tutorial here on “We Sew Retro” and they claim it makes a dress in only 20 minutes when you start with four large square 1 meter pre-hemmed scarves.  You can try out a popular 1920s style from a famous designer in under half of an hour?  Yes, please, this is on my plan-to-make queue.

I have only two 1 meter scarves on hand and so I did a little experimenting on my own.  Firstly, I sewed the two of them into a 1920s inspired pop-over caftan.  There are two vertical seams along the sides to give me a subtle shape and only two small stitches at the shoulders to keep it on me.  Many original 1920’s caftans were actually made with specially printed or woven oriental textiles, or even long rectangular scarves.

Not content with only one use for my two matching scarves, I unpicked the few seams my caftan had to be back to “the drawing board” as the phrase goes.  I tied the two scarves into becoming a skirt.  Firstly I started by covering up my front half and tying the scarf in a tiny knot at my center back waist.  Then I repeated the same thing starting from the back to the front.  Just like the halter top above, this would make the cutest swim cover up…which is how I was actually wearing it here.  It shows just enough of a sexy leg flash in the wind or in movement, but I think is not obviously as much of a thrown-together item to wear as it really is!  This one was entirely my idea.

Besides the 20’s, 30’s, and 40’s inspiration it seems the 1970s was the next big decade for re-using scarves.  I did find several scarf and hankie printed fabric dresses in the 1960s, as if the era liked the idea but not the real thing and so only used fabric versions.  The hippie era and the Bohemian chic caused eclectic styles and re-fashioning to become popular.  Many designers made scarf dresses and paisley hankie print garments in the 1970s and the smaller brands and sewing companies followed with their own copies.

Although I never thought of such fashions as becoming widely popular or mainstream, they must have had their impact because several Design houses have re-hashed the trend in the last two years.  Strikingly similar to this LaVetta dress of the early 70’s, Gucci brand just came out with a scarf kaftan this spring 2019 (both pictured below).  Everything old becomes new again if you wait long enough.

Dolce & Gabbana preceded them in 2018 with a handful of scarf sourced fashion such as this dress.  Oh my…if I had that many pure silk scarves I really don’t think that is what I would do with them.  Nevertheless, the look is fun and colorful (but it’s almost $5,000)!  It reminds me of this Oscar de la Renta “Patchwork-Effect Floral-Print Silk-Chiffon Dress” from pre-fall 2019 or this poncho- style Oscar de la Renta blouse that looks like pretty quilters’ fat quarters or old table linen remnants sewn together.  *Sigh*  If only high fashion could be so sustainable that a dress or blouse like that would really be made out of scraps and not just printed to imitate such a practice.  I’ll have to try some knock-off versions for myself sometime because I both don’t have $3,000 to spare and goodness knows I have enough scraps to try!

Inspiration I have found on Pinterest that is not marketed as vintage is mostly either for neckwear or headwear.  Of course, scarves were immensely popular for heads, necks, and belts in the 1940s and 30’s…it’s nothing new, but still so cute and useful!  However, I did see some modern scarf ideas that did gain my main interest.  This asymmetric wrap top that employs one buckle clasp is to die for!  Sadly, I cannot find the source to credit it (lack of source information is only one of the reasons Pinterest aggravates me) but this one is quite inventive and chic.  Also, this – one of the many dresses at the shop “CreatedByMK” on Etsy (which also sells so many lovely scarves) – is so beautiful, versatile, and much more wearable than most tie or wrap on scarf garments.  This style should be easy to replicate, adaptable to many body shapes, and very complimentary in a very swishy and feminine way.  Compared to my earlier skirt idea, this particular scarf skirt is stunning, so completely blowing me away.  I love the way the corners come together at the waist so beautifully.  People are so smart.

Ugh, I need to find a cheap stash of scarves and have an immediate go at many of these ideas, now that I posted about them!!  Which ones are your favorites?  Do you think you will be trying anything here out for yourself?  There is more over on my related Pinterest board “Turning a Scarf into Something Wearable” here, if you fancy a trip down the rabbit hole with me.  P.S. There’s the coolest tutorial for cute little satin scarf do-it-yourself shorts over there!

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!

Remnants, Scraps, and Leftovers, Oh My!

