Ten things I learned making a 1940's midriff

Friends, no matter what I'm sewing -- or for whom -- I try to learn something.  Cathy's 1940's midriff outfit was no different.  While the pattern, which dates from 1947, wasn't complicated, my version did present a few challenges. 



First, the print fabric I purchased was very cheap-looking (and rough) compared to the cotton sateen sheet, so to tie the two together I decided to make the midriff top reversable, basically lining the cotton print with the blue sateen.





Basically, I stitched the two layers together (right sides together) along their outer edges (making sure they were aligned) and then turned the top right-side-out through the kimono sleeve opening.   It's essentially the same turning method one would use for a shirt collar. 



Since the two layers were separate except for their outer edges, I topstitched along the turned outer edge (again, as one would a shirt collar) to keep the layers in place.  I also stitched the shoulder seams together by stitching "in the ditch" atop the seam.



In both cases, I wanted blue thread on the blue side and white thread on the print side, and I did this -- as you can guess -- by using two different color threads: blue in my needle and white in my bobbin.



I was going to finish the sleeve with bias tape cut from the blue sateen, but decided I could get the same result by simply folding the edge over twice and stitching.  The blue side would thereby remain completely blue, and the printed side would have a neat blue edge.



This looks nice on the finished garment, and the two layers of fabric give the top more weight and drape.  (The wrong side of the cotton print itself is ugly, btw.)



Cathy wore shoulder pads -- the biggest shoulder pads I could find -- and since I knew I'd be reversing the top during the shoot, these were taped to her shoulders!

The shorts were the easiest part to make.  They close with a side zipper and I actually created a lapped zipper fly almost identical to the type you'd find on mens jeans, with a fly shield and everything. 



Otherwise they're just high-riding boxers with two back darts and two front pleats.



The skirt caused the most headaches.  The fabric didn't have quite as much drape as I would have liked, for one thing.  And I misjudged the fit.  Fearing it would be too small, I halved the depth of the tucks, only to have to add an additional tuck (the pattern calls for two, I ended up with three) on either side to compensate.
 

Then, after adding the waistband, it still felt too big.  Cathy doesn't have much of a hip curve below her true waist to hold the skirt up, the way most women do, so the waistband had to fit perfectly but not be too tight.  And since the skirt buttons up the center, with mirror-image tucks in front, you can't simply move a front button to make it tighter.

I ended up adding a strip of elastic to the back to give it slightly better grip.  A little "make-shift" but it worked.  Two small squares of fashion tape helped keep the skirt waistband from sliding below the shorts waistband in both front and back.  I love that stuff.





In an ideal world, the buttonholes would be bound, and the buttons would be more closely spaced together.  The space between the top button and the second button happened to sit right on Cathy's belly and I used a little fashion tape to minimize gaping.  Live and learn!



 

I finally mastered stitching in the ditch on a waistband.  I sewed the waistband right sides together on the outside, folded the waistband over to the inside, and folded under the inside seam allowance ever so slightly below the first stitch line.

I then stitched just under the fold on the outside seam -- it's basically invisible -- catching the (folded-under) inside edge.  This way you know whatever happens on the inside of the waistband (puckering, etc.), the outside waistband will look smooth.  Does that make sense?

Here's a photo of the inside waistband -- it bunches here and there but thick cotton sometimes does that; a waistband has a slight curve:



And the outside:



Friends, we're out of time.  Thank you all so much for the lovely comments you left regarding Cathy's navy-themed photo shoot yesterday.  She was terribly flattered!

Have a great day, everybody!

Cathy models the 40's midriff or "Sweetheart of the Navy!"

Friends, on this Memorial Day, I am thrilled to be featuring Cathy's latest photo shoot, which combines a 1940's midriff ensemble and our men in uniform.

Please join me as Cathy supports the troops the best way she knows how -- and forgive her.

As always, to see these photos full-size, please click on any image and then, in Picasa, choose "View All" in the upper left hand corner, and "Slideshow." 



Can Cathy still pull off a midriff (figuratively speaking)?  I hope so!

