Snow Bunny Bomber

There is a certain energy I, my husband, and son all feel when it snows.  It is a cheerful bust of fresh insight and renewed vivacity.  We HAVE to get outside to be in the middle of the weather, too.  However, I for one do not in the least like the cold so I love the challenge of dressing up in the utmost fashion while still staying cozy and warm.  Hubby calls me a “snow bunny” when I am so perfectly put together in my handmade wardrobe for the snowy weather.  All I know is that when I feel fabulous in my chic, me-made items that in itself brings on bonus energy…and compliments from others.  Yes, you really can wear something other than boring, practical clothes for the snow.  After all, it is the prettiest of weather occurrences, in my opinion, for where we live! 

So, here is my latest, greatest, and newest “snow bunny” sewing project for our most recent winter storm – an 80’s era faux fur bomber jacket.  It has an integral scarf feature to keep me ultimately cozy.  The “fur” has a thick knit base for comfort and ease of movement.  The hem bindings and scarf are soft, matching fleece.  It has dramatic batwing sleeves and an unexpected asymmetric closing.  Best of all, it is a designer style from my favorite couture creator, Emanuel Ungaro! 

The soft texture and icy light blue color suits as a proper follow up to my previous post, my Snow Queen inspired “Pandemic Princess” dress.  Not that this is actually a part of that blog series, but I certainly had my recent princess dress still on my mind when I whipped this jacket together, you can tell.  It is related, but separate.  That Snow Queen dress was my last project for 2020 and this related jacket was my first for 2021.  Crown or no crown, the inner modern princess in me delights in the practical luxury of this fun and warm little coat.  The falling snow is the best backdrop visual compliment to it I could have possibly wanted.

If you notice the details, there is a lot of older pieces from on hand which came together perfectly for this outfit.  For keeping my scarf in place, I included a giant snowflake pin, which I have had for many years now.  The beige boots and Isotoner brand gloves are 80’s vintage pieces from my mom back from before my time.  My skirt is something I had bought RTW from the early 2000 decade but has a nice touch of vintage reference to it, I think.  It is almost 30’s style with its fit-and-flare design and suit inspired herringbone acrylic knit material.  Yet, the 80’s rehashed many decades successfully and besides – a slim fitting bottom separate is the best option for a poufy jacket like this one.  I’ve always wanted something me-made and dressy to match with this skirt ever since I got it so many years back.  Finally, that idea has come true and it is glorious.

THE FACTS:

FABRIC:  One yard of a polyester faux fur combined with scraps of a polyester anti-pill fleece leftover from making this 60’s inspired Burda Style cocoon coat.

PATTERN:  Vogue Paris Original Design #1620, year 1985

NOTIONS NEEDED:  Just thread and a two hook-and-eyes, which I had on hand. No interfacing needed!

TIME TO COMPLETE:  This was made in 15 hours and finished on January 4, 2021.

TOTAL COST:  I got the fur on sale and the fleece was remnants (thus free) so the total was only about $10.

I had been holding onto the materials used on this coat for 2 years.  Only recently did inspiration suddenly strike as to what to do with the faux fur and fleece remnants.  I originally though a puffy vest might look good, or a princess-seamed moto jacket.  I only had one yard of fur to work with after all and scraps of random sizes.  Then I suddenly thought of how unconventional fashion choices appear so much more tasteful when using designer inspiration.  There is almost no one designer I favor more than Ungaro for killer coats, jackets, and suit blazers.  This is my second jacket design of Ungaro’s that I have made (see the first one here) from my pattern stash. I have many more patterns of his in my cabinets yet to make, so, after how much I like the two I have sewn, consider this the beginning of an obsession. 

Anyway, I figured, as I wanted this to match with a particular blue skirt (as I mentioned above), I had certain styles to figure which would complement but contrast with its slim silhouette.  I also wanted something new and different, something unlike what I currently have.  This wide and generous bomber jacket style was a happy guess-timate on my part.  I like bold fashion choices and I know it, which is why the 80’s is so appealing to me.  It would be such a relief if only I could get past the crushing self-doubt I have to deal with every time I create such a project. 