With the refashions and sewing projects which need small cuts that I’ve been doing lately, some deep questions have arisen in head.  Primarily, what constitutes a fabric remnant?  When is a scrap piece of material considered rubbish?  When it is no longer useable?  Who is the judge of that?  How has our estimation of when the leftovers from creating a garment are considered unusable changed over the years and why?  Is figuring out such questions another key to truly sustainable fashion and new creative possibilities?  I have a feeling these questions are not easily answered nor can they be figured out in one blog post, but perhaps this outfit project is a small example to part of the solution.  It is made from two less than one-yard linen remnants and a handful of notion scraps, for an on-point 1960s era set which defies the modern disregard for its ‘waste’.

Only half a yard of 45” width novelty linen fabric was turned into this interesting pop-over crop top.  Just under one yard of linen became the slip dress to complete it.  If a remnant can make a full garment, should we still consider it scrap fabric?  My last post featured yet another half a yard top.  I suppose remnants used to be considered as those tiny pieces that became 1930s era crazy quilts, the stuff that is thrown away at all the sewing rooms, fabric stores, and homes of other seamstresses I know.  I love how the end of the bolt is a gold mine waiting to be dug because they are almost always deeply discounted and do work with more sewing designs than realized.  The 1940s, 50’s, and 60’s were really good at having sewing patterns that boldly advertised they would work for one yard or less.

Having more than a yard to work with is needed for many sewing projects, but it is not automatically a necessary luxury.  Refashioning my unwanted clothes, or taking the time to mend and alter, is on equal par with the indulgence of making just what I want to wear when I make it work with unwanted scraps.  In my mind, it’s because I like to be responsible and caring and appreciative of what I have.  I can turn this outlook into something fun and creative, catering to my individuality, by being the maker of my own fashion.

To continue this handmade, sustainable, and thrifty outfit theme, I would like to also point out that I also made my necklace out of a cheap, assorted bead pack I found on sale recently.  I am freaking infatuated with purple and pink, and lately orange as well, so this whole outfit is like my dream colors…but purple is my hands-down favorite.  Thus this necklace set is my new favorite accessory!  Each of the two necklaces are separate so I can wear the assorted seed bead one with or without the fancier, Czech glass, detailed one for a flexible look.  I brushed up on some beading skills learned back as a teen and had a blast making these necklaces.  I get to wear just what I imagined for a fraction of the cost and much better quality than I could possibly find to buy.  My bracelets and earrings are true vintage.

THE FACTS:

FABRIC:  100% Linen all around, so pardon the wrinkles!  The top is from a novelty, multi-color, open weave linen and the solid under dress/slip is a cross-dyed semi-sheer linen is a reddish pink color.

PATTERN:  a true vintage McCall’s #8786, year 1967, for the under dress/slip and a Simplicity #1364 “Jiffy” blouses from the year 1964 (originally Simplicity #5262)

NOTIONS:  Everything for this outfit was scraps from on hand – the thread, bias tape, interfacing, and ribbons!

TIME TO COMPLETE:  Both were made in only about 2 ½ hours each, and were finished on August 15, 2019.  These were definitely easy and quick projects!

THE INSIDES:  As linen frays something awful and that fraying gets scratchy, my top is bias bound while the dress is French seamed.

TOTAL COST:  The linen for the top had come from JoAnn, and was only $2.50.  The cross dyed linen slip dress had been purchased for a few dollars as well when Hancock Fabrics had went out of business.  All together, the whole outfit cost me $6 at the most!

This is an awfully good classic, proper set for coming directly from the late 1960s!  The only slight giveaway to its era origins that I can see is in columnar, straight-line silhouette of the slip dress and the boxy shape of the top.  I love how cool and comfortable the set is and how versatile each item is on its own.  The underdress goes well with my modern bias flounced wrap dress, yet I do have some sheer pink floral chiffon in my stash to come back to this pattern and make the matching given overdress.  It is humorous how confused the 1967 pattern seems to be at what exactly to call what it has to offer – is it a camisole top dress, a slip, or just a dress?  The top goes with all sorts of bottoms, but especially my 1980s pink shorts!  These particular linens are such soft, sweat-wicking champions that layering them up like in this outfit is not a problem but rather feels quite good.  You just have to roll with the wrinkles, though!

