Summer Rose

As soft as a perfect blue sky, as delicate as a newly opened wild white rose in bloom standing strong during the summer heat, this year 1953 dress strikes me as taking these things into a tangible garment.

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I like the balance to this dress design.  I see it as an unabashedly feminine yet not overly sweet dress, sleevelessly ‘cool’ yet covered up with the capelet, and elegantly tailored yet completely comfy in my chosen Gertie brand cotton sateen.  As if I couldn’t ask for a better vintage 50’s summer dress, this was actually inspired by the villainess Whitney Frost from my favorite show, Marvel’s Agent Carter.

Butterick 6928, year 2000 reprint of a '53 patternTHE FACTS:

FABRIC:  a 100% cotton sateen, in a Gertie brand print, with a plain white cotton broadcloth to back the capelet and become the facings

PATTERN:  an out-of-print Butterick #6928, a year 2000 pattern from year 1953

NOTIONS:  Nothing but thread, a few hook-and-eyes, and few snaps from on hand were used

TIME TO COMPLETE:  This dress was finished on July 21, 2016 in about 5 hours.

THE INSIDES:  cleanly bias bound

TOTAL COST:  This was bought from JoAnn’s Fabric store (they sell most of Gertie’s prints), and you’d never guess, but this dress is sort of a fabric hog and I ended up having to buy over 3 yards so this cost about $25 (more or less, I don’t remember).

DSC_0042a-comp,wThe wide capelet overlay is balanced out by the slim lines throughout the rest of the design – so unusual, that I was unsure if it would work for my body type at first, but once on me…it’s a winner!  I really do get a ton of compliments on this dress so the design must be doing something right for me.  Just looking at the dress, a first glance cannot help you even realize how smartly designed it is when it comes to construction.  It’s a one piece wrap-on dress!

The asymmetric pleat in the skirt hides the closure, and I really like how it is a closed pleat, meaning there is no open slit, just a fold over of the skirt.  The front skirt is a good example of how this dress’ pattern pieces are really unexpectedly interesting.  It is cut really wide but then gets a deep knife pleat to end up as a skinny wiggle style with full freedom of movement.  The wrap style opening continues into the skirt from the waist with a bias-finished slit down the center of the inside of the knife pleat.  Dressing is as easy as…”step-in, hook closed, ready to go”!  Not too often are vintage dresses this easy to get into – the side zipper ones are the worst – so I am quite excited about this one, especially since it is much nicer than just a house dress (the one’s that mostly have such a simple dressing method).

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In essence this is really a full sleeveless dress covered up by the capelet which nicely finishes the neckline edge.  I like how the capelet keeps my shoulders from being sun burned.  Yet, even though it is double layered (it is fully faced), it is so wide and floaty it stands a bit off of my body so as to not cause the dress to feel oppressive.  I imagine one could even make this dress as a simple sleeveless bodice, and sew the capelet separately, for a garment with more than one option.  However, I think the capelet is almost necessary here – the 1950s designs had such elegant drama, and I think it is a good thing to bring back.  Everyone needs to experience a bit of the 50’s!

I know this is a rather odd length for the hem, but this is something that the early 1930s shares with the early 1950s.  It can be rather slimming with the right silhouette, as well as complimentary to the calves and ankles.  From what I’ve seen in modern fashion, this hem length is coming back.  What do they call it nowadays…midi length?!

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Compared to the frustrating troubles of unpredictable fit and sizing that I find with many “retro” patterns of the last 10 years, this one had spot on fit that did not need any alterations or customizing for me to wear.  I followed the chart on the envelope, and the size that it showed was indeed the size that fit.  Awesome!  The instructions were very good at clarifying any tricky parts, too.

DSC_0017a-comp,wThis pattern might be too obvious of a style for me to make again, but yet I am envisioning a sheer crepe version of this in an ankle evening length, something flowing, dressy, and utterly romantic.  Or I could even make a full skirted version with lace along the capelet for a dressing gown, like this vintage original.  If the right fabric and the perfect event to wear these dream versions of the capelet 50’s dress comes along, then will whip up another version in a heartbeat.

Whitney Frost’s inspiration dress from Agent Carter is a bit different than my own, but this time I put my own personality into my version.  She was always the fashion forward one in Season Two, dressing for the early 50’s already at the cusp of Dior’s emergence in Whitney comes for zero matter,cropthe year 1947, so my pattern is from 1953.  The scene in which this dress appears is when Whitney steps into the plot in an unexpected place, in a totally unexpected revelation of true character.  She is taking the first step out her subtle, innocent and happy façade to become the cunning, headstrong, and determined linchpin to many other’s fate and her choking pearls and strong dress style reflected that perfectly.  Her dress is a turquoise solid in a lovely satin, mine is a baby blue print in a utilitarian cotton sateen.  My version is lacking in some other similar details, and yet I feel I captured the overall similarity to make me happy.

Yet again, Whitney Frost’s character inspired me to try something new in my wardrobe, a style I would never have noticed or probably even tried to make and wear otherwise.  Not that you should ever stop letting your personality be reflected in what you wear, but it does help to find a style icon that works for oneself and use that to inspire what you can try successfully.  Before Agent Carter, I didn’t really have a 1950’s era fashion icon that I felt corresponded to my body type, and as you can tell (this is my 5th Whitney Frost outfit!) I’m loving it.  So – I’m sorry that I’m not sorry…I have more Whitney Frost outfits in queue!

“Poster Girl” – Hat, Dior Flower, and 1951 Dress

If it’s on the front cover of a magazine, or in a publicity shot, your outfit had better be good, right?  Well, the villainess for Marvel’s “Agent Carter” television show wears some pretty killer post-War 1940s and early 50’s fashions, and no less so for the outfit she wears for both the preview publicity pictures of her character and for the cover of a vintage “Fashion News” magazine (seen in “Better Angels”, Season Two, episode 3).