This faux fur is really sparse in loftiness or the ‘hair’ and therefore was easy to work with.  It reminds me of the kind of fur that is used for the ‘skin’ of such characters as Elmo, Grover, and Oscar who are on “Sesame Street” or Animal from “The Muppets”.  I only had to do minor parting of the fur at the minimal seams that were on this jacket.  I did no clipping of the fur as I prefer the long nap of it.  I also used a ball point needle in my machine to sew it and that worked out smoothly as there is a thick chain knitted backing.  It is soft underneath and not scratchy so I followed the instructions and did not line the coat.  I don’t need convincing to keep a simple project, well…simple. Amazingly, this is plenty warm being one layer.  

What adds to the warmth of the jacket is a combo of the fact that the front is a double-breasted wrap and there is an integral scarf collar.  My hubby said that the features of this coat reminded him of the 1950s, and turns out he wasn’t far off.  I have found several instances of integral scarf collar jackets and suits coats used on designer fashions of the late 50’s to early 60’s.  I did not interface the collar because you want it to be more like an attached scarf you cannot loose (so handy).  The pattern for it was all one piece that is folded in half, ending in an angled, pointed seam just like all those vintage original examples I show.  I love how the collar scarf follows the asymmetric neckline, closing on the left shoulder.   

The chest of the coat is double layered because it completely wraps around to close at the inner shoulder seam, oppositely of the scarf closing (right side).  I sewed in an oversize hook-and-eye in this spot and it is almost hidden in the plushness of the knit underside.  This way my jacket is just as neat if I choose to leave the scarf neck open instead of closed.  It is kind of similar to a moto jacket when worn with the neck scarf undone, a style I had a mind to possibly choose anyway.  There is a still a little room for versatility here.

One look at the envelope cover and you can see the one major detail I did leave out – the peplum.  Especially when paired with the matching skirt, I just could not like the peplum on the jacket.  I cut them out, and made them, and pinned them to the bottom of the otherwise finished main body.  I don’t know how the models made the original design seem so appealing, but the peplum made my jacket seem to drown me and become frumpy in style overall.  Part of my issue was that my peplum was cut in the same contrast fleece I chose for the scarf collar.  I had no other choice working on such limited cuts of material!  I believe the peplum issue comes down to the fact it added too much of a different color and texture to pair well with the fur of the main body.

This jacket was originally supposed to be a wrap closing at the waist but with the peplum gone, that would no longer work.  I cut off the long ties I had sewn into the side seams and unpicked the longer of the two.  Then I turned it into a hem casing and added a hook-and-eye at the corresponding spots along the new waistline.  (The front waistline pleats match together.)  Later I turned that second shorter tie into something worthwhile, so my tweaks to the design after the fact I were not a complete loss.

As the exterior fur is slightly itchy, I adapted the sleeve hems to match with the new waist hem.  I luckily had some pre-made fleece blanket binding which happened to be the same color as the fleece I was using.  I hand sewed strips of that over the wrist hem underneath the fur.  Just enough of the binding is sticking out to both be noticed and prevent the fur from touching my skin.  Hand sewing was easy because the wrist openings were skinny fitting and the fur covers up the thread nicely.  This is why I also hand stitched down the facing inside along the front jacket openings.  Designer inspired projects always deserve fine finishing.

Ungaro’s year 1985 jacket was an incredibly easy project for being a Designer Vogue pattern. This, coupled with the unused waist tie and peplum, led me to take the extra step to whip up a small accessory for myself out of the leftover remnants.  I made a little headband out of the tubing of the one waist tie left!  I cut the length of it in half, wrapped those two halves around each other, then hand tacked the joining fold where they meet in the center.  Finally, I stitched the ends together to a small cut of brown elastic (to match my hair).  It was easy, impromptu, and fun with no pattern needed!  I can always use a cute winter accessory.  I am still left with challenge of finding a good way to reuse the peplum’s fleece.  Should I try handmade gloves, maybe, for something very different and novel?  Or maybe a pair of 1940s era house slippers?  I have a pattern for almost anything here on hand.

