In Sporting Fashion

It’s not every day I go full on casual with what I am wearing, but doing so in vintage style is my preferred interpretation for having fun exercising in the great outdoors.  Spring marks the beginning of baseball season in the United States, and so what better way to test out my newest sewing make than during practice pitching and catching with my family in the local park’s field!  I now have the most chic but playful, bold yet practical pair of shorts I could ever imagine for summertime fun!  

They are pleated, bibbed, suspender style “short-alls” from the mid-1940s in the most luxurious cotton I could find locally.  This kind of casual dressing was the preferred choice of teenagers in WWII times, but I am more than happy to rock it as an adult on the 21st century.  Here’s to having sporting fun in just as much style as when I have a fancy affair…because handmade fashion is for me something I can wear at any and all occasion at this point!

THE FACTS:

FABRIC:  Chartreuse lime colored Supima cotton in a sateen finish (same as what I used as the contrast facing on this 1960s sun set)

PATTERN:  Simplicity #1322, year 1944 (reprinted again under the same number in the year 1946) from my personal pattern stash

NOTIONS NEEDED:  everything I used came from the accumulated stash I have on hand – thread, buttons, interfacing scraps, rayon hem tape, and a 6 inch zipper

TIME TO COMPLETE:  this was made in about 12 hours and finished in August 2020

THE INSIDES:  cleanly bias bound for all the seams with vintage rayon tape finishing the hem

TOTAL COST:  1 ½ yards cost me $16 with a coupon

As mentioned when I first used small scraps of this fabric on my 60’s sun set (posted here), I have never really been a fan of chartreuse.  Nevertheless, I know it seems quite popular and a sought after color amongst vintage enthusiasts, so I have been wanting to cautiously try this color out for myself for far too long.  The fabric’s shade listed on the end of the bolt in the store was marked as “pistachio” but as it is darker and more yellow in undertone, I see it as a true chartreuse in person.  Considering my skin tone, I do not believe I’d like myself in chartreuse if worn alone as a solo tone. 

Nevertheless, made up in a separate piece as I have done here, whatever top is chosen to pair with the shorts is my chance to play with finding complimentary colors that I do prefer.  The suspenders holding up my bib extension integrate the chartreuse into my entire outfit and keep it from being distinct blocks of color separated at the waistline.  The only reason I went with a dusty blue tee here was because I had a baseball cap to match, but it was a hard choice.  I love the look of my shorts with tops on hand in all sorts of colors, and even with my printed, tight 90’s era tees (still in my wardrobe from when I was much younger) for a modern feel. 

I was so happy to find a Sears department store advertisement from Kansas City, Missouri of the same year as my pattern (year 1944) for some “short-alls” exactly like my own.  In this old ad, they were offered in a cotton twill and listed as “bib style buttoned panel, pleats front…a Hollywood favorite!”  Unlike my last pair of 1940s era shorts (which look like a mini skirt), these are a bit more structured and obviously shorts with their shallow pleats, higher rise, and slimmer circumference of hems, making them perfect for very active activities like baseball, tennis, or volleyball.  Under the same circumstances, my blue 40’s dupe-skirt shorts have me afraid of flashing someone with a peek of my undies and leave the fabric looking stained or limp when it gets wet.  These chartreuse suspender shorts do none of that.  Don’t get me wrong, though – each pair is appropriate for different occasions, obviously.  I equally wear and love both of my 40’s shorts, but the chartreuse pair avoids all the pitfalls I discovered with my blue pair.  Here, the suspenders and front bib even keep my top tucked in place!  

I thought ahead to choose something equally soft as the rayon of my blue 40’s shorts but more stable and sweat resistant – all of which qualities I found in the Supima cotton sateen.  The beautiful, slight shine to the fabric dresses them up, but they are still just a very easy-care cotton, besides being lightweight and cool to wear, too.  My next choice after the Supima sateen was a light to mid-weight denim, and I do currently have some such material set aside (from my Grandmother’s fabric stash) for a future project of another early 1940s play set.  I successfully tried a rayon and silk blend twill for my personal version of the 1940’s “Harp” shorts offered by Tori at “Potion 23”, a local designer for whom I was the pattern drafter and sample maker.  My 80s shorts were a (border print) cotton shirting and for the 50s I did a short romper in pique as well as shorts in heavy hopsack linen.  I now have a good arsenal of knowledge when it comes to what works best for different kinds of shorts.  Fabric choice has so much to do with the success of every sewing project but I find this fact especially true for shorts.  Such a simple little garment of summer has given me so much bother trying to perfect!