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In order to recreate her “Poster Girl” outfit, I made a bunch of different pieces – the dress, the hat, and the clip-on flower.  I’m not complaining – this was closer to being a labor of love to sew, not a bother.  It required a good flow of my creative juices, some good pattern sourcing, and taking my time to enjoy myself for things to turn out “just so” for an equally killer outfit which I would like to think could hold its own against the class of Whitney Frost.  Her sense of fashion is probably one of the reasons she was held as the face for Hollywood, as well as her seemingly ‘perfect’ life with her husband.  However, 'All eyes on her, but no one sees her'-combobeing a “Poster Girl” (definition here) was a hard standard to hold up to for her.  For Whitney, it only meant keeping up the façade of happiness and glamour, always smiling and keeping the truth hidden…and boy, did she have some dark secrets to hide.  George C. Scott once said, “Technique is making what is absolutely false appear to be totally true in a manner that is not recognizable.”  Here, I intend to only stick to Whitney’s fashion without her superficiality.  This is my closest copy yet of a Ms. Frost outfit, and I absolutely love it!

THE FACTS:

FABRIC:  THE DRESS and FLOWER: a 100% cotton sateen, a “Gertie” print; THE HAT: Simplicity 8390, cover front-comp,wa buff satin polyester solid in fuchsia color

PATTERN:  THE DRESS: Simplicity #8390, year 1951, “Misses One-Piece Dress and Stole”; THE HAT: Vogue #7657, view F, year 2002; THE FLOWER: the instructions and guide to how to make a ‘Dior’ rose came from a small “Easy-to-Sew Flowers” booklet, compiled by Threads magazine, copyright 2012.  The tutorial is listed as adapted from Threads article “Dior Roses” by the late Roberta Carr, in issue no. 34. 

Vogue 7657, yr 2002, pics onlyNOTIONS:  Believe it or not, this outfit was made with only what was already on hand.  I had all the thread, interfacing, closure notions, bias tapes, and other odd and ends needed for the hat, dress, and flower here in my “magic” stash.  The only thing I needed was to order a buckram hat blank base (more info where it came from and what it is exactly down later).  Ah – and the cotton velvet ribbon,  “Waverly” brand, was bought (of all places) at Wal-Mart.

TIME TO COMPLETE:  The Dress was made in about 20 hours and finished on September 15, 2016, and the hat came maybe 10 hours later.  The flower was made in just under an hour the day or two afterwards.

THE INSIDES:  There is a combo of both French and bias bound seams inside this dress for a clean finish.

TOTAL COST:  The dress cost a reasonable but decent amount, about $7 a yard for about 4 yards.  The hat fabric combined with the buckram base and ribbon cost me just under $15.

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I had some problems dating my dress’ pattern.  My first problem was the presence of new pattern numbers stamped in grey on the back info of the envelope.  The instruction sheet has the date of the year 1951, but the newer stamped numbers of ‘4291’ would make this about year 1953.  However, as everything else to this pattern points to the year 1951 (the style of dress, the original numbers, the instruction sheet, as well as the double bars on the top left side of the front envelope), I am sticking to that early year in the decade.  I have not yet found any evidence of this design being re-released later under a new number, so I’m not sure why the stamped combination was added on (it does look quite official like it was a die cast impression).  One of the many wonders and curiosities that vintage patterns offer…

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The dress design is lovely, and smartly designed.  It also fits very well on me – perhaps the best fitting 50’s pattern to date.  I usually find that the back waists are too long, shoulders proportionally too wide, and busts too generous on other 50s patterns, but not here!  The pattern was close enough to the inspiration dress that some small adaptations were needed to get to where I wanted it to be for my copy.  The fabric is, as you might have seen above in “The Facts”, another lovely Gertie print.  My other Whitney Frost dress that I made was in a different Gertie print, so this is the second time her fabric has been what I feel is the right parallel for channeling the Agent Carter villainess.  Sure my dress fabric has more grey with an addition of magenta and deep purple, but these last two mentioned are her signature colors, and the print is still a water colored in theme like the original, so I feel it is a good match.  From what I can tell, I suspect that the original dress on Whitney Frost is silk, and maybe a taffeta form of that, but Gertie’s sateen prints are quite luxurious without being impractical for a not-overly-dressy garment.  This means my dress will see more wearing…and as comfy and classy as I feel in this, frequent donning of it is good!

DSC_0419a-comp,wThe collar is of course the highlight of the dress and although the original design is neat, with a little mind crunching to figure out the curious construction method I was able to tweak it to have it more like Whitney Frost’s inspiration dress.  I re-drafted the over the shoulder portion to eliminate the notches, then curved and widened it a tad more.  I also had the facing be the same as the dress fabric, not a contrast as the cover envelope shows.  The underside of the collar has this interesting L-shaped method of piecing together the collar while the outside facing is all one, long, giant wrap around-to-the-back cut – I love vintage pattern details!

Maybe the collar is vying for the top favorite position among this dress’ feature because I also love the squared off armholes and the squared back of the collar.  This shows how subtle complimenting of details can go a long way and make all the difference for an awesome garment.  The square back of the collar end is something I haven’t seen in a pattern before and it is a nice way to add interest to the view from behind.  The squared armholes allow for extra room that my larger upper arms appreciate, as well as something extra different and lovely.