What is commonly seen as inclement weather, is merely an opportunity to for me to keep off the chill in self-made style.  ‘Warm but fashionable’ is a combo I do not see most RTW fashion offering unless it is in a higher end price range.  If you can sew, though, those boundaries do not apply.  I made this on one yard and some remnants.  It was designer made in under 20 hours.  Send your worst, winter.  My wardrobe is prepared for you and my pocketbook is not on empty either.  

I hope you enjoy the snow as much as I do…but perhaps you don’t even get to see it at all where you live.  It transforms the cold into a visual delight (that is only good until you have to drive in it).  If you have made an item to counter your inclement weather, something that you feel great in but is useful at the same time, let me know!  I want to see how others interpret such a challenge of overcoming the elements in style.

Anne Klein Design

“Clothes won’t change the world. The women who wear them will.”

This is a very famous fashion quote which is attributed to the American designer Anne Klein.  Coming from someone whose talent and livelihood revolved around creating fashion that has influenced women around the world, this is a beautiful, powerful, and impressively truthful statement.  It celebrates the women that bring to life clothes, which carry no personality on their own until they are enlivened by the charisma coming from inside the body.  Just as her clothing is timeless and visionary, so also her quote is still so very touchingly appropriate today.

All of this I have mentioned – and inspired by the Anne Klein trends at the recent New York fashion week – are reasons why I am ecstatic to present something I made using a vintage Anne Klein designer Vogue pattern.  Unfortunately, my sewing project is not one of her famous separates but more a symbol of the year 1987 date on the design – a one-piece jumpsuit.  Vogue American designer patterns seemed to offer many chic and on-point jumpsuit styles in the mid-to-late 80’s, and this one seems to be a common-to-find release by the number to be found for sale over the internet.  It is a very Anne Klein version – classic yet a product of its times, tailored yet simple, and complimentary yet comfortable.  I absolutely LOVE having this piece in my closet!  Also – it has pockets!!

THE FACTS:

FABRIC:  a heavyweight rayon/cotton/spandex printed knit. It is about 1/8” thick, printed in the black and blue plaid one the right side while plain white on the wrong (inside) side, and a tightly stable weave.  It has a wonderfully soft feel and supple ‘hand’ that reminds me of a cross between a scuba knit and a brushed flannel.  I did use some leftover black poly scuba knit remnants for the neckline facing.

PATTERN:  Vogue American Designer pattern #1871, year 1987

NOTIONS NEEDED:  lots of thread, some strips of interfacing, and a long 22” zipper (which is of the vintage metal variety)

TIME TO COMPLETE:  This was whipped up in about 6 hours, and was finished on July 6, 2020.

THE INSIDES:  This knit does not unravel so I left the edges raw

TOTAL COST:  The plaid printed knit was from JoAnn, and was about $40 something for 3 yards.  The scuba knit scraps for the facing as well as the zipper were all on hand so are as good as free. 

There is so much that can be said about the life of Anne Klein and the way she impacted history, but I will only give you an overview.  “Anne Klein designed classic casuals with every woman in mind.  She was a visionary designer who originated the concept of a fully coordinated closet, providing a uniquely American point of view to the global fashion industry. Her trademark separates became the hallmark of a purposeful and stylish wardrobe – one that has informed trends for decades” (from anneklein.com).  “Recognized as one of the groundbreaking designers to put American fashion on the map, Anne Klein wasn’t just a designer, she was a champion of authentic style and empowered the way women dressed. 50 years later, her legacy continues to influence contemporary elegance and inspire the modern woman.” (from the Harpers Bazaar article “Anne Klein: The Legendary Designer Who Changed The Way American Women Dressed“)