I claim home base!

The only reason these shorts ended up being closer to fitting like modern clothes in the first place was really due to a re-drafting ‘mistake’.  I only realized after assembling my shorts enough for my first try-on that the pattern was sized for teenagers.  This explains why the crouch depth sits so much higher than what I expected of a true 1940s pattern.  WWII era trousers for women had roomy bottoms for a fit that did not reveal a body form shape as do pants of today.  Using a true 1940s pattern is the only reason such a ‘mistake’ worked out okay after all.  As a teenager’s design, the distance between the hip line and waist line is really 2 inches too short for me.  My hips are about 7 inches down from my waist and not 5 inches, as given.  

I should have at least suspected that this was a junior’s design since the high school teenage crowd of the 1940s were the ones most commonly rocking the sporty, fun-in-the-sun clothes of WWII times.  The envelope back said this was either for women or junior misses and recommended Simplicity #1315 (reissued in 1946 as #2062) to complete it as a “mother-and-daughter set” of matching designs.  At least I was thinking ahead enough at the pattern stage so as to grade in some extra space at the seams of the centers and sides to bring it up to my waist and hip circumference.  I had to add in a total of 4 inches because a size 12 from back then is for a small 24 inch waistline, which is a modern size 0…definitely not me.

I am no less happy with my finished item even with the little unexpected – but no less welcome – hiccup in its making.  Now I have a decision waiting for me the next time I pick up this pattern (and I definitely will be coming back to it).  Do I keep the modern fit of reduced wearing ease (aka, current juniors’ sizing) or draft in the proportions of an adult size for a proper 1940s appearance?  Either way, I may just wear the heck out of these shorts and sew another copy in the exact same color and material.  I may just pick another one of the other styles given as an option in the pattern to try.  Nevertheless, I like these bibbed suspender shorts too much to not just end up making them again in some manner.  I kind of want to revisit this same design anyway so as to redeem the crazy and confusing way of closures that I opted for in my version.

The pattern for these shorts calls for workable buttoning front bib.  I did not do that on mine.  To get a snug fit on a pair of shorts meant for athletic activity does not seem compatible with a handful of buttons.  The Supima cotton is a fairly thin, loose weave that snags, ravels, and puckers easily.  Even if properly interfaced, I did not want to compromise the material with buttonholes.  Also, I could envision the front buttons being a hazard and getting caught during activity and ripped off…this worst-case scenario would not end well. 

To end up with a stable, secure closure that keeps the look of the bib front simple, I went for the tried-and-true, good, old reliable vintage metal zipper closing, albeit hidden under the front flap.  Over the tummy and under the bib, a short zipper connects the center front seam to an extension piece I added to left side of the shorts’ main body (since the pleat is only stitched part of the way).  Then, I have an inner button and elastic loop to fully connect the waistband, as well.  The entire right side of the shorts’ pleat and bib front is stitched down in place and all of the closures are accessed from the left side only.  This was all my own idea and it works pretty darn well.  I do not know whether or not this method of closing is something which would have been used back then or not, but it just made sense from an engineering outlook.  Yes, sewing is engineering sometimes.  I do happen to be married to an engineer so I suppose he rubs off on me. 

At least I have the suspenders with real working buttonholes!  There would be no easy way in or out of these shorts otherwise, from a practical perspective, though.  The straps are stitched down to the front bib, but come detached at the back waistline where there are the cutest imaginable flower buttons in a bright lime green.  The crossing point of the suspenders across the back of my shoulders is lightly tacked together so that no matter how I move, the X shape stays in perfect position.  It’s not that I really need suspenders to actually hold up my shorts.  This is why I have them as laying somewhat loosely over my shoulders.  Yet, I just love how there is just as much interest to the design of these shorts as seen from behind with the suspenders and the cute buttons. 

I enjoy the fact that I have such me-made vintage pieces to help me look forward to getting my exercise now that warmer weather is here.  I never was a big fan of shorts until I discovered how cute and appealing the vintage-style kind could be.  No matter how simple, any garment can be elevated by good design and tailoring.  I certainly put this particular shorts model to the test run right away for the sake of my post’s pictures, too!  I hope you enjoyed the change of pace by having photos of me in the action shots.  Don’t you think I am able to pull off chartreuse after all?  