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The skirt had been a small, sort of adapted half-circle, bias-cut four-panel style.  What I did for my dress was to take the side seam side (over the hips) and add about 5 more inches out so I could gather the skirt over the hips.  This created and extra 10 inches over each hip which was then tightly gathered between side front to side back.  The gathers give my dress an extra 50’s style widening emphasis on the hips, slimming my waist (so I feel) and also (I think) balancing out the giant collar better than the original plain skirt as the pattern shows.  (This vintage year 1949 dress has the same skirt with gathered hips.)  Besides, I wanted to copy the same detail on the inspiration dress of Whitney Frost.

DSC_0416a-comp,wHowever, adding the gathers over the hips of the skirt portion to my dress did mean that I could not place a zipper in the side.  Where would I put the zipper?  Bing – on goes the light bulb over my head.  Down the front like a pants fly!  This idea actually came from seeing this kind of closure method on and existing vintage 1950’s dress I have – this is how I knew to re-create it plus the benefit of knowing this was done in the decade (keeping things authentic).  The front bodice of the dress is a wrap-over, double-breasted closure so I merely continued the closure down the front center seam of the skirt to include a small 7 inch zipper.  It took some forethought, but I love this part of the dress!  It’s so easy to get in and out of with all the closures in plain sight…not on the side or down the back like many other vintage garments.  I think the front zipper is pretty undetectable.  Knowing that I made something work out, besides its being different and new (for me), leaves me tickled.

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Now – onto the hat.   I must say that the hat itself is ingeniously designed and the pattern was excellent, very clearly explained and turning out a finished product better than even what the picture shows (so I think).  It is incredibly simple in its construction and design, but it is also terribly tedious and detailed work to make so that it turns out well.  The last part is where the ‘trouble’ comes in, especially for me because I cannot tolerate hand sewing (because my wrist and shoulders do not take it well).  However, every ache and minute spent on this hat was so worth it to me ending up with something like this!  I feel like this hat is my first fully ‘proper’ millinery piece, and it was good practice with good teaching steps towards diving into more detailed and professional headwear.

I was able to use everything that was on hand already, but the buckram hat base was something special needed here – no ways around it.  The good news is that I found the buckram hat blank quite affordable and very easy to work with…I was even able to stitch around the edge on my machine!  For this hat I used a 7 ½ inch by 5 ½ inch teardrop shaped blank from “Dance Costume Supply” on Etsy.  It did have a covered edge with a wire in it (not called for in the pattern’s instructions), but I think it gives the hat better, firmer shaping than otherwise.

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My first step was to cover the buckram blank.  The instructions say to steam the fabric or soak in water in order to shape over the hat blank (blocking method), but my chosen fabric is a poly blend and would not react to either method so I cut the piece on the bias and lightly stretched (then stitched) the cover pieces over both underside and top side.  Next, the head straps were made and stitched onto the side edges.  Then I made a bias binding and stitched it over the edge just the same as one would for the neckline or armhole edges of a garment – easy!

I am so glad I went with my gut and made the head straps to match my hair color rather than the hat.  I love how this helps the hat stand out all the better and the way it stays on all the more subdued.  I especially love the fact that I used good old-fashioned cotton velvet ribbon, too.  Not only does it add a bit more authenticity (being in cotton), but from a practical standpoint the velvet literally acts like Velcro to my hair keeping the hat band in place like glue where I put it without needing pins.  Cotton velvet ribbon hair bands for hats are literally the best thing ever!  I need stock in this ribbon for my next hats…

DSC_0383a-comp,wThe final step to the finished hat was the hardest – the stand-up crown.  This is really nothing more than an interfaced rectangular strip of fabric whose edge gets sewn right onto the very edge of the front 2/3 of the hat.  This was very slow, tricky work that did damage to my hands and required precision to make the stitches invisible.  Beforehand, however, I scavenged through the house to find something more poker-stiff than the DSC_0422a-comp,winterfacing sewn in the crown and – bingo – I came across a perfect sized strip of thick plastic laminate to slide in the rectangular piece.  Every so often my habit of saving “things-that-might-be-useful” comes in handy, as long as I can find what I want when I want it.  Anyway, this plastic worked perfectly – it’s still 100% bendable but keeps a shape nonetheless.  I cut the strip a few inches shorter than the fabric’s length on each end so I could fold the crown down and tack onto the hat base, behind which the bow sits.  In order to give the bow some pouf without stiffness, the final extra adjustment was to have a strip of sheer organza in the fabric bands.  In order to cover up the not-so-perfect bow center, I have a small bias band to finish things off nicely.

Last but not least is the fabric flower clip.  This flower was so fun and easy to make (one hour!) I am tempted to spend one day to make a dozen of these out of my fabric scrapDSC_0417-comp,w stash.  They do not need that much fabric – just three pointy almond-shaped ovals in consecutively smaller sizes cut on the bias.  My flower turned out very good without much difficulty and too much hand stitching (I was about done with hand stitching after the hat).  Some scraps of green felt finished off the bottom of my flower and gave me a lovely ‘leaf’ look as well as a base to sew on my hair clip.  I’d bought this how-to booklet at our local JoAnn’s fabric store a few years back, but finally just came to using it – I should have done so sooner!  If you’d like to try these Dior roses out for yourself and don’t know where to find the Threads booklet, visit the blog “Oliver + s” for an excellent tutorial along with a mini history lesson (link here).

Witney Frost cameo shot in collared 50's dressThis flower just so ultimately finishes off my outfit, in my opinion.  It’s that understated extra touch, not to mention the fact that it is a fabric rose in the style of the famous Dior.  This is so like Whitney Frost to wear an accent used by the “famous Parisian couturier whose designs were worn by the world’s most glamorous women” (to quote the Threads article).  It all adds to the sham of the “Poster girl’s” face.  For me, it makes my handmade efforts seem all the more worthwhile to be able to use my talents to re-create something from the likes of Dior, Hollywood, and the decades that had more style and class than what I see in most  fashion of today.

