Sari Sailor Suit

Earlier this week I presented Veronica to you and mentioned Jenny. Jenny is now ready for you.

If you haven’t read my last post, I will explain who they are. Veronica and Jenny are two patterns produced by The Tailor’s Apprentice. Veronica is a 1940’s evening gown with a capelet and Jenny is a sailor suit, also from the 1940s. Lorna McKenzie is the designer and she has used actual clothing from the WWII years to draft these patterns. These were clothes owned by Miss Page. Lorna tells her story on her website. She also has 3 other 1940s patterns at the moment: a wedding dress, a day dress and an overall type thing! There will be more.

It took me a couple of days after downloading the digital patterns from Lorna to decide which fabric from my stash I would use for Jenny. It was a cinch choosing the fabric for Veronica!!! That’s why I started with that pattern. In the end, I chose to use another of my saris to make into the sailor suit. Once it was done, I was amused to observe that I had turned the formal gown Veronica into a day dress and the casual sailor suit into a dressier outfit, as you will see. Asi es la vida!!

By the way, digital patterns are as easy to use as store-bought ones. After receiving your file by e-mail, you print it out and re-assemble it, a bit like a puzzle, and then proceed with cutting the paper up and then cutting your fabric from it. When I say *like a puzzle* it actually is easier than that! All the pattern pieces are logically and clearly numbered, so all you need to do is place them in rows and columns.

So, back to Jenny in a sari. I love using saris for many of my clothes: the fabric drapes so nicely! And the colours! and the metallic thread borders! Having said that, this sari is black with pewter and copper metallic thread borders.

The sailor suit consists of a short-sleeved top complete with little square scarf thing at the back that ties at the front and a pair of trousers. The very attractive design component of this suit is how the top is yoked at the front. It has a pretty swooping curve. The pants are straight.

I started with the top as it is more *involved*. I prefer to do the difficult thing first. Once again this pattern is in three sizes. I cut everything in the large size, for added comfort. There are two small darts on the blouse. The sleeves also have darts or pleats at the shoulder which give them a slight puff. The ’40s’ puff!!

The instructions are clear and precise and assembly went well. Here are the things I changed though, customizing it to my preferences. First: I lengthened the top. In the pattern picture, it is a short blouse which just covers the trouser top. As I am a *certain* age, I prefer my dressier tops to be tunic length: ending about 2/3 way up my thigh. This entailed widening the hemline by simply lengthening the sidelines a little and I chose to make a slit on either side for more comfort.

I also wanted my sleeves to be full length. But they can be rolled very flat for times I might want it shorter because I made them straight down.

Same as for Veronica, I omitted the side seam zipper. I just didn’t feel there was a need for it, for me, and besides, I don’t like the feel of a zipper on the side there. It stiffens the fabric when using a soft one like sari material. The last change I made was to keep the scarf thing apart from the blouse, rather than sewing it to the neck edge. The instructions guide you through using a bias tape (made from the same fabric and for which a pattern piece is supplied) to finish the neckline. I still used the bias tape. I added one thing: because I was using a sari with a beautiful border, I wanted some of that around the neckline. I had to place it correctly in line with the edges of the neckline and make it stop at the top of the border that was part of the yoke. See picture.

  

The pants are only four pieces. I widened the pants, to really take advantage of the border; in addition, I like wearing skirts in summer but I find them inconvenient at times. So lately I have been making pants wide at the bottom and which are fitted at the top and they look like skirts (or Palazzo pants) because I almost always use soft and flowing fabrics. Comfort and elegance all wrapped in one, if I do say so myself! 🙂

There is no waistband but an inside facing that helps keep things tidy and flat. They have a side zipper and because I liked the fitted look of these, I did use a zipper rather than my usual elastic waist. The well-written instructions guide you through that installation smoothly. There are two small darts on the trouser back pieces which make it lie completely flat to your rear end.

