From the time I was a little girl, I have always loved “The Sound of Music.” Remembering my original encounter with the classic film in the first grade classroom conjures up the rapt attention I experienced as a wide-eyed seven-year-old. Understandably, there was a lot to adore─ the infectious sing-a-long tunes, the thrilling ending, those clever nuns… Every year, I would catch the movie on TV during Easter. Once, while watching the movie on the aforementioned holiday, I had decided that I would eat my entire chocolate and jelly bean-filled Easter basket since I was aiming to start a healthy diet the next day and didn’t want the temptation of sugary confections. (Never again !!) While the overdose of Almond Joys may have given me a stupendous stomachache, I can’t recall a single time where “The Sound of Music” didn’t sit well with my appetite.
“The Sound of Music” movie poster (1965)
Maria’s ability to make clothes out of curtains impressed and inspired me, long before I could sew myself. And so it should come as no surprise that the costumes in the movie were a highlight for me. From Liesl’s floaty chiffon frock to Baroness Schraeder’s luxe gold evening gown, the clothes only added to the film’s accolades.
Apparently, I’m not the only one who harbors an affinity for the movie’s costumes. For years, I have been an admirer of Katrina Holte’s Edelweiss Patterns. And yet, I had never sewn one of her “Sound of Music” replica patterns… until now ! While I was greatly torn between several options, I choose Maria’s Gazebo Dress as my first attempt at classic cinema fashion.
Julie Andrews in “The Sound of Music”
With its delicate chiffon overlay and pastel color, I imagined it as an ideal Easter dress. But out of which color to make it…? I always viewed the film dress as an aqua baby blue, but discovered upon research that it’s not blue; it’s green !According to the auction site that sold the frock in 2012, the listing is described in part as a “Green dress with floral pattern, with butterfly sleeves and full skirt. Smocked at neck and waist, lined in light green silk, hook and eye and snap closure at back.” Who would have thought ?! Green it is !
I ignored the tone-on-tone floral pattern on the dress since I was not equipped (neither with time nor mental stamina) to begin another fabric painting project so soon after Zerbinetta’s harlequin. The monochromatic seafoam was enough for a pretty pastel Easter dress.
Details matter on solid dresses. The pattern called for honeycomb smocking, a stitch which I had never heard of nor attempted, but found it to be a fun and easy design addition. So much so, that my mind is now whirring over the decorative possibilities for using the stitch in the future.
Honeycomb smocking at the neckline
“The Sound of Music,” sewing, and Easter… “These are a few of my favorite things.”
Happy Easter !
Toi, Toi, Toi,
Mary Martha
This post is dedicated to Ian, whose role model for being a doting uncle to his nieces and nephews is Uncle Max from “The Sound of Music.”
It was a summer afternoon ─ the summer before I would attend the Live in HD performance of Ariadne auf Naxos in the theater ─ and I was watching the same opera and production from 2003 with Deborah Voigt and Natalie Dessay. Fulling intending to dress as Ariadne for the theater showing, I closely espied her costume, looking for small details that could aid in my creation. But as the opera progressed, I realized… Ariadne is boring ! It was Natalie Dessay’s high-flying Zerbinetta that had me completely smitten, with both her character and costume, and I decided then that I would dress, not as Ariadne, but as Zerbinetta for the theater broadcast.
Natalie Dessay as Zerbinetta
With the close-up camera shots of the costume, I could make out slubs in the costume fabric and knew that I would use a polyester dupioni as my base material. The sleeves on the bodice were a sort of gathered puff and unintentionally, while browsing for something else, I came across a sewing pattern with just the right sleeves and pointed bodice (E).
McCall’s 8043, circa 1996
How to apply the wild checkered colors was still up for decision… Hand cut pieces of fabric ? Paint ? Realizing that both methods would be extremely time consuming, but that painting the fabric would be much more precise and less of a guessing game, I bought a set of jacquard fabric paint to begin work on the harlequin design.
Diana Damrau (L) and Kathleen Kim (R) as Zerbinetta
I used the above photos of Diana Damrau and Kathleen Kim as a guide in marking and painting the diamonds on the bodice and skirt. Thinking that painting fabric was just like painting walls, I marked off sections of the sewn princess seam bodice, which I altered and boned, with 3/8″ electrical tape, assuming that the sticky tape would hold back any and all imperfections when I peeled away the pinned on strips…
Wrong !!!! The black and red paint bled beneath the tape, into the white lines. Twill tape saved the day, turning a watery canvas into a striking harlequin.