“How Far I’ll Go…”

     “See the line where the sky meets the sea?  It calls me. 

          What’s beyond that line?  Will I cross that line?

               If the wind in my sail on the sea stays behind me, one day I’ll know…”

     -lyrics from the song “How Far I’ll Go”

I might have my personal favorite princesses, but in our house, Disney’s 2016 “Moana” is an all-around favorite of all of us, especially my son.  The movie is an excellent example of Polynesian lore and culture, besides having Moana herself be an all-around exemplary, relatable 16-year-old human, even for all the legendary situations she is placed in.  I love that Moana has her family there for her throughout the film, which is unique for Disney (which tends to kill off the mom figure), and that she is searching for her own identity, not a love interest.  It has songs that are catchier than the best classic 90’s Disney tunes with amazing visuals that are an absolute treat.  It contains my husband’s favorite Disney song – “You’re Welcome” – and was my son’s first in-person movie theatre experience.  “Moana” is also the only Disney animated princess movie I cry to every single time we re-watch it again and again!  It is fitting that my last summer season sewing is something related to the princess Moana.

Of course I had to interpret this specific inspiration with a play set for my latest and greatest installment in my “Pandemic Princess” blog series!  There wasn’t a better decade for the cutest play sets than the 1940s, in my opinion.  Besides, with all the American soldiers (and their families in some instances) stationed at many of the Pacific islands during and after WWII, Polynesian culture heavily influenced the warm weather and playtime fashions for women of that decade. 

I had a head start on the 3-pieces which constitute a play set by wearing my pleated, skirt-style 40’s shorts, which I sewed years back as the base for another play set (posted here), to match with my newly made Moana novelty printed blouse.  The rich blue to the shorts reminds me of the ocean…and I enjoy being able to still be wear my older creations, after all.  Then the jumper, which is newly made and can be worn over both pieces, also matches with the blouse as it peeks out from underneath.  It creates a suddenly dressy tone to the fun time duo.  The brown linen jumper was custom dyed by me, and calls to my mind both Moana’s dark hair and the natural fibers that many ethnic Polynesian clothes are made of.

My accessories are especially coordinating this time.  I have a toy plush version of Moana’s sidekick the rooster Hei Hei to keep me company.  He might not be the best help on Moana’s boat (see this hilarious movie clip) but together with the pig Pua (shown on my blouse) complete her ‘conventional’ Princess ‘requirements’.  This Hei Hei toy was a present from my mother-in-law and can walk and “scream” by battery power.  I also have a large conch shell with me – it was acquired by hubby’s Grandmother in the 1960s or earlier.  It is a beautiful pink inside just like the ones the ocean gave Moana as a baby (see this movie clip – it’s so sweet). 

Now to the rest of my accessories, like my handmade ones! My belt is a multicolored novelty jute ‘ribbon’ which I originally made into a belt to match with this dress (post here) but works fantastically to brighten up the solid brown of the jumper.  Even my sea-inspired hair clip was me-made, too.  I started with a cheap $1 store basic hair item then glued on wooden themed charms of a sea horse, starfish, shell, and a fish that I bought from my local fabric store.  I love my self-made items which complete my outfits!  Finally my amazingly comfy shoes (the “Elinor” lace up ballerina pumps) are from the great brand Miss L Fire, which is sadly going out of business in the next week or two.  All together I felt fantastic in my outfit and also ready for whatever comes my way.  Oh ‘how far I’ll go’ for the perfect dream outfit…

THE FACTS:

FABRIC:  a heavyweight all-linen for the jumper and an all-cotton Disney brand Moana character print for the blouse

PATTERN:  McCall #5607, year 1944, a vintage original pattern from my stash

NOTIONS NEEDED:  lots of thread, vintage buttons from the inherited stash of both my Grandmother and my husband’s Grandmother, vintage hem tape, vintage bias binding, and some interfacing

TIME TO COMPLETE:  The jumper took me about 8 to 10 hours to make and was finished September, 25, 2021.  The blouse came afterwards, being finished on September 27, and was made in only 4 hours.