The last thing I did was make a narrow casing with the facings and the pants in the back. Here’s how: after attaching the facings to the pant top, I tacked down the facings at all the seams and then sewed across the back, from side seam to side seam, about 1/2 in. down from the top. Then I slid the elastic in there, sewing it down on either side seam. I cut my clothing slightly bigger than I actually need for comfort. Sometimes that makes the pants droop. So by putting that narrow little elastic in the back, it holds the trousers up snugly at your waist(or wherever) and makes the front look taught and smooth, without bunching the back at all. There is more space around the middle and bum for sitting in that way too. This *flatness* is also necessary when wearing a lightweight fabric top. The tunic shows no bunches or anything when you are wearing it. Of course in the picture it is slightly gathered: cut the elastic just long enough for it to stretch gently and it will then lie flat on you.

 

This pattern has extra long legs because Lorna offers the option (with instructions) of making cuffed pants as was stylish in the 1940s, even for women. Again, I wanted the sari border to be the decoration at the bottom, so I cut the pants to my usual length. Placing the pattern pieces correctly on your borders is crucial: I lined up the pattern grainline on the cross-grain(that is the weft of the fabric, as opposed to the grain which is on the warp. They cross at 90 degrees.) in order to get the border at the bottom.  Come to think of it, that’s what I did for the sleeves too: put the sleeve hem on the border and the cross-grain of the fabric became the grainline on the pattern.

As the end of assembly was nearing, I realized that this outfit would be a very appropriate evening ensemble, not very formal but *nice*. I also saw that it looked a lot like an Indian set, of course, because I used the sari and it’s embellished borders to the max! The last thing I made was a wrap with the last bits of the sari and I can use that on cooler nights.

So in the end, I made Veronica the evening gown into a day dress and Jenny the day outfit into an evening set. Twas ever thus! While discussing the changes I made with Lorna, she pointed out that the original pattern called for a tunic length top, but that *the hipsters thought it would be better shorter*, so she made a short top for this pattern. I simply returned the pattern to its original design!

  
   

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Passion for the Fashion, part II: The Accessories.

 

My first post about the 1912 Afternoon Wrap from the VPLL website Titanic Sewing Project talked about how I came about making the wrap. This post is about how I dressed it up a little to be able to wear it at the Titanic Dinner we are going to at the Fairmont Chateau Laurier here in Ottawa. The Chateau is commemorating the Titanic disaster because the man responsible for its existence, Mr. Charles M. Hays, was supposed to be at the opening ceremonies but he died on the Titanic on his way back from London, England. They had to postpone the special ceremonies for over a month.

My husband surprised me on Thursday morning with reservations for the Titanic Dinner! The dinner is on Sunday evening! What to wear? what to wear? Not in a panic but simply which hat shall I wear? I recently made quite a few 1912 or thereabouts hats. What outfit? I wanted to wear my newly made Easter hat and a matching gown I would make that day but after consulting with the Ladies from the 1912 Titanic Sewing Project on Facebook, I realized that hat is simply not right for a dinner. It is an afternoon hat or a luncheon hat… NOT a dinner hat. A hair ornament with feathers and or ribbon and or tulle and any mix of the previously mentioned would be better.

So I set out in search, again, for suitable materials to make the hair ornament. I picked out some antique metallic lace, a couple of brooches, feathers and of course a comb, as this ornament should sit in some kind of *updo*. There were many types of feathers and I decided on peacock after observing that certain feathers have more blue which perfectly matched the blue of the Afternoon Wrap and its skirt. The skirt I already made about 4 years ago and is a very long and full flowing skirt.

 

 

In order to hide some of the discoloration of the metallic thread and also because I wanted to narrow down the piece of lace to fit my wide comb comfortably, I folded over the two ends and sewed them tightly into a strong support for the feathers and brooch I intended to add to it. It looked lovely but didn’t show up very well. 😦 So I added a piece of the blue satin behind the lace and sewed them together at the edges and a little throughout the lace to make it sit flat. After that I sewed on the brooch which I assembled from 3 brooches: I found two very small pins with blue rhinestones that were the right match for the blue and the gold was a good match for the gold on the pendant pin. The bigger brooch has a large drop pearl dangling from it. It appealed to me!