Trimmed with (painted !) red lace around the sleeve hems, black shank buttons down the front, and bias binding around the neckline finished the zippered bodice. A hook and eye was fastened at the top of the back.
The Skirt
Itching to utilize a new patternmaking book in my collection, I experimented with transforming a full circle skirt into one of equal area with 12 gores, still maintaining the same proportions as the regularly cut bias circle. The purpose behind this maneuver was to better my chances of accurately marking out the diamond design and to prevent uneven and sagging edges from the circular bias cut.
A page from “Basic Pattern Skills For Fashion Design” by Bernard Zamkoff
This was accomplished. However, something went amiss in my calculations and I ended up having to remove two gores from the skirt to fit the waistband. Therefore, it became a 300° instead of a 360° skirt. All’s well that ends well, right ?
The new center gore pattern piece (with the discarded side sections), seam allowances added
Marking the diamonds on the skirt was torture ! Staring at the pictures of the model skirt only led to frustration when, after spending hours elongating sticky tape into impossibly curved lines, I stepped back to eye my design and beheld kites and shields ─notharlequin diamonds !
I probably spent close to a week taping and re-taping the same design over and over again. I don’t know (and may never know) how the diamonds on Zerbinetta’s skirt stayed so regular. Even as they became larger at the hem, they still looked like perfect diamonds !
Brenda Rae as Zerbinetta and Isabel Leonard as the Composer
Time was running out and I needed to move on from the insanity, so… kites and shields it had to be ! Painting the skirt fabric was much more time consuming than the bodice and sleeves, but I finished it just a few days before the opera.
When I pulled off the electrical tape, it made a tremendous difference in the look of the design, but not as much as when the twill tape was sewn over the jagged white lines. Then, the outfit popped.
The skirt before the twill tape was sewn over the lines
There was a near catastrophe when I soaked the skirt in an attempt to remove the remains of newspaper that were stuck to the backside of the fabric and some of the black paint smeared onto the bright yellow segments. Egad, what horror ! Against instructions not to scrub with soapy water, I did just that, scouring the yellow diamonds in hopes of removing the black tinge. Thankfully, it dried with hardly any trace of black on yellow and my painted diamonds remained in good condition. Whew !
A lining of light satin was used to finish the underside, a zipper was installed, a waistband added, and the skirt was complete. During Zerbinetta’s hair-raising aria in the “Opera” portion of Ariadne auf Naxos, a red petticoat beneath her skirt is revealed as she flings herself aback on a chair, utterly exhausted from oxygen-depleting coloratura. With the need for a crinoline, I searched online and found a steal of a deal ─ a vintage red nylon petticoat that I snagged for $1.25 off eBay.
Best $1.25 I ever spent !
The Hat
One of the best parts of Zerbinetta’s costume is her 18th century tricorn hat with plumes of brightly colored feathers…
Lise Davidsen as Ariadne and Brenda Rae as Zerbinetta
Anyone can make this cute little hat and it’s great that the pattern pieces become a part of the construction. With the hot glue gun running, a bejeweled cockade of feathers and tulle was attached.
Now I was ready for the opera !
Zerbinetta’s harlequin costume was a labor of love, but an absolute joy to wear ! Diamonds really are a girl’s best friend.
Verdi’s Don Carlos offers audiences a gripping spectacle of grand opera. With the backdrop of the 16th century Spanish court during the Inquisition, the pallor of death reigns over the piece with dark drama eking out from every crevice. Furthermore, the interpersonal relationships and the conflict between duty, love, and country offer opportunities for theatrical greatness. Uniquely, this occasion marked the first time in the Met’s history that the original five act French version of the opera was performed. It was nearly five hours long.
A scene from Don Carlos / Metropolitan Opera
Despite the long chair time, the opera carried enough interest to render it worthwhile. Each of the six principal characters was involved in a dynamic plot twist that was heightened by the thunderous orchestra and clever camera angles. The new production by David McVicar, whose work is admired by both traditionalists and innovators, was both edgy and elegant. Picking a favorite moment was tough. However, the end scene where Carlos perishes and the departed Rodrigue steps out of heavenly white light to lay his beloved friend to rest took my breath away. Well done !