Have a great day, everybody!

Friday Forties Midriff Madness!

Memorial Day weekend is upon us here in the United States and the unofficial start of the summer season.  Can you think of a better time to whip up a vintage mid-Forties midriff?

I picked up this rather worn gem (Advance 4147) on Etsy and it's one of those early patterns with no ink markings but just perforations.  Once you've sewn a few of these, they start to make sense; all the info is there.  Seam allowances on this pattern are 1/2 inch.



The pattern pieces themselves looked untouched, though they were fragile, as you'd imagine a sixty-five-year-old pattern to be.  Advance wasn't top of the line (it was the J.C. Penny house brand).  A McCall's pattern of the same period will be sturdier as well as printed.

I had a hard time finding the right fabric for this -- I wanted a cotton print with a vintage feel but nothing too dainty.  I ended up with what looks like Tiki bar wallpaper -- palm trees, volcanoes, hibiscus flowers -- a little kitschy but I like it.    Laid out, it's actually quite geometric, as you can see.





I wanted the skirt to be solid, and I remembered that in my muslin fabric stash I had an old gray/blue Wamsutta sateen flat sheet that matched the blues in the floral fabric perfectly. 



The sheet has a rather heavy drape and satiny polish, and made the floral fabric look stiff (and cheap) by comparison.  I decided to tie the two together by cutting the "blouse" from both fabrics and making it reversible.  That way the top and solid skirt will look more matched in terms of drape.

Essentially, I sewed two identical tops and stitched them together along the top and side edges.

Here's how things look as of last night:







I think I'll finish the bottom with right sides together, then pull everything right-side-out through the kimono sleeve, and finally, finish the sleeves with bias trim cut from the sheet.  That way the blue side will be completely blue, and a little blue trim will peek out of the edge of the floral side.

To tie things together further, I may do the skirt button facings in the floral fabric, so some of it can peek through when the skirt is partially unbuttoned.  The shorts will be made entirely of the floral fabric, at least that's how I see it so far.  Cute, right?

Readers, it's time to get to work.

Memorial Day celebrators and others, I wish you all a wonderful weekend.  We'll be here as usual; no rest for the weary.

Have you caught the midriff madness yet?

Beware -- it's catching!

Cathy's Beauty Secrets Revealed!

As we come back to earth after a night of star-studded revelry, I thought I'd share with you some of the details that helped make Cathy a knock-out on Sunday.  First, the outfit:

As I mentioned Sunday morning, Cathy needed some smart, elegant accessories and she needed them fast.  Rather than make a beeline for Bergdorf's, El Cheapo (that's me) ran over to the Chelsea flea market and tried to magnetize whatever was needed.  As if by magic, every item appeared!

The biggest score, imo, were these vintage shoes, which I'd originally bought just because I loved the way they looked; we never expected them to fit.  At two pair for $5, I thought they'd be fun to own if only to display.  What a surprise when later at home we discovered that they fit perfectly!  One of the best parts, aside from their being incredibly well-constructed, is that they're comfortable.  File under, Too Good to be True.





In the same outdoor lot, I found this fur stole, and at first I wasn't sure it would work with black accessories, but it did.  I guess you'd call this faux fox, but honestly, what I know about fur you could squeeze into a thimble.  Maybe it's time to learn.  Not bad for $15.  The best part about it is that it really glows.





Some of you mentioned hair accessories and I did look for some.  I didn't want something I'd have to fuss with (anything with a veil) or that I'd have to take off at the theater.  I found this little velvet geometric number, which I thought was simple and elegant.  It doesn't read in the photos but Cathy wore it to the theater, though not to the party afterward. 





I'd picked up these beaded gloves at Goodwill a few weeks earlier; I'm always on the lookout for good gloves.  They're not vintage but they are Vera Wang.



I think I read about these sweat shields on Already Pretty -- Sally's my go-to source for these kind of things -- and they really kept Cathy feeling confident and comfortable.  Who wants visible sweat stains at an event like this?