Once the brooch was solidly attached to the lace/fabric background it was time to add the feathers. Many ideas were considered…. and after a long while I chose 5 peacock feather *eyes* and use the stem of a very long plume without its ornate end to have some cascading long *stalks* floating behind the smaller and lower row of *eyes*. Steaming the feathers after arranging them makes them stick together properly again. My comb was finished by the end of Thursday and met with many of the Ladies’ approval.

All evening though, I kept on thinking that although the outfit looks very nice, it isn’t really appropriately *evening* in spite of it being satin. The main problem with it is that the skirt is so much fuller than what would have been worn in 1912. I didn’t have enough matching fabric to make a new narrow skirt nor was there anything in my stash that looked right with it. Besides, I like the butterfly border on the skirt: it obviously works well with the same border used as a belt and the back design for the Wrap!

I also had a handbag on my mind… I didn’t have anything in the right colours to use for a period dinner… I went to bed deciding that I would embroider a butterfly on a remnant of the blue satin and make a small clutch with it.

The plan was in my head, I was able to get to sleep! hahaha!!

My morning on Friday was busy with serious appointments and visits… I had to wait for the afternoon to get back to my outfitting!!!  I set upon the embroidery work and by the end of the day I had two panels of embroidered fabric ready to make into a bag. Even though this is machine embroidery, it takes several hours to get two embroideries of this size done. I embroidered a butterfly design which is almost the same butterfly as on the fabric’s border on one panel, using the wrong gold side of the fabric as its background, and a moth with a sunset scene in its wings for the other panel. The embroideries were done with a layer of quilt batting under the fabric: it gave the small bag extra texture.

Satisfied with that work, I found a zipper (Horrors!! They had no zippers in 1912!! But as I had no fancy bronze clasp and neither did I want to make a flap which would have covered the embroidered insects I went for the next easiest thing to do: a zipper.) and left that day’s work at that.

I went to bed still looking for a way to make my inappropriately wide and full skirt into a straight, evening look skirt. Cutting it down to narrow it was out of the question. The other secret about this skirt is that it is actually a pair of very wide pants. My mother had something like this in the seventies. They called them :*Palazzo* pants. Do you remember that?

First thing I did Saturday morning was finish assembling the clutch. I sewed some of the beaded trim in the bottom curve of the bag and this made it shine!

 

But what about the skirt? I knew that I should have some kind of sheer and straight front panel. At least that is what I preferred in the look of the many dinner and evening dresses I have looked at from that era! Having a panel like this would partially hide the full skirt. It could hang either horizontally across or diagonally. Either way it would have to be placed so that the butterfly border could be seen. Last night I went in search of fabrics in my treasury… there was nothing that caught my eye. I went to bed feeling a little disappointed.

After breakfast this morning, back down to the studio I went because overnight I remembered that I have a box of organzas and other sheer bits that I forgot to check yesterday!

No royal blue. 😦 No gold. 😦 Right at the bottom there was an oddly shaped piece of navy blue organza!! Rather scrunched. But upon opening it up, and checking it against myself, I established that not only was there enough but that the diagonal piece it was cut into would be the perfect shape for my *tabbard* of sorts!! I immediately decided that I would add the last of the blue beaded trim I made for the Wrap if there was enough of it… what else can I do? What else? What else would be the last touch??????

There was enough beaded trim. YES! 🙂 And after checking to see if there was enough of that: I cut the last bits of the butterfly border off the remnants and although not quite enough to extend the full length of the hem, I sewed it on to the organza. I will drape and pin to properly settle everything when I get dressed tonight.

        

Since the seam between the organza and the satin would show anyway, I sewed over it with gold metallic embroidery thread that matched the gold of the fabric. (I have 10 different shades of metallic gold in my threads!!!) This gave it extra dash. Then I sewed the beaded trim to the very edge of the butterfly border. The weight of the beads pulls the overskirt down and prevents it from flying up due to static or other sources. This piece of fabric will wrap over the skirt, creating a flat narrow look and matching the outfit for a proper ensemble look!!! And I still have my wide skirt for summer time!!!

I will post pictures of me wearing this outfit later on tonight or tomorrow!!