Matthew Polenzani As Don Carlos, Jamie Barton as Princess Eboli, and Etienne Dupuis as Rodrigue / Metropolitan Opera
Don Carlos may have been a marathon, but the creation of my costume was not. In fact, it carried a moniker relating to its rapidity: “Two Week Tudor.” Immediately following the last opera, I began sewing my outfit for the next performance in two weeks. Choosing a pattern that was simple and effective was vital for the time crunch ─ since I was familiar with Andrea Schewe’s Simplicity Tudor pattern (it had been at the forefront of my preparations for Maria Stuarda that was to take place in May 2020), I turned to the out-of-print pattern for a quick fix. With little time to sew fussy, intricate pieces, I opted for View B on the pattern envelope.
Simplicity 3782
Historical accuracy was not important as Brigitte Reiffenstuel’s Met costumes blended the semblance of the period with modern features, such as puff sleeves, shawl collars, and wrist cuffs…
Scenes from Don Carlos / Metropolitan Opera
During the cutting process of the main fabric, it became painfully obvious that there was not enough material to cut the entire dress. With the same material out of stock for the foreseeable future, I needed an alternate plan.Think, think, think ! And then, a lightbulb─ several years ago, I was given a bolt of upholstery fabric from my friends at the quilt shop, which I willingly accepted. My mother balked; taking others’ “stuff” to store at home is not one of my better habits. But something inside me knew that there would come a time of need for this autumnal printed bolt of fabric. Sure enough, there was.
Thank you, Miss Pat and Mr. Al !
Fortunately, I had a farthingale (hoopskirt) already made from my anticipation of Maria Stuarda. However, in my inexperience with sewing hoopskirts at the time, I foolishly used ½” wide steel hooping instead of a lighter weight ¼” hoop. Add into consideration the 12+ yards of material for the dress and then imagine sitting in a boxy movie theater seat for five hours while wearing it all. Shockingly, the entire dress, underskirt, and heavy hoopskirt only weighed around 8lbs.
With lots of gold jewelry and rings, I was suited up for the spectacle of the opera…
As serendipitous as the bolt of upholstery fabric was to the project, I was even more surprised by my mother’s reaction. The shape of the silhouette overlaid with the copious folds of woodsy fabric made her proclaim that it was the most beautiful dress I’ve ever made. Who would have guessed that something created out of necessity could have turned out so well ? As for the material that was set aside due to insufficient yardage, I have plans to revive it for the Italian version of Don Carlos in November. Hopefully, that performance won’t be quite as lengthy.
Toi, Toi, Toi,
Mary Martha
Cast and Credits
Don Carlos ─ Giuseppe Verdi (1867) Live in HD air date: March 26, 2022
Cast: Don Carlos ─ Matthew Polenzani Élisabeth de Valois ─ Sonya Yoncheva Princess Eboli ─ Jamie Barton Rodrigue ─ Etienne Dupuis Philippe II ─ Eric Owens Grand Inquisitor ─ John Relyea Monk ─ Matthew Rose
Credits: Conductor ─ Patrick Furrer Production ─ David McVicar Set Designer ─ Charles Edwards Costume Designer ─ Brigitte Reiffenstuel Lighting Designer ─ Adam Silverman Movement Director ─ Leah Hausman Live in HD Director ─ Gary Halvorson Host ─ Ailyn Pérez
If there is an opera that causes more bouts of stifled exasperation or muddled confusion than Ariadne auf Naxos, its title remains a mystery. The music─ sublime, the plot─ a headscratcher; Strauss’s “opera within an opera” elicits both “ahhs !” as well as “huhs ?!” At least, that’s how I felt when I viewed the opera as part of the Met’s free streaming that was offered when the house was dark. Armed with the illuminating advantage of past experience, I had my reasons for attending this current Ariadne, but none greater than to see and hear Lise Davidsen as the prima donna/exiled goddess.
Lise Davidsen in Ariadne auf Naxos / Metropolitan Opera
With the voice of a titan and the face of a schoolgirl, there is little doubt that Lise is a star. Unleashing her full power during “Es gibt ein Reich” was like having a blast of thunder rattle your bones. An answer of satisfaction was given to the promulgated hype, but what took me by surprise was the caliber of the performances given by the other singers. Isabel Leonard’s frustrated idealism as the Composer won my fervent applause.