Anne Klein was born August 3, 1923, in Brooklyn, New York, as Hannah Golofski

It was while studying art at Girls’ Commercial High School (now known as Prospect Heights High School) that Anne discovered her talent for design. Within a year’s time, she was employed at her first job in the garment industry with Varden Petites. There, she worked to redesign the firm’s collection and introduced a new style of ready-to-wear clothing for young, smaller figured women that would come to be known as “Junior Miss”

She spent the early part of her career creating petite-size clothing, elevating the category from girly frocks with Peter Pan collars into sophisticated sportswear.  This was in 1937 when she was awarded a scholarship to attend the Traphagen School of Fashion, which led to her first job as a sketcher for dress firms on 7th Avenue.

Anne Klein in her studio, 1950s

In 1940, Anne Klein began making a name for herself as a designer. She first began designing for Maurice Rentner at his business, Maurice Rentner, Inc., which produced ready-to-wear designs for men and women.

In 1944, Anne Klein joined with the two great women of fashion, Bonnie Cashin and Claire McCardell, to form a female design trio who laid the foundations of American sportswear.

In 1948 she married clothing manufacturer Ben Klein and they launched the “Junior Sophisticates” label. “Junior Sophisticates” offered elegant styles to younger women with smaller figures.  Anne Klein was the principal designer at Junior Sophisticates until 1960.

In 1964 she was awarded the Lord & Taylor Rose Award for independent thinking, an award first given to Albert Einstein.

In 1967, she patented a girdle specifically designed for wearing with the miniskirt.

She co-founded Anne Klein & Company in 1968 with Gunther Oppenheim, with a focus on separates, not suits – an innovation at the time – and within ten years her designs were being sold in over 750 department stores and boutiques in the USA.

In the 1960s and 70s, Anne Klein set the standard for professional, grown-up style. The company didn’t just dress women for the workforce. It epitomized their independence, confidence and multifaceted lives.

It was during this time (late 60’s and 70’s) of ready-to-wear fashion, “modern” designs for women, and an increase in the number of women in the workplace that Klein was one of the first to introduce, and to become known for, “separates”: individual pieces which work together as a whole, as opposed to dresses.

March 19, 1974, Anne Klein died of breast cancer at the age of 50.

After Anne Klein died in 1974, Donna Karan and Louis Dell’Olio took over the design direction of the company. Donna Karan, who had been Klein’s assistant, preserved the company’s aesthetic voice for a decade. But in 1984, Karan set out on her own.  Today, it is still an American company (privately held as of July 2019).

(Above information from this wikipedia article as well as this “Saving Anne Klein” article from the South China Morning Post.)

Now, after reading this timeline, it becomes obvious that this jumpsuit pattern I have sewn from comes after the death of the real Anne Klein, and also after the direction of her successor Donna Karen (who kept the company quite true to brand).  However much the designer line has lost its direction in the decades after Klein’s death, luckily, this pattern seems to be very much in a matching idealism of her namesake.  How often can a design from the decade of the 80’s be a classic wardrobe staple?  How often can an 80’s garment not be identifiably dated?  Since when does something from the 80’s not include an outrageous style, bold colors, and memories you’d rather not relive?  When it is done by Anne Klein design.

I think the saving grace here is two-fold – the tapered leg pants and the softened shoulder line.  The pattern recommended adding rounded shoulder pads inside, but I haven’t so far…I might come back and add them in for a change in the future.  The only thing I found is that the booty and the back shoulders were only generous in room, but some of that may be because of the supple knit.  The deep 4 inch hems to the sleeves and pants were handy at shaping and weighing down the jumpsuit at strategic places, and I stitched them down by hand for a nicely invisible finish.