I did just a few adaptations to the pieces’ to both make them fit and be as easy to go on as they are to wear.  First of all, the slip dress was in junior petite proportions and a too-small-for-me size.  Thus, I had to readjust the bust-waist-hips spacing and grade up at the same time.  Luckily this was a really simple design – one front, one back, a few fish-eye darts for shaping, tiny spaghetti straps, and a wide neckline facing.  I went a bit over and above what I needed in extra inches because I wanted the slip dress to be a closure-free, pop-over-the-head type of thing.  If I was planning on wearing this as both a dress on its own and as a slip, I didn’t want a stinkin’ zipper in the side.  I already have a 1940s and a 1950s slip that both have zippers, so I’ve been there and done that.  This linen was too soft and wonderful to confine into a zipper anyway.

Going along with that aesthetic, I went up a size larger when cutting out the top (and was forced to make it shorter based on the half yard I was working with).  I wanted it to be closure-free and easy, breezy, too.  It’s such a refresher to do without a zipper.  I really don’t mind sewing them in at all and they are a must in the structured garments I love to wear, but it is nice to do without both from a maker’s standpoint and as someone who likes simplistic fashion sometimes.

A few little details were all my two pieces needed to elevate this basic set to a chic, coordinated set.  To tie the slip dress in with the top and also make it look a little less plain, I used two random pieces of leftover ribbon from my stash for decorating along the hem.  They secretly cover up my hem stitching!  The lavender velvet ribbon is true vintage and all cotton, still on its original card, and out of the notions stash I inherited from my Grandmother.  The cranberry sheer ribbon is modern, leftover from this dress project made many years back now.

My top needed something to pull the boxy shape in just a tad, so I stitched a button down at the bottom point of each side seam then made a thread loop three stripes away to pull the hem in.  I love how this ‘fix’ compliments the striped linen by making a lovely V at the side seam point (where the bust’s French dart and my back pleat is pulled in).  This ‘fix’ is nicely non-committal, too.  I can also wear it either way – full boxy or slightly tailored when buttoned in.  The notions I used were two leftover buttons I had cut off my son’s worn-through school pants before they were thrown away.  I’m proud of how I let very little go to waste around here!

“The Frade”, a stash swapping website where you can buy/sell/trade fabric, yarn, sewing projects and all sorts of maker supplies, states the statistic that approximately 15% of fabric is wasted when a garment is cut and made.  I do not know if they were referring to the industry or homemade clothing, but from the layout suggestions I see on modern patterns, for one example, I would personally think that percent would be much higher.  As long as grainlines are followed I see no reason for following a computer program’s suggestion for laying out pattern pieces on fabric compared to ‘playing Tetris’ to find an economical fit for minimal waste.  On average, I find I can make most patterns work with at least a half to ¾ yard less than the suggested amount needed on the envelope chart and end up with about 5% or less leftover.  Of course, all this does not apply to many vintage patterns, especially from the 1940s when they knew how to make the most of what they had on hand.

Sustainable fashion practices when sewing new from scratch might be more of a challenge or test of both patience and skill, but the results are worth it in the end.  Voracious fast fashion is ruining the world we live in and destroying appreciation for quality.  According to this article at the Fast Company, “the average number of times a garment is worn before it stops being used has gone down by 36% over the last 15 years (yay!), and yet many consumers wear their items for less than 10 times.”  This is bad news for efforts to limit waste in the fashion industry (info also quoted here @RightfullySewn)”  because over the last 15 years, clothing production has doubled.  There is a problem.

Whether or not we go through sewing projects just as fast as we might with store bought fast fashion, we sewists have the perfect opportunity to be smart about what we make, just as open to the kind of accountability we want – or should expect – from big business.  We can create with supplies that are either vintage, secondhand, or in our stash, and make items with a quality that we will enjoy for years to come.  We can mend when it is needed, tailor as our body demands, and finally recycle in one of the many modern means when all of those options are not viable.  Please, I beg you, choose natural fibers, anything other than a plastic or chemical based material.  We who sew have the answer to sustainable fashion just by our creative capability, and sustainable fashion absolutely needs to happen.  Might I suggest there is a duty attached to sewing, because ‘with knowledge comes responsibility’ as the saying goes.  Maybe we can kick start that with a change of mentality towards the good old-fashioned regard of remnants.  A good creative challenge never hurt anyone, either.