Isabel Leonard in Ariadne auf Naxos / Metropolitan Opera
Opera seria interpolated with an Italian farce sounds strange, but the plot of Ariadne auf Naxos was much clearer to me the second time around and really deserves a further listen. With the cast that performed and the resplendent orchestra of the Met, that task was highly agreeable.
A scene from Ariadne auf Naxos
Despite being the titular character of the opera, Ariadne is not that interesting of a leading lady. She’s weepy, melancholy, and a touch morbid over her present fate of lonesome exile. She may have a great aria, but for the most part, her character is just “blah” until Bacchus sails in and whisks her away to the heavens. However, there is a complete comic foil to Ariadne’s gloominess: the coquettish clown, Zerbinetta.
Lise Davidsen as Ariadne and Brenda Rae as Zerbinetta / Metropolitan Opera
When I watched the 2003 Ariadneauf Naxos with Deborah Voigt and Natalie Dessay, I was captivated by the spitfire vocalism and personality of the coloratura soprano, Zerbinetta. She steals the show, every time. In addition to her dynamic role, she also has the best costume in the whimsical Elijah Moshinsky production ─ harlequin from top to toe with 18th century embellishments. Who would want to play Ariadne when Zerbinetta’s character and outfit are so much fun ?!My costume choice was easy: harlequin, please !
I made everything about my outfit, excluding the tights and shoes. While it was one of the most labor-intensive projects I’ve completed to date, all the components played together into a kaleidoscopic array of FUN ! All that was needed was a little bit of sass…
As a creator, I love all my “children,” but this outfit, which started out as entirely white, was an especial favorite. And that hat ! Would you believe that it was made out of felt and cardstock ?! The cockade of feathers and tulle tufts solidified my look as uniquely “Zerbinetta.”
It was impossible not to be happy while wearing this outfit, at the same time seeing its double on the big screen. And it was impossible not to be enchanted by Strauss’s dreamy (and quirky) Ariadne auf Naxos.
Ariadne auf Naxos ─ Richard Strauss (1912) Live in HD air date: March 12, 2022
Cast: Ariadne ─ Lise Davidsen Zerbinetta ─ Brenda Rae Composer ─ Isabel Leonard Bacchus ─ Brandon Jovanovich Harlequin ─ Sean Michael Plumb Music Master ─ Johannes Martin Kränzle Major-Domo ─ Wolfgang Brendel
Credits: Conductor ─ Marek Janowski Production ─ Elijah Moshinsky Set and Costume Designer ─ Michael Yeargan Lighting Designer ─ Gil Wechsler Live in HD Director ─ Gary Halvorson Host ─ Matthew Polenzani
Even if you’ve never seen the opera Rigoletto, you are most likely familiar with the Verdi work by its famous, hummable aria, “La donna è mobile,” heard everywhere from TV commercials to Italian restaurants. While I had the chance of watching a Rat Pack, neon-bedecked, “Vegas” Rigoletto during the Met’s free streaming at the time of their shutdown, I still felt the need to see the opera “in person” at the theater, this time set in the Weimar Republic of the 1920’s. Talk about a departure from 16th century Mantua !
Michael Mayer’s “Vegas” Rigoletto
Bartlett Sher’s “Weimar” Rigoletto
What struck me the most about the new Bartlett Sher Rigoletto were the parallels to Sher’s Met production of Otello: blocky sets that felt closed off to the audience and gave the appearance of hazardous movement among the singers (watch out for the columns !). Another exasperating comparison was the inability to distinguish the lead characters from the rest of the crowd. Both the Duke in Rigoletto and Otello wore the clothes of their compatriots, with little, insufficient distinction. The costumes for the men looked to be the same in both productions ─ perhaps the budget was snug ? Overall, I felt the Weimar production was too garish and dark and was left questioning…“What’s wrong with 16th century Mantua ?!”
Repurposed costumes ? Bartlett Sher’s Rigoletto and Otello / Metropolitan Opera
I always knew what I would wear before I ever had a 20’s themed opera to attend. A few years back, a friend gave me a vintage black cashmere sweater with a cream fur collar and rhinestone buckle at the waist. The tag indicated its pedigree: “100% Cashmere, Made in Scotland.” It was an instant love affair. Musing over the garment brought to mind the Silent Film era and its actresses I had seen in movies. My vision of a pale pink charmeuse gown and a black wool cloche was the surest way to bring the sweater’s former glory back into the limelight. A flapper would agree…
Louise Brooks
Louise Brooks
Anita Page
Since I knew that I was going to wear a cashmere sweater, the last thing I wanted was a long sleeve dress. That narrowed down the field of patterns. Ultimately, Folkwear’s Tango Dress fit the bill of a sleeveless, Art Deco design for my Silent Film Star look. Mary Pickford, here I come !