For being a designer style, this jumpsuit was incredibly easy to make.  Of course, that is partially due to the fact I greatly simplified the construction by eliminating a full body lining.  When working with such a soft yet stable knit as I was using, I wanted to take advantage of feeling the luxuriousness of the rayon material and not over complicate it by adding the lining.  If I had been using a suiting material or some sort of wool blend, then yes – I would have totally lined the jumpsuit.  Even with a full body lining, sewing it would have been relatively easy because there are just a handful of pattern pieces, a few darts, a few pleats, some smartly strategic seam matching, and voila!  That is all!  I found the sizing to be spot on and I didn’t have to do any fitting tweaks so that also saved on time.

Eliminating the button back bodice placket in lieu of an exposed zipper back made me sad (I liked the look of it) yet it also saved this project in many ways.  I avoided the extra stress of figuring out a way to support several large buttonholes in this supple knit.  Sure, interfacing will always help stabilize such a spot.  Yet, the knit I was using didn’t seem to take well to small detailed stitching, so I was glad both that this was a simple design overall and that I found another way to close it besides buttoning.  Using the zipper helped keep the surrounding knit in the proper shape, which is important since for a jumpsuit the center back seam receives the most stress due to movement necessary upon wearing.  Besides, a back zipper is so much easier to handle when it comes to having to take bathroom breaks than the complicated possibility of both a zipper up the waistline and several button closings behind ones back.  That sounds so fiddly to accomplish on one’s self but looks great in the line drawing!  I guess that is the flair of designer fashion…to be a bit superfluous for the sake of visual aesthetic.

I suppose I might have downgraded the design by merely adding a zipper down the back but it is a really good one, though – true vintage, with metal teeth, a self-locking pull tab, and a blue cotton twill tape base.  I am guessing it could be as old as the 1940s.  Finding one in the wilds of a rummage sale at this 22” length is not that common, thus it has been a true gem in my notions stash that I have been so reluctant to use.  What good was it going to do me saving it when that zipper was just what this jumpsuit needed, and was going to give it a really great way to have a moment to be worthwhile?  Vintage zippers – even with their metal teeth – are much more pliable and bendable than any modern metal zipper.  This old notion was going to be much more comfy to wear and flow much better with the rest of the jumpsuit than any modern one could.  Sometimes you just have to take a breath and go use the good stuff for those really good sewing ideas.  When the right project come along, splurging on the good vintage notions usually ends up being worth it for me.

The only major change I made to the pattern design was the relatively small step of eliminating the sewn in belt-style waistband.  I am on the shorter side, not quite petite technically, and so getting rid of the extra few inches that the belt would have had gave me the perfect proportions.  Also, I did not want to define the jumpsuit with a contrast color for the belt waistband piece, nor did I want to complicate it with more of the plaid.  I prefer to add in whatever color and interest I feel like for the day through my choice of belt, shoes, necklace, and earrings.  I sometimes like this with beige tones, sometimes black and silver, but here I paired it with brown leather and gold (all vintage belt and earrings, by the way, and Charlie Stone brand flats).  I would not have had this versatility with an attached belt piece, but most importantly, I would not have had the proper fit.  I know I could have just taken some inches out of the body of the dress at the pattern stage, but this little change up was easy and catered to my taste all in one step.  This might be a designer style, but if I’m the one sewing it, I am going to personalize it, for sure!

For these times in which casual (aka. lounge attire) seems to be the 2020 work wear, fancy wear, and everything in between, chic sportswear is just the thing we need for today.  This jumpsuit is as comfy as wearing pajamas, but much more stylish.  No matter if I haven’t a reason, I refuse to forget the joy of dressing up, the delighting in fashion, and the creativity behind sewing.   I need all of this and daresay so many others do, too, no matter what the circumstances of the day.  This knit jumpsuit is as close as I have yet come to spending my day in yoga pants and oversized tee.  This is my kind of parallel.  I am so glad I could find out more about the great designer Anne Klein along the way to finding my interpretation.  Women of today need clothes that are as empowering, adaptable, multi-faceted, and 100% as capable as we are.  Sweatpants do not do any of that for me.  This jumpsuit is one of the many me-made pieces in my wardrobe that can, though.  Please, find yourself that perfect garment that can help you can the world – big or small…every little bit counts.  Remember – “Clothes won’t change the world. The women who wear them will.”

