From this …
To this…
How did that happen?
After my purchase of that pattern a couple of years ago, I definitely had second thoughts. While I loved it when it was first available back in the 1970s – and at that time I was of the age when I probably could have actually worn it – I immediately realized it would not be appropriate for a 60-something-year-old! I tucked it away in my pattern file where I knew I would come across it occasionally and indulge a long-ago dream. Little did I know it would play a major roll in the realization of this polka-dotted dress.
It took almost eight years for me to come up with a plan for this polka dot silk fabric. I kept envisioning a waisted, sleeveless dress with a “flowy” skirt, but I could not find a pattern I liked, either vintage or new. I wanted to avoid darts as much as possible (that’s a story in itself for someday), which meant I needed a princess style bodice. Many princess line bodices have side seams, but I wanted one without side seams, and with princess line seaming on the bodice back as well. Pondering all this, I again came across my Belinda Bellville pattern above and thought maybe it would work, with a few changes. But then I noticed that the bodice was supposed to be cut on the bias.
This pattern detailing from the instruction sheet shows the thee bodice pieces at the top of the picture. The bias is clearly marked.
After not having any success in finding any other suitable pattern, I gave it another look. Why not cut it on the straight of goods? It was at least worth a try in muslin, so that’s what I did. The changes I made to it included; 1) lowering the bust line, 2) eliminating the short-waisted front of the dress and restoring it to waist level, 3) placing the front center part of the bodice on the fold, eliminating the center seam, 4) lowering the neckline just a little, 5) making the waist larger, and 6) adding some ease across the back and shoulders. With all those changes, I had a bodice I really liked.
But then I needed to make a skirt to complement the bodice. When I looked at the skirt pattern, I knew I needed to divide it in thirds (for one half of the width of the skirt) and match the seam lines to the seams in the bodice. Here is what I came up with:
On the left is the one-piece tissue pattern for the skirt. Using the dart lines on that pattern helped me determine the angles I needed for my skirt.
It was about this time I got the idea to make this dress in a longer skirt rather than knee-length, which is where I usually wear my dresses. The only question I had was – did I have enough fabric to do this? My silk was 45” wide, and I only had two yards. I spent at least an hour laying out and eyeballing my muslin pieces on the silk, on the floor, just to see if I could possibly accomplish this task. I found one combination that would allow this, and took a photo so I could remember how to do it!
It literally took an entire week to work out the pattern and perfect the muslin, but then the sewing began!
As soon as I completed the construction of the bodice, including its silk organza underlining, its catch-stitched raw seam edges, with the seam allowances around the neckline and armholes appropriately tacked in place, I knew I had a bodice which was just what I had envisioned.
Somehow the skirt seams all matched up perfectly with the bodice seams and the center front inverted box pleat, which I added, looked wonderful, I thought. I made the lining out of navy blue crepe de chine, purchased from Emma One Sock Fabrics.
When it came to under-stitching the neckline and armholes, I decided to do it in white. It mimics the white polka dots in the fashion fabric and also was much easier to see while doing all that handwork.
Instead of a box pleat in the lining, I did two side pleats to reduce bulk in that critical tummy region!
Fortunately, for the belt, I had silk taffeta left over from two previous projects, which turned out to be a perfect match. I did not want the belt to take away visually from the rest of the dress, so I made it a modest 1.5 inches wide. I think it is enough to complete the look, but not overpower it. And OF COURSE I wanted to finish it off with a tailored bow. (I am planning a post on making this tailored bow belt, so I will not go into the details of it right now.)
An oyster-colored clutch helps to complete the look.
This is a very comfortable dress to wear!
No attempt was made to match any dots, as the pattern was completely random. This is the hand-picked zipper. I love the fact that the navy thread shows up on the white and coral dots.
And should I need a dress coat, this one matches the belt!
While this dress was firmly in my queue for summer sewing, at the time I did my planning I was not making it for any special occasion. However, as good fortune would have it, two unforeseen occasions are now approaching in late summer for which this dress will be perfect. I am definitely looking forward to wearing these dots!
Do You Do Pink?
Apparently, pink is a controversial color. Or maybe “was a controversial color” is a better statement. A recent article by Nancy MacDonnell in the Off Duty section of The Wall Street Journal (“Making Peace with Pink” February 11-12, 2017) makes a case for the appropriateness – and timeliness – of pink even for those who think they don’t like it. While I am one who thinks pink is always in fashion, it turns out that this Spring, it really is in fashion! According to Ms. MacDonnell, “On this season’s runways, pink predominated.” The different fashion houses showed varying interpretations of pink: Michael Kors was “brisk, All-American, [and] cheery.” J. Crew was “equally upbeat,” while Valentino showed pink that was “lush and romantic, with intricate appliqués and historical references…” The list goes on and on. The unifying thread (pardon the pun), as claimed by the designers, was the lack of traditional “sweetness” associated with pink, with emphasis on the feminine power inherent in the color.
Looming large on page 58 from the November 2016 WSJ Magazine is a Valentino coat, quite traditional in design, but made very special by its stunning appliquéd pink wool.
According to Dr. Valerie Steele, the Museum Director at the Fashion Institute of Technology in New York, who was quoted frequently in Ms. MacDonnell’s article, the idea of pink as a feminine color did not take hold until the 1950s. Back in 1954 when Christian Dior wrote The Little Dictionary of Fashion, his entry on “pink” stated: “The sweetest of all the colors. Every woman should have something pink in her wardrobe. It is the color of happiness and of femininity.” He even used pink throughout his book for illustrations, chapter headings and the title page. He recommended pink “for blouses and scarves; … for a young girl’s frock; it can be charming for suits and coats; and it is wonderful for evening frocks.” Who can argue with that, be it 1954 or 2017?
The title page of Dior’s smart little dictionary. (Harry N. Abrams, Inc., NY, NY, copyright 2007)
This page from the June/July 2013 issue of Town and Country Magazine gives an interesting timeline of the color pink, “how the color of little girls and baby dolls came of age”:
Click on the image to read it.
I particularly like this statement from Laura Vinroot Poole, the founder of boutique Capitol in Charlotte, N. C., quoted in The Wall Street Journal article: “To wear pink, you have to be an interesting and smart person… You have to have things to say. In pink, you can’t hide.” Nor would you want to.
Personally, pink is my favorite color. I am always drawn to it, regardless of its hue. And its hue covers a huge range from palest pink to deepest fuchsia, from bubblegum pink to raspberry red. In thinking about pink for this post, I gathered this stack of pink fabrics from my collection. Just looking at it makes me happy!
From top to bottom:
1) vintage Moygashel linen, purchased on eBay
2) silk charmeuse, purchased from Britex Fabrics
3) vintage Moygashel linen, purchased by me in the 1970s
4) linen, possibly Moygashel, purchased on etsy
5) silk jacquard purchased from Britex Fabrics
6) silk charmeuse, purchased from Mendel Goldberg Fabrics
7 & 8) coordinating silks, purchased from Mendel Goldberg Fabrics
The only controversy I have with pink is deciding which hue of it I like best.
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Filed under Fashion commentary, Moygashel linen, silk, Uncategorized, Vintage fabric
Tagged as Britex Fabrics, Mendel Goldberg Fabrics, Moygashel linen, silk, vintage fashion, Wall Street Journal Fashion coverage