Folkwear’s Tango Dress
Silk charmeuse and a gorgeous wool suiting tangoed their way to 1920’s perfection ! This was my first time making a real hat, not one out of cardboard or headbands, and Elsewhen Millinery’s pattern was just perfect. A silk taffeta band decorated the supple cloche. With expensive fabrics and elegant finishes, these garments and accessories definitely classified themselves as ‘Couture’ pieces.
The hardest part was working on my 1920’s “slouch.” (Ouch !)
Thank you, Nancy !
Bundled in the warmth of the sweater, I was set for the cold January day. Only my feet were chilled. To fashion a Mary Jane style shoe, I safety pinned sewn strips of black linen to the inside of my regular black pumps. Effective, cheap, and temporary ─ no need to buy new shoes !
Nearly everyone I meet fawns over the fan purse I crocheted specifically for this opera. And the best part ? The cotton lining material is printed with opera glasses ! How neat is that ?!
An Art Deco Rigoletto allowed me to venture into a decade that has never suited my fashion tastes. But as with most bouts of historical costuming, I gained an appreciation and greater attraction to the bias-cut drop waist dresses of the time. I can’t say that the same treatment applied to Rigoletto was as appealing.
Toi, Toi, Toi,
Mary Martha
Cast and Credits:
Rigoletto ─ Giuseppe Verdi (1851) Live in HD air date: January 29, 2022
Cast: Rigoletto ─ Quinn Kelsey Gilda ─ Rosa Feola Duke of Mantua ─ Piotr Beczała Maddalena ─ Varduhi Abrahamyan Sparafucile ─ Andrea Mastroni
Credits: Conductor ─ Daniele Rustioni Production ─ Bartlett Sher Set Designer ─ Michael Yeargan Costume Designer ─Catherine Zuber Lighting Designer ─ Donald Holder Live in HD Director ─ Gary Halvorson Host ─ Isabel Leonard
Cheery and checked, gingham is a timeless fabric that offers many delights. From summer picnic tablecloths to baby rompers, it has an enduring appeal. During the summer that my new niece, Ruby, was to be born, an idea of stitching matching dresses for Hope, Grace, and Ruby all in classic red gingham check came to life.
The pattern was simple, despite a few hiccups, and they sewed up quickly. Soon, I had 3 nearly identical dresses, which were then shipped off to Idaho in time for Ruby’s baby shower.
Faith was thrilled ! Ruby was born in August and until January wasn’t big enough to fit into her dress. But now…
She’s a big girl !
Hope, Ruby, and their cousin Grace loved modeling their matching dresses ─ even in the cold Idaho winter.
Aren’t they precious ?!
Gingham: the fabric that never goes out of style and is versatile for the young and old. That makes me wonder… maybe I should make a gingham dress someday !
Toi, Toi, Toi,
Mary Martha
Thank you for allowing me to use these beautiful pictures of your children, Faith and Angel !
Long before I ever started dressing up in costume for the operas, I spent much of my Septembers and Octobers surreptitiously slaving away in my small bedroom on my Halloween costume for the year. Unsurprisingly, Halloween is my favorite holiday ─ not because of witches and ghouls and black and orange décor, but simply because I have always loved dressing up.
In the spirit of the season, I thought I would share some of my past outfits.
Before learning to sew on a machine, I had to rely on tape, garbage bags, and old sheets to create costumes. In 2013, newspaper was my material of choice…
I went as “Old News” ─ quite literally since all the newspaper used was out of date before the 31st dawned. This costume was well worn: in all, I slipped on the tiered skirt and laced up the “corset” bodice 7-8 times during the season. Thankfully, it never rained.
I love history. It’s an engaging escape for my antiquarian imagination. I also love to learn about the famous (and infamous) characters in history. Not knowing exactly what inspired it, I chose to be Marie Antoinette in 2014. The peruke and panniers were a crafting feat; both were constructed from plastic grocery bags and toilet paper rolls, but that’s where the similarities ended. Long stretches of white cotton were carefully hot glued to the cardboard “curlers” of the wig and then given a misting of watered gray paint. I crocheted the hairy tendrils. For years I kept the safety pinned skirt of tulle and sheets in a desolate drawer… until I realized that I was never going to wear flimsy cardboard panniers again and my mother wanted her sheets back. “Let them eat cake !”