Speaking of style and class, a small part of this outfit is (I would like to think) also in the mode of the most sophisticated woman I’ve known – my own dear, and now departed Grandmother.  She was a young, newly married 21 year old in 1951 (the year of my outfit) and she frequently dressed up, and on these occasions would never go out lacking a hat, pearls, and a flower (she loved nature).  Grandma was also a “Poster Girl”, too – in her younger years she was a local vaudeville celebrity.  Oddly enough, I recently found a picture of her in a dress similar to the one in this post, with a large collar and double breasted front closing, from the year 1951.  I know her dress is in a solid with a notched collar, different from my own, but we do share the same smile and taste in clothes, so I would like to think she would be proud to see me wear something after her own heart.  This is why I’m including this dress in Tanya’s “Dress Like Your Grandma” sewing challenge.  Have you heard about this!  Maybe you could join in on the challenge along with me?!

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Bringing Some Texture to the Party

Allie J's Social Sew badgeRoses are always lovely, and red and green are so stereotypical of Christmas.  Thus, for a yearly fancy holiday festivity (sponsored by hubby’s work), I went and made a dress which made the best of both – a textured rose satin in a blue-green turquoise.  This dress throws in some awesome texture to what was a plain pattern, and puts a nicely different spin on wearing one of my very favorite colors!  This dress is my creation for Allie J’s monthly Social Sew #9, “Holiday Glamour”.  With my sewing skills and some standout fabric, I won’t have to worry about wearing the same dress as someone else at a party!

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The inspiration for this dress is due to the chic fashion of the villainess on the Marvel TV show “Agent Carter”, Whitney Frost (played by Wynn Everett) in the Season Two episode “Better Angels”.  If it hadn’t been for seeing the Hollywood model gown, I wouldn’t have had the gumption or the idea to even try to sew a dress like this…believe me, I’m loving wearing the result!

whitney-frost-her-first-use-of-zero-matterThe “Agent Carter” designer Gigi Melton’s original dress is different than my own but I hope you can see where I was coming from, especially with the golden background colors and the mirror (which was an important symbolical part of the scene).  I believe the original dress has rows of crinkled, shirred, ribbon-like rows of fabric creating the direction and texture on top of a solid dress base.  My dress captures a similar symbolical greenish hue, the same complex surface, and the same wide shouldered classic silhouette as the original.  I am glad I made my own interpretation because there is something a bit unsettling about how “alive” the original dress is – it is as unnerving and deeply layered as herself and her first use of “zero matter” – a dark force from another dimension.

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I see this as a pure fantasy dress, with no real vintage to date it.  After all, I did use a modern pattern, albeit with many changes.  However, at the same time as I say this, I must be honest and admit there are references to this style to the late 40’s or early 50’s, the consistent era of Whitney Frost’s wardrobe.  The longer calf length hem and the wider skirts are very mid-40’s to early 1950s.  Also, the shoulder widening, face framing capelet-style collar piece to the dress can be found on many patterns from the same time stretch (I have saved many of them together on this Pinterest page here – look at McCall #7662 and Butterick #8457 especially).  It is interesting to me how styles were used in the past…studying such often gives me great ideas of how to use them in the present, and I’ll bet others, including Gigi Melton, do the same.

THE FACTS:mccalls-6505-year-2012

FABRIC:  a polyester satin specialty rose fabric bought from the Etsy shop “Fabric Cult”, based in Los Angeles, California.  Sorry, but if you wanted some for yourself, it’s no longer available!

PATTERN:  McCall’s 6505, year 2012

NOTIONS:  I already had on hand all the thread, bias tape, and zipper that I needed.

TIME TO COMPLETE:  Believe it or not, this was practically a one evening dress.  It was finished on December 1, 2016, after only 5 hours of effort.

dsc_0843a-compwTHE INSIDES:  This fabric’s raw edges were so messy, with the roses fraying and unwinding at every cut edge, so all of them were covered nicely in bias tape.

TOTAL COST:  only 2 yards of this lovely fabric cost me $14!

In my opinion the pattern runs a bit snug in the fit, but I do like the basic design, which gave me room to improvise as well as not calling for much fabric.  By having few seams, the designdsc_0798a-compw of the fabric wouldn’t be marred besides saving me from sewing more than I had to on this thick and complicated material!  The French bust darts are a nice touch I don’t see as often as I’d like in modern patterns.  I just don’t understand the one way mentality for this pattern to be made in lace – I treated it as a regular pattern for woven fabric and it turned out fine.  My changes were mostly only to lengthen the hem by 12 inches, widen the skirt, and eliminate the sleeves in lieu of a lapped on, all-in-one collar piece.  For both the front and the back, I matched up the sleeve pattern to its corresponding bodice and used leftover tissue to redraft based on tracing from the finished garment shape.

The capelet collar was added on as my smart and sneaky way to finish the neckline.  It was sewn on like a visible facing saving me even more time and trouble, besides ending up with a clean finished neckline!  If you look, perhaps on the front you’ll notice I didn’t top stitch the collar hem to the dress all the way to the sleeve for a real “cape” appearance, softly covering my arms.  With the collar being one solid piece around the neck, I had the back zipper start from its hem end, several inches down from the neck.

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Breaking up all the monotony and busyness of the dress is my belt.  It was self-drafted from the solid, flat fabric selvedge edge, stabilized with interfacing, and it ties around me with a grosgrain ribbon top-stitched down through the middle.  The original inspiration “Agent Carter” dress has a similar non-texture middle where it lacks some rows of crinkled gathers, and a simple ribbon becomes her belt.  I do love how my Chelsea Crew brand vintage style “Mandalay” sling back, peep-toe, tie-up shoes compliment the belt…wearing these shoes with my dress was my hubby’s idea – thank you!  My vintage brooch is also another bow tie…

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Have you ever tried an unusual novelty fabric?  What did you make with it?  What would you make with such a thing?  It’s different and took me some confidence and a number of compliments to realize my experiment with unusual material was a success.  But it’s definitely a relatively easy way to achieve a very luxurious and complicated frock.  I now know that with a lovely specialty fabric, much of the effort of making your handmade garment look good is done for you!  Besides all this, I have never yet gone wrong imitating an outfit from Marvel’s “Agent Carter” (just an F.Y.I)!

Happy New Year everyone!  Enjoy whatever you’re doing, wherever you are over the transition of the new and old year!  Here’s to 2017!

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“Atomic Jacks” 1955 Set of Redingote Jacket and Dress

I’ve sewn it again…here is another look-alike to the fashion of the corrupt character of Whitney Frost on Marvel’s TV show “Agent Carter”, Season Two.  This time I have an outfit to show you of a dress and redingote jacket, inspired from episode 8 “The Edge of Mystery” to be precise.  I am so proud at how this outfit turned out better than I’d imagined it for myself, and it’s so wonderful to wear!  I even found an eerily similar silk scarf and leather-like driving gloves, all vintage, to properly complete my Whitney outfit.

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Both garments are absolutely great, however the dress was a bit overwhelming to make as it had a huge amount of ease on top of generously large fabric-hogging pieces.  The jacket is so amazing I want to convince everyone they need to brace themselves for the challenge of making this pattern – the most lovely design of outwear I could possibly want.

DSC_0860-p-compBe prepared for some dramatic poses, and a disturbing crack down my face opening up a force to be reckoned with…just like the villainess who wears my inspired outfit.  Yeah, it sounds weird to put myself in the shoes (through an outfit) of a megalomaniac with powers from another dimension, but Whitney Frost, like many women, was on a quest for purpose and respect…she just went down the worst path imaginable.

THE FACTS:

FABRICS:  The Dress: a Gertie brand 100% cotton sateen, The Jacket: a 100% Kona cotton for the exterior, a basic poly lining for the inside, a buff poly satin for the pocket flaps and belt, and a 100% cotton for the bias binding. 

PATTERNS:  The dress comes from an original 1955 Advance #7095 pattern and the jacket comes from a Vintage Vogue #8875, a re-print of a year 1955 and 1957 pattern (originally V#4771).  The pocket flaps were added on from an original year 1948 pattern, McCall #7354. McCall 7354, yr1948 & Advance 7095, yr 1955-comp

NOTIONS:  I had the interfacing that I needed, as well as the dress’ thread, zipper, and packaged bias tape, but the jacket needed thread to be bought and I made my own bias tape.  The buckle is from my stash and it is vintage carved shell.

THE INSIDES:  All nicely finished.  The dress has all bias bound seams and the jacket is fully lined.

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TIME TO COMPLETE:  Both the dress and the jacket were a bit time intensive.  My dress was made in about 10 hours (not counting maybe three hours for cutting and laying out) and done on June 8, 2016.  The jacket was made in about 30 hours (with about 4 hours for cutting and laying out) and finished on July 1, 2016.

TOTAL COST:  The dress took so much fabric (5 something yards) I’m not sure of the total anymore, but I think it is about $25 to $30.  The jacket was less because half of my supplies (the lining, satin, organza, and some thread) were on hand so my total for 4 yards of Kona cotton on sale with one yard of a remnant for bias tape comes to a total of about $23.

Whitney at atomic siteFirst off, I need to vent…this is not a costume, in the particular definition of being something for cosplay, stage, theater, or an out-of-place garment.  It is clothing I want to wear in my modern living (the jacket is something I needed, actually) and was merely inspired by something on television to go the extra mile for a great outfit.  That’s good, right?!  I kept my outfit similar in shape, color tone, and style, but it is according to my own taste and personality because I intend to wear these pieces in my daily life, such as out to dinner, vintage shopping with friends, or to church.  However, I will admit this would be perfect for the next in town cosplay event and it is fun to understand a character by stepping in her shoes, besides feeling like I could be a part of my favorite television show (see the television still at left with Wynn Everett playing Whitney Frost).

To top off the irony of my rant, the Advance pattern envelope actually calls it a “costume dress”…don’t understand why.  This is an original pattern to make what looks like a very normal mid-50’s dress, albeit quite poufy.  I’m assuming the use of ‘costume’ here is meant in the term of “fashion of dress appropriate to a particular occasion or season or a set of garments to put together an outfit.” Honestly, this all confusing grammar particulars.

Of all the weird things I’ve found in pattern envelopes, the Advance pattern had double pieces, as if someone bought two.  Why just double of the bodice, the skirt side panels, and collar pieces?  To further complicate the mystery here, the skirt double pattern pieces were cut in half, like the previous maker intended on cutting those on the fold, and sliced accordingly.  All the pattern pieces are the same size as each other, so why buy another just to cut two pieces in half?!  After all the unnecessary pieces, the pocket top band is missing, and there is one of everything else.  Was somebody making a lining?  Oh the stories these patterns could tell…

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I expected the dress pattern’s fit to be normal or at least semi-generous, but this Advance dress had the most unexplained extra ease of any pattern I’ve made.  It was like a gi-normous fabric monster.  The skirt pattern pieces were so huge, I had to taper off several inches on each side of all of them and they are still incredibly full.  Several inches had been taken out at the bottom hem because it seemed evening length long, and also to help fit everything in.  I had bought 4 yards already and still realized I did not enough for all of the pattern pieces.  To top things off, I miss-cut on one piece and had to frantically search amid town to find the last remnant so I could finish my dress.  As it turned out, I hacked off 6 more inches from the hem to get my dress the length you see and even sewed up the duo of giant pockets (which I didn’t add), so I guess I sort of wasted a bit too much fabric here.  The pattern I had was technically in my size but I did add in 3/8 inch so I could have a little “just-in-case room”, but I ended up taking out a few inches all over any way, distributing it between the panels.  The empire waist down is still kind of generous on me but I can only take so much in before I give up on reaching that “perfect fit”.  What was the deal?! DSC_0857-comp

For all my saying how huge the skirt pieces were, this dress is such a feminine, swishy, perfect-for-twirling outfit made even better with my full ruffled petticoat underneath.  My petticoat does not remotely fill the skirt out though.  The wide, oval, shoulder-to-shoulder neckline does balance out the vertical seamed skirt, compliments the waist, and creates a lovely 50’s silhouette which I think works for me.

The ‘anchor’ of the dress is of course the dramatically subtle collar-like neckline.  It was quite fiddly, time-consuming, and difficult compared to the rest of the dress.  The combination of a curved, interfaced, skinny strap, faced with another piece and attaching to the full dress with four gathered sections, too, was stressful, requiring lots of pins and slow stitching.  The front tabs end at the same place at the neckline, which was also tricky, then flipped under one another

Whitney and Thompson making a deal-croppedWhitney’s dress had a remotely similar neckline collar, except hers was folded over (free hanging) and tied in the center front.  Her dress has quarter sleeves and center bust gathers while mine has is neither, but our dresses do share the same skirt shaping.  Also, her dress was a solid purple in some sort of jacquard (in maybe rayon or silk) while mine is not, but I prefer the printed cotton sateen to stay true to my taste.  Besides, the children’s’ toy jacks that are on my dress are a nod to the Agent that aims to get on Whitney’s “good” side to reach what he wants – Jack Thompson.  Furthermore, my outfit is titled atomic because a faulty A-bomb is the catalyst for the events in “The Edge of Mystery” episode and the reason both Whitney and myself are in an empty, forgotten dirt patch.  Hence, the “Atomic Jacks” title is now explained.

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Advance 8296, cleaned upThis style of dress seemed to be a common design around 1955 especially with the Advance line but also seen through other companies.  For some examples, see Advance 8296 (pic at right) or view Advance 6915, Advance 8047, Butterick 6988, McCall’s 9647, all 1953 to 1956.  I find it funny that so many dresses look alike in a handful of years almost to the point of being boring.  One could buy only one of this style dress and tweak it to copy all the other releases.

Compared to the neckline, the dress from the empire waist down was just single layer DSC_0933a-compfabric and incredibly lightweight, so I unhappily found out it liked to creep up on me and wrinkle in terrible horizontal folds around the natural waistline.  I had to get creative to combat this bad behavior of my dress.  What I ended up doing was sewing down about 8 inches of skinny ¼ inch ribbon to the dress starting at just below the waist to below the waistline, with a long tail of ribbon hanging down tied at the end to a weight of a ¾ inch washer.  I did this in three places down the two front skirt seams and down the center back skirt.  The weights don’t really get in the way of my legs because I keep them over my frilly ruffled petticoat and they are totally removable because they are tied to the ribbon ends.  The weighted ribbons help the waist stay smoother instead of wrinkling up and nicely keeps the dress in place on my shoulders.  This is probably the most unusual fashion fix I’ve come up with but it totally works.

Now, the jacket is an awesome pattern which makes for a silent showstopper.  A redingote jacket is guaranteed to be awesomely special.  The 50’s were the hurrah for the redingote, although you do still see a few in the 60s, too.  Wearing a redingote is the most fashionable way to have a coat on yet still show off your clothes underneath, besides being so complimentary to the waistline.  (More history on the redingote can be found on this ‘Witness 2 Fashion’ post.)

For this pattern, everything matched together beautifully, the fit is engineered brilliantly,DSC_0771a-comp the sizing seems right on, and it is nicely unique.  Yet, it is tiresome to make and quite challenging…there are eight tricky corners in total to make.  (See the pic at right which shows three views of the angled corners, inside and out)  Once I started on the lining I wanted to give up on the jacket and swear I couldn’t sew another one of those funny angle/tight point corners.  I’m not even talking about the wraparound collar, either.  Yet, as I was making this, I could tell I was going to love it, and the promise of a rocking outfit (as well as a very rainy coming weekend) gave me the guts to suck up my distaste and finish the jacket.  I’m so glad I did.

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There are just a few things I did to the pattern to make it slightly easier to sew.  I did not change any of the design (besides shortening the jacket hem by 4 inches).  My ‘tricks’ here merely have to do with construction changes to achieve the same result as compared to what the instructions show.  First of all, I disagree with the need to do so much cutting down of all the curved seam allowances.  I did not see any noticeable restriction to the sleeve curves as they were and I think paring them down might make a high tension spot a bit less stable.  A little snipping maybe but that’s all.  It is still very important, as boring and repetitive as it might be, to stitch and re-enforce all the points and corners you’re supposed to and, yes, you do stitch the stabilization squares over the corners on the right side.  I didn’t disregard these points but I did use sheer organza instead of self-fabric for the re-enforcement squares (much lighter but just as strong).

Furthermore, I did not use any interfacing anywhere, and also left out the extra add-on contrast collar.  The facing for the jacket’s front edge was sewn to the lining’s outer edge to make a one-piece inner coat.  This was then sewn, as one ‘inner’ jacket to the ‘good’ outer jacket, along the front edge, from one hemline, up and around the collar and back down to the hemline.  Now where the jacket facing joins the lining the meeting is much more stable, strong, and smooth…besides saving me a butt-load of hand stitching!  I know this is sort of ‘cheating’ (so I’ve heard), not very time-committed, nor couture, nor vintage correct.  Hey, when sewing is a chore it doesn’t give personal enjoyment, so anything that saves one’s creative sanity is good in my book.  Besides, ready-to-wear has got nothing on this coat!

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Perhaps the best part (besides the awesome pocket flaps) was taking the extra step for self-made bias tape.  I know, I might sound nuts, but making bias tape is incredibly fun – a total mood-lifter for me, especially with my Dritz tool won from my entry to the “Butterick to the Big Screen”.  Once you have made and used your own bias tape, it is quite hard to use bought pre-made bias tape…no kidding, you’re ruined, spoiled.  Self-made bias tape is 110% better especially when it is made to match out of fabric better than the stiff poly-blend available in the stores nowadays.

To make my jacket truly stand well in rainy weather, I sprayed it down with some “Protect-All” fabric and shoe coating.  This doesn’t stiffen the fabric at all, nor does it make the water bead or roll off, it only retards liquid from soaking into the fiber.  A whole can was used to spray my jacket with one generous coat of “Protect-All”.

Dr Wilkes flying into the rift, my look-alike combo

Did you ever have a film star for which you just had to have her wardrobe?  Well, I guess Whitney Frost is that person for me.  However, I believe I am not just making for myself her fashion.  I also try to put my own touch into it to make sure I feel like “me” in it.  Besides, since I do love purple in all its shades, and this is the color Whitney wears most often, I find it hard to resist.  No, but really – I do promise to make garments in other colors for your sake, and more Whitney Frost outfits for my sake!

If you’re interested in learning more about the vintage methods of make-up that were used to “make” Whitney Frost, see this article on ‘World News’ – and don’t forget to click on the full page option through the L.A. Times!  There is also a photo galley for this particular episode of “Agent Carter” (which you can find here) if you’d like to compare our outfits or just take a look!

 

My 1939 “Frosted Carter” Dress

Whitney and Dr, Wilkes, cropped - getty imageAmong all the inspiration to be found in Marvel’s television show “Agent Carter” Season Two, I cannot help but notice the classy, stylish mode of dressing of the villainess, Whitney Frost.  I kind of feel like a traitor to flaunt the persona and appearance of the opposite of Peggy Carter (I am one of her biggest fans, besides being an American).  However, Ms. Frost is another strong woman with a strong will, powerful ideas, and a drive to do something big and worthwhile, quite similar to Peggy, even if Whitney’s mind went twisted and her intentions corrupted.  So, here I am taking on a style of a new year I have not yet sewn before (1939), with the dark aura of a mysterious film star.

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Under the earth in a wine cellar, light and shadows take play here, like two faces in mine…akin to the forecasted two-faced future of Whitney Frost as “Madame Masque”.

THE FACTS:                                                           Superior pattern 9931, envelope front-comp

FABRIC:  soft and lovely 100% rayon challis for the dress and some 100% cotton muslin for the bodice lining/facing

NOTIONS:  nothing unusual was required here – thread, a zipper, and bias tape – all of which I had on hand

PATTERN:  a Sears and Roebuck Company brand Superior pattern no. 9931, year 1939

TIME TO COMPLETE:  This dress and belt were made in about 12 hours and finished on June 11, 2016.

DSC_0757a-compTHE INSIDES:  So nice! All bias bound. Inside the front bodice is a very nice, full chest-covering facing, perfect for anchoring all the shirring into place and keeping the gathers controlled. 

TOTAL COST:  The rayon fabric and the notions were bought on deep discount at Hancock Fabrics before their closing, and everything else came from on hand, so my total for this dress is probably about $8 or less.

Superior patterns are unprinted and are trademarked by the Sears Roebuck and Company.  I am frustrated at the complete lack of info to be found about this line of sewing patterns but from what I have seen they seem to have been printed in the 1930’s and 1940’s.

For such a lovely “white elephant”, I do have a great certainty of dating my pattern to year 1939.  Not only did it require 2 ½ yards of material with my 60” wide fabric (complete lack of rationing), but the sleeves, shoulders, and especially the skirt portion of the dress have a very specialized shape seen in 1939.  Skirts and dresses up to 1938 were still longer (mid-calf) and slender or extremely full (with lots or gores), while starting in 1940 and 1941 skirts and dresses became more frequently pleated, controlled, more close to the knee.

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As a good friend of mine (who knows about fashion from this year) told me, skirts in 1939 were full and had more swing in them than both your normal 40’s and 30’s bottom, and that is definitely this one.  The pattern pieces for the skirt panels were such wide A-line shapes I had to pare them down a bit, while the center front seam was shaped like a crescent pointing out so the front has an interesting drape to it.  My skirt hem also lands between mid-calf and the knee, although it is so full it ends up looking longer.  My dress’ sleeves are'Forties Fashion' pg. 26, 1939 floral dress,comp also very 30’s (besides being the same as in this ’38 pattern from my stash) and the large 6-row shoulder shirring is something not seen past 1940 (just rarely).  The more I look at patterns, dresses, and catalog images from ’38, ’39, and ’40, I become more convinced I am correct with dating my Superior pattern to 1939.  Besides all the “proof” I just laid out, my final showing on this topic is a dress from the Jonathan Walford book “Forties Fashion”.  It is listed as “Canadian crepe afternoon dress, ca. 1939 – 1940”.  As you can see at right, this extant dress was my true inspiration, almost to a point of copying it fabric-wise, and the style lines are almost exact as my Superior pattern.  Oh well, when I see a dress I really like, and I happen to also find a very similar fabric and pattern, I can’t help but sew a re-make, especially when it can also be similar to something from “Agent Carter”!

Whitney and Manfredi - getty imageWhitney’s dress worn in “Agent Carter” Season Two, episode 8 “The Edge of Mystery”, is very similar to the dress I have made, only hers is satin, has a sash coming from the center-front to tie in the back (much like this Simplicity #1901), slightly different sleeve hems, and in a different color scheme.  This is where my “Frosted Carter” nickname comes in the picture because (the horror of it) my dress is a combo of both ladies’ style.  Peggy Carter usually wears the late 30’s/early 40’s fashion and she always tends towards patriotic reds, whites, and navy blues – all found in my dress.  Yet, my dress itself, together with the proper hairstyle, background, and dark nail polish, are all Whitney Frost.  The 40’s were not usually her style, she seemed to always be ahead of things in more ways than one, often wearing early 50’s dresses.  However, the scene in which she wears my inspiration dress is also when she really becomes deeply unhinged, hearing voices and admitting she might be crazy, so she is ‘going backwards’ from where she thought she was going and losing her hold on things around her…

As to more crazy oddities, here is the first vintage pattern I’ve seen which specifically calls for a “zipper”.  That is a specific brand name and never is such a notion called anything else than a “slide fastener” on all my other old patterns.  Perhaps, because this is a pattern coming from a department store and, as the front envelope points out, you were expected to buy what you needed to make this pattern from Sears as well and that “zipper” brand is what the stores carried.  This is just my supposing, I don’t specifically know for sure, but do any of you know?  Have you seen a “zipper” specifically called for on your old (1950 and earlier) patterns?

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As this is an unusual, rather rare brand, I did a good amount a checking beforehand so I could estimate how this pattern would fit, the amount of ease, and the proportions.  My experience with vintage pattern lines outside of the major brands, such as DuBarry, New York, and 1940 and older Buttericks to name a few, has convinced me that they seem to have a tendency to run short in the shoulder-to-waist, have very long hemlines, generous upper arm room, and wide hips.  Otherwise the proportions are generally right on.  I automatically assumed all of the aforementioned pattern tendencies would hold true for this Superior pattern, and from doing a tissue fit on myself, I was correct.  Besides grading up to my size, I added an extra ½ inch to lengthen the waist and took out 3 inches from the skirt length.

What intrigues me is the fact that the pattern apparently to have been used to make a dress for a very petite lady or possibly a teenager from 1939.  Each piece had been folded in to make it about an inch smaller in proportions and shortened even more than my 3 inch downgrade.  The tissue is in great condition, but it had obviously been like this quite a while, and the old pins had rusted in their places.  It’s a very grown up and classy dress for a tiny young lady to wear.  Maybe it was made for a graduation or dance?!

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My making of this dress was ridiculously easy for every other part besides the front bodice.  With almost everything going on (detail wise) there, stitching the bodice front took just slightly more than half of the time spent for finishing the rest of the dress.  Not that the bodice details were hard, merely challenging, precise work which took a good amount of patience and time – all so very worth it in the end when I first saw the finished dress!  Once the dress was first worn, I was so pleased…this is one of my most comfortable vintage dresses and the most easy to move in.

Now, if you don’t mind, I’d like to point out some of the lovely and subtle details which get lost too easily with the busy floral print.  There is a “slash-and-gather” section below the bust but above the waist to on the bodice sides.  There is also 6 rows of shirring running the width of each shoulder.  The back is pretty simple with two off-center box-pleats at the waist and a trio of fan shaped neckline darts.  Like a mentioned above, the skirt portion is wide and flowing, composed of four large A-line shaped pieces cut so the straight grain runs down the middle and the bias on the sides, with the front center crescent shaping out for flare.  At the front waist there is a slight V dip (hidden by my belt) and my sleeves…oh how I love them!  An arched hem with shirring up the center totally completes this dress.  I definitely want to make this again from a solid color fabric, in a rayon jersey knit perhaps, so that all the lovely details stand out better.

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The belt is not part of the pattern and is something I self-drafted so it could be like the extant original shown in the “Forties Fashion” book.  Besides, I just so happened to have a perfect straw covered ring for the belt, something leftover from this past re-fashion.  I used the tie belt pattern with my dress as my benchmark, ironed in “Stitch Witchery” to stiffen it like belting, then cut it to shape (skinny with tear drop ends) and stitched the edges over with ¼ inch bias tape.  Easy.  I only have the belt ends together with a safety pin for now because I don’t exactly know what to put in to make the belt completely adjustable on both ends.  Perhaps I’ll add in a few positions of hook-and-eyes at some point.

DSC_0732-compAs I am technically wearing an “afternoon dress”, and Whitney Frost (in “Agent Carter”) was wearing her similar dress at her Italian boyfriend’s warehouse full of wine barrels, we took a day trip out to enjoy an afternoon visit to a winery, where we took a tour of its cellars, and enjoyed good food and drinks.  It truly was a lovely day and perfect occasion to wear such an effortlessly elegant ensemble.  My “Chelsea Crew” brand “Mandalay” sling back, peep-toe, tie-up shoes were incredibly comfy, too – highly recommended.  What is not recommended is to touch an old, damp cellar wall…I did by mistake and yuk!  Touching it might not be a bad as Zero Matter, but jelly mold and armadillo bugs is a pretty gross combo.

It’s a happy boon to make a dress that gives rise to a fun outing.  Better yet, I get to bring a little bit more of the “Agent Carter” series into my wardrobe and explore another character.  Best of all, I now have a ‘new’ year (1939) sewn up and understood a bit better.

Look out for more upcoming Whitney Frost dresses in the 50’s style, as well as a few Agent Carter 1940’s ones, here on my blog!

P.S. – for some more 1939 styles and inspiration, see “Emily’s Vintage Vision’s” post (link here) of Du Barry Prevue for January ’39!