While the 1948 McCall's dress I made pre-dates the bouffant style, I wanted the skirt to have a little more fullness, so I quickly gathered some tulle (that I'd bought for that other rose-print dress) and stitched it to an elastic waistband to make a small crinoline.  Worn over a half-slip, it worked perfectly.

Given the importance of the occasion, I treated Cathy to some new cosmetics.  She's a drugstore makeup type of gal, but there's quite a selection in the drugstore these days.

Cathy wore L'Oreal Ravishing Red, a matte lipstick with slightly blue undertones.  A little Maybelline lip pencil (50 Red) helped keep lip edges clean.





I knew Cathy would need a little more coverage than usual for a long night, so I opted for this Maybelline "Instant Age Rewind" concealer/highlighter stick.  I can't vouch for its effectiveness relative to other products, but it kept Cathy glowing well past the bewitching hour.





Of course Cathy swears by Physician's Formula LeVelvet Foundation in Ivory, which she sets with a little loose powder.

Eye makeup is kept to a minimum as it tends to settle into Cathy's deepening laugh lines: just lashes, a bit of liquid eyeliner, and pencil (which she also she uses for her brows; she refuses to pluck).  A little oyster-white eye shadow on her brow bone completes the glamour-girl effect.

And that's it!

Friends, I have Cathy with me today and she is happy to respond to all of your beauty comments and questions, if any.  Like all of us, she's a work in progress and open to improvement.

Have a great day, beautiful ones!

P.S. -- Read Michael's take on the event here.  You can see the Cathy's original rose-print dress photoshoot here.

Cathy models the 1942 Hollywood Dress!

Friends, it's no secret that Cathy and I have been somewhat on the "outs" of late, especially now that I've insisted she start wearing her glasses instead of bumping into streetlamps and saying "Pardon me."

Luckily, my identical cousin embraced my 1942 creation right away and even agreed to wear it with some slightly more shape-enhancing foundation garments. "Do it for the boys" I told her and, inspired by the period, she agreed.

So here's the results of our little photoshoot.  I should mention that, perhaps more than usual, it deals with adult situations, so parental guidance is suggested.  A few of you might want your kids around to explain what your parents can't.



As always, to see these photos full-size, please click on any image and then, in Picasa, choose "View All" in the upper left hand corner, and "Slideshow."

 So, what do you think?  Are the forties Cathy's decade?  (The 1940's I mean, of course!)

Please leave any other messages you may have for Cathy below.

Enjoy!

May your days be merry and bright...

Kids, it's still 1942 at MPB for better or for worse.  So bring out the popcorn and let's watch "Holiday Inn,"  "For Me and My Gal, "You Were Never Lovelier" and "Casablanca" -- a quadruple feature.  Just stay home from work, OK?

Never one to let parental visits get in the way of my sewing (I just throw 'em out at a certain point), I did make some notable progress on my 1942 Hollywood dress yesterday.

Skirt done!





Obviously this will need to be hemmed, among other things.  The bodice is almost done; it needs sleeves, waistline pleats and gathers and then to be attached to the skirt.



As you can see, the skirt is quite swingy and drapey.  Upon closer examination, the slightly-off-grain issue I mentioned yesterday seems less dramatic; in fact I think it's actually supposed to be somewhat on the bias.  As far as matching the pattern on either side of the skirt, well the pattern is quite busy and falls naturally into pleats, so I don't think it's a problem; we'll see what the finished garment looks like.

Here's a close-up of the gathered yoke...



And the neckline.  This will be all-but-covered by a bow of some sort.



I really want to finish this today, if possible.  I may let the skirt hang another day or so before hemming just in case it needs to stretch itself out a bit more.  I also have to track down Cathy, who was last seen sitting vigil outside Lindsay Lohan's minimum security prison.   And then there's the question of shoes.

My but that flowered fabric is busy, isn't it?  We'll have to tone that down somehow.

And so the day begins....

Even if you can't stay home today, please enjoy Fred Astaire dancing with one of my favorite gowns worn by a popular starlet of the time whose name escapes me.  (Dance begins at 2:30 for opponents of lip-synching)

Enjoy!