In the same month that I was introduced to my first opera, my family went on a cruise ! Who would have thought that that cruise would wipe out 2½ months of social activities ? Yes, I came down with a horrible illness during the tail end of the trip that caused me to miss Tannhäuser in HD and Halloween 2015…
A Gold Rush Girl by day, Cleopatra’s doppelgänger by night… it was a whirlwind Halloween.
Brünnhilde the Valkyrie… Is there anything spookier than a mythical being whose primary purpose is to decide who lives and dies in battle and gathers up the fallen heroes to haul them to Valhalla ???
And just in case you’re wondering, I left my axe at home for the evening…
In all my years of dressing up, I don’t think I ever disguised myself as a princess; maybe a witch in a long, black gown or Miss America, but never a princess. The plush pink 1890’s ball gown from Manonwas my outlet for elegance and grace, living out every little girl’s fantasy.
Clearly my long-time love of dressing up has played a starring role in my life. The only question left is… what will I wear this Halloween ?
Opera is back at the Met for the 2021-2022 season with its Live in HD opener, Boris Godunov, a Pushkin-based Russian opera about a dubious tsar and the haunting of his rise to power. To scale down production, this was the first time that the Met performed the opera in its original 1869 format, which had obvious distinctions: no leading lady, no intermissions.
A scene from Boris Godunov / Metropolitan Opera
Due to technical difficulties at the theater, our local audience missed the first 20-30 minutes of the performance and was left to mentally piece together the fragmented story. An inauspicious omen for the opera ? I think so… Truth be told, the opera felt disjointed ─ whether due to the composer’s intentions or the abbreviated simulcast narrative, I can’t be sure. While I was disappointed in the latter, I went for the Russian language experience and René Pape and was duly rewarded by each. And as a bonus, the audience was compensated with free tickets and a free small popcorn for the inconvenience.Nice !
As there was no central female character in this version of Boris Godunov, I had to get creative with my outfit. Intriguingly, it was the Russian people that provided the influx of inspiration. I wanted to be a peasant (or serf) and knew just what I would wear…
Folkwear 128 Russian Settlers’ Dress
The sarafan is a traditional Russian folk dress popularized by peasants, but was also worn by the dignified in the imperialist regime. Typically worn with a loose shirt and apron, the jumper can be made as plain or as fancy as a seamstress wishes. Since my aim was to look poor and deplete on the outstretching Steppes, I left much of the red washed linen and cream double gauze as unadorned as possible.
This was my first time using a Folkwear pattern, which has long been on my sewing wish list. Included in the packet were detailed instructions on how to modify (or modernize) the traditional style of the garment as well as helpful information for embroidering the shoulders of the blouse. I opted to gather the back of my sarafan and stitched matching ribbon to hold the fabric in place.
A scarf from my mother’s dresser drawer transformed into a babushka tied around my head and the single braid trailing down my back.
Although I was thrilled with my authentic creation, someone else was not…“You need to throw that out right after you wear it; it’s AWFUL !!!!!” wailed my mother as I walked out dressed in full costume. She grimaced and turned away after every press of the camera button ─ it’s a wonder I even got any pictures to share !
As (un)flattering as the sarafan may have been, it was the perfect outfit for an opera where the peasantry plays a major role. I just wish I had been able to see the entire opera !
Toi, Toi, Toi,
Mary Martha
Cast and Credits
Boris Godunov ─ Modest Mussorgsky (1869) Live in HD air date: October 9, 2021
Cast: Boris Godunov ─ René Pape Grigory ─ David Butt Phillip Shuisky ─ Aleksey Bogdanov Pimen ─ Ain Anger Varlaam ─ Ryan Speedo Green
Credits: Conductor ─ Sebastian Weigle Production ─ Stehpen Wadsworth Set Designer ─ Ferdinand Wögerbauer Costume Designer ─ Moidele Bickel Lighting Designer ─ Duane Schuler Fight Director ─ Steve Rankin Live in HD Director ─ Gary Halvorson Host ─ Angel Blue
It may be apparent by now that I am an alliteration advocate. As much as I try to suppress my affection, there’s just something about starting a succession of words with the same alphabetical letter that tickles my fancy. