I'm a homebody, deep down inside. Nothing makes me happier than a day home alone with nowhere to be, puttering about the kitchen and listening to the radio. So the hardest part of working every day has definitely been just not having that day off to do some cleaning, or work on my own projects, or just curl up with my coffee in my pajamas and watch Kitchen Nightmares on the tv.
It is one of the major downsides of working in the arts - you have to take contracts as they come up, and often times they over-lap. It yo-yos between seven day weeks one month and nothing at all the next. But things are looking up in my life. This contract is really going to open doors for me, and my extra crammed schedule only lasts until the end of April!
That little bit of whining aside, I have had time for one or two of my own projects.
My knit top is coming together a breeze. Just need to hem it! It's so adorable I feel I may have to make two more.
And I've even worked on my jeans a little - no, I haven't forgotten them! They just need to be taken in a little around the knee, hemmed, and the waistband added.
And I borrowed these two fabulous patterns from a friend of mine - for tracing off and lovingly returning, obviously.
Very usefully, both copies I own were stamped when they were purchased with the date, so I know that 1930 is from May 1957, and 1510 from December 1958.
One thing I love about using sewing patterns as fashion history research, is you get a much more accurate picture of what people wore outside of the high fashions. Simplicity 1930 for example features a very gently flared skirt - not the yards of material we picture in a late fifties style. I can imagine from the styling of the envelope (look at her demure little gloves and neat hairstyle) that this pattern was meant to appeal to a more conservative lady, one who didn't want to waltz around in a crinoline. In contrast, the drawings on 1510 are young and flirty - I love the headband on Flowered Dress, and the cute Audrey Hepburn bangs on Pink Dress. The styles with the giant skirts or daring slim pencil styles were definitely made to appeal to a younger, more fashionable lady, while the gently flared skirt I see in abundance in late 50s patterns was definitely an older or more conservative audience.
Despite being -20 here still (/shakes fist at the sky), they're giving me lovely visions of floaty flower printed summer dresses. Simplicity 1930 I want to see so badly in a dreamy liberty print (if I can find one I can afford), and 1510 will be adorable with a vintage print I already have in the stash.
While I ADORE that late fifties style with an under-bust seam and dart fitted throughout the torso, I know on my body type it would be a dress I'd 100% always have to wear with a girdle. I carry weight on my upper torso, it's annoying, and I like my vintage dresses to be girdle-optional. Also both these patterns are nowhere near my size and I'll be grading them up another four inches around the bust. I took one look at the flared skirt pieces and knew they'd be a royal pain in the butt to grade. SO I'm going to cheat. I'm using the upper bodice from the pattern, but drafting a separate midriff piece and circle skirt. Midriff dresses are a perennial favourite of mine. They almost always flattering on me, as they highlight that steep curve I have between my large bust and tiny ribcage. And you can load the midriff part up with fusing, interlining, and boning to smooth out the bumpy bits. A miracle!
When I get to grading these up I may do a photo tutorial, as I know I never really understood grading until I went to design school, and it can be quick and easy. I know as a busty lady it can be so damn hard to find vintage patterns in my size, and the one I do find all seem to have a distinctive matronly bent to them.
Alright lovelies, enough rambling for now. Have a fabulous week, and pray for spring to come soon!
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