Under Surveillance

I am never one to pass up an opportunity for what I sew to convey some understated irony.  The opposite of wrinkly is irony, after all (in case you haven’t heard that joke)!  In all seriousness, though – this post’s dress was perfect for a day traveling out in the middle of nowhere, on the edge of Death Valley.  I blend right in with my setting’s colors and am ‘under surveillance’ amidst the open scrub land in my boldly patterned knit version of a Rachel Comey designer piece.  My dress is paired with a casual, relaxed twist on the classic moto jacket for an outfit that accommodates the temperature swings of the desert in spring.

In 2014, Vogue Pattern Company released the pattern to her popular RTW item called the “Surveillance” dress.  It’s always so exciting when Vogue gives a home seamstress the ability to make her own ‘copy’ of a New York fashion item which sells for about $700 normally!!  Granted, I am in no way ‘up to date’ with things by finally getting around to sewing this six years later, but hey – better late to the game than never when it comes to personal fashion.  SO many times it is best to let my fabric and my patterns be paired up naturally as the inspiration strikes or as the setting feels right.  Forcing projects is often a recipe for later being unhappy with the outcome.

Making a jacket out of this lovely burgundy knit has been a long time coming as well, so everything about this outfit is something to be excited over.  As the wardrobe I chose for my travels out west was everything which would pair well with such a rich color, I finally dove into finding the right pattern for the burgundy knit and now have a new favorite versatile piece I dreamed of for years.  There never seems to be enough time in life for all the ideas and aspirations in my head and heart!

THE FACTS:

FABRIC:  For the dress – a cotton, rayon, and poly blend knit; For the jacket – a rayon and poly blend tiny ribbed knit, fully lined in a lightweight black poly interlock

PATTERNS:  Vogue #1406, a Rachel Comey dress pattern from 2014 together with Burda Style #105 jacket from March 2015

NOTIONS:  Just lots of thread, some cuts of interfacing, a few vintage buttons out of the stash I inherited from my Grandmother, and scraps of bias tape went into this ensemble!

TIME TO COMPLETE:  The jacket took about 10 to 12 hours to make, and was finished on February 7, 2020; the dress was made in about 5 hours on January 30, 2020.

TOTAL COST:  As the fabrics for this whole outfit have been sitting in my stash for almost 10 years now (bought years ago at the now defunct Hancock Fabrics), I am counting these pieces as equal to free by this time!  Either way, I only needed 1 ½ yards for the jacket, and almost 3 yards for the dress (because I was working with a large scale repeated print) so I could not have paid all that much because I always found the best prices at Hancock!  My guess is no more than $30 in total.

Here’s how I cut out my pieces (single layer of fabric).

Now, for a designer pattern, Comey’s Surveillance dress has really simple but smart design lines.  The listings describe it as having an “asymmetrical neckline, hugging the body in just the right places, this fitted dress features a tailored bodice with clever tugs at the waist sides (gathers) for a flattering fit.”  I noticed that all the models in the RTW versions had no significant weight or body curves, so I surmised a close-fitting dress for their body type would not fit the same on me.  I made sure to go up one whole size than what the chart showed I needed, and I am glad I did so.  My sleeves were shortened because I like the versatility of ¾ length, and it made the sleeves easier to match with the striping on the dress, but otherwise no other changes were made to the design you see on the line drawing.

The original instructions call for very nice finishing techniques, such as cutting your own bias binding to finish the inner raw edges for the armscye and a fully lined body.  The detailed instructions are great because it gives a glimpse into how the expensive designer dresses are made.  Also, though, after you exhaust yourself doing such details, you may just realize that high end price is rather appropriate for the time, effort, and quality (RTW Surveillance dresses are silk) that goes into them…and they are made in the USA!