THE INSIDES:  all cleanly finished thanks to vintage bindings on hand

TOTAL COST:  1 ½ yards of the Moana cotton bought at Jo Ann Fabric store cost me about $12; the fabric for the jumper was linen I had on hand longer than I can remember so I’m counting it as free.  The dye for the linen cost $3 something dollars.  All other notions were on hand from my stash so I’m counting them as free, too.  My total cost for this outfit was about $15.

This overall project started out as an experiment.  I had this lovely bright orange, almost neon, soft and supple linen that was my ideal fabric but in a wrong tone for the jumper to match with the Moana print fabric.  I had an overall 3 ½ yard cut of the material, and only needed just over 2 yards.  Thus, I cut out the pattern pieces for the jumper and saved the rest leftover for my upcoming “Part Two” Moana-inspired outfit.  Then, those jumper pieces were partially sewn together (darts, pleats, and all secondary seams), and the front buttonholes were marked with thread, so they could be cooked in a bath of RIT brand liquid dark brown dye. 

I actually had absolutely no idea what tone I would end up with, but expected a burnt orange.  Any way the dye job would have turned out, I was ready to be happy with it as long as it remotely matched the Moana blouse fabric and became a different color.  I think that since my fabric was a natural linen (which takes well to dye), and I chose a dark brown versus just a natural brown, I ended up with this lovely rich and opaque nut color.  I wanted a jumper which would carry me beyond this particular outfit and be versatile going into fall, but overall become an all-season piece.  This jumper as it turned out is not what I expected but just what I wanted.  It was a planned surprise.  Dyeing is always so very interesting and fun, but always a gamble.

Other than the dye job, this jumper was easy to come together.  Part of the joy to it was how much like sewing through butter was the linen I was using.  Also, though, it has been too long since I’ve used a true vintage printed McCall’s pattern – they’re my favorite.  I appreciate the general predictability of how well they fit me out of the envelope and their details are understatedly fantastic.  The waistband panel – an incorporated ‘belt’ – was eliminated for my version of the jumper because I am both short-waisted and wanted to cut down on the blousiness of the style.  Otherwise, I sewed this jumper just as it is shown on the envelope, not counting grading up in size.  The deep cut armholes are great to show off the blouse underneath and keep the jumper from being confining.  The way the bust darts radiate from the sleeve openings is my favorite unexpected detail.  I went the extra mile to do only hand-stitching finishing touches so no thread is visible besides for the buttonholes.

My blouse was super easy and straightforward as shirts go.  It has menswear details, no doubt added just to keep a smooth profile for layering under the jumper.  Many 1940s blouses have some gathers or shirring somewhere, normally across the shoulders (to add bust fullness) or the back.  This blouse has the conventional separate shoulder panel across the bodice upper back, but with masculine-style pleats for reach room below that.  The front relies on a giant bust dart set into the shoulder down to shape the bust, then there’s a small below-the-waist tiny pleats to fit the hips.  Even this collar is rather on the tame side as 1940s collars go and I like it.  The shoulders are nice and smooth, too.  These features all help this blouse seem a bit more timeless than dated, more than many other 40’s blouses do.  I will definitely coming back to this top pattern to sew a dressy, solid colored version in the future. 

Even if you don’t know Moana or have not yet seen her movie, I hope you enjoyed my new play set with our beach themed photos and find yourself inspired by what I have said about our family favorite princess.  At a basic level, it is just an outfit inspired by a girl whose enthralling story revolves around what she will do out of her love for both home and family.  Whatever her culture, that is a universally admirable quality…but especially for a 16 year old heroine like Moana! 

My outfit respectfully avoids any cultural interpretation, and instead focuses on the predominant colors of the animated tale, vintage clothing for ‘fun in the sun’ by the water, and my personal fangirl manifestation.  With the blouse, the skirt, and my old favorite shorts all in one set, it has been a fun but still practical project to complete.  Out of all my other “Pandemic Princess” inspired garments, this one is perhaps my most natural or ‘organic’ interpretation.

I for one am not into logo tees or character tops unless it is for Agent Carter, Wonder Woman, or as a concert souvenir.  For Moana to be included in that category for me should tell you something big!  Please do yourself a favor and see the animated film “Moana” if you haven’t done so already…and if you have, let me know what your favorite scene was!  I have so many, it is hard to pick anything other than every minute of the movie.  I am so super hyped to have an outfit that embodies this special Polynesian princess.  Many Pacific Islands are an underrated and underrepresented part (if only a satellite affiliation) of the United States, after all!