Now, I am not one to shy away from (or lack appreciation for) time-consuming ways of sewing high quality garments – goodness, I absolutely love spending ungodly amounts of hours to hand-sew suit coats!  However, my chosen fabric for this design was loose and much too relaxed to be highly tailored, so I stripped construction down to the bare bones here.  I eliminated the full body lining, facings, interfacing, and seam edge finishing (the knit does not ravel).  This made my dress only a 5 hour, ‘one-afternoon-sewing-binge’ kind of project.  As I had went up a size, and my material was stretchy knit, I left out the back zipper as the pattern called for, making this a pop-over dress for effortless dressing.  The center back skirt godet panel was also left out in my version and I merely drafted directly onto the dress itself.  This way the oversized print does not get broken up.

Even with the dress being simplified I had to think out of the box to accommodate supporting certain sections.  The one side of the neckline has a defined shoulder seam, which I supported with seam tape in with the stitching.  However the other shoulder – the one that wraps around from the back to come into the front at the neckline side that dips down – is one piece that drooped off my body.  To fix that I hand stitched down a strip of double fold, ½ inch wide bias tape to the inside across where the shoulder seam would have been.  Bias tape has just a tiny bit of give when it is double folded, but it is a pretty stable – yet simple – way for me to steady the one side of the upper neckline.  I also used double fold bias tape (the red is 1/4 inch wide) to stabilize the side seam and center back waistline gathers.

Can this dress still be in the shadow of New York’s high fashion or considered a designer knock-off when I have reduced it down to such a simple thing to make?  I almost feel badly, but hey – sewing my own clothes makes me a designer too, in my own right, so I am tickled deep down for finding my own unusual way of interpreting Comey’s design.  Even still, I do think that I stuck to her aesthetic, which is described as “combining thoughtful materials, bold prints, and modern silhouettes.”  That is the case with my knit which is a soft as a baby blanket, yet definitely bold, and certainly made into a modern body skimming fit. “Comey’s collections blend function, fashion, and form.  You will find designs that are sophisticated and cool, smart yet playful.”  I find that I made her Surveillance dress much more versatile with no closures needed in an easy-care knit.  My ‘downsizing’ of the details in no way brings this dress away from her trend of classy work-to-dinner-date wear so I’m happy to have a multi-purpose garment done my way!  With modern heels and chandelier earrings this would look so different.

My blazer is the opposite of the dress – it took more time, has finer details, and is not named designer pattern.  It is still a mix of casual and dressy.  It is fitted loosely, almost boxy, so there were none but two tiny bust darts to sew.  With the full body lining and soft knit this jacket feels as cozy as a sweatshirt but appears so much nicer!  The asymmetric closing has many differing ‘looks’ depending on how many (or if any) buttons I close, so it is closer to suiting in this respect, and a nice variant on the traditional moto jacket.

It does have suit jacket style, two-part sleeves for great mobility that doesn’t solely rely on the stretch of the knit.  I played upon the opportunity the seaming and moto style offered to use the other side of the fabric – the side with more of a black overtone and less of a twill finish as what is seen on the main body – for the underarm sleeve panels, collar, and insides of the revers.  For as bold as the dress is, I love the subtlety I added to the details of the jacket.  Choosing vintage leather buttons might not be the best in wash ability, but I liked how they standout without being too obnoxiously different.  As I said above, this is a set full of irony – yes, black, burgundy, and brown can complement one another and a moto jacket doesn’t always have to be in a stark biker style.

My outfit only has me chuffed to go along these lines even further.  As my second Rachel Comey dress, it is quite different from my first – this 40’s inspired Vogue #1209 pattern from 2010.  It will certainly not be my last, either.  I have several more patterns of her’s from Vogue in my cabinet, with fabric in my stash already picked out for them.  Also, I am itching to try another twist on the moto style jacket.  Burda Style has been really killing me with their amazing moto jacket designs over this past year.  Each one they release (and it has been many) has great features, so it will be hard to pick, but I will let the fabric “speak to me” to help decide things for next time.  One thing I do know is how easy it is to determine whether or not I am open to returning to the desert…the answer is a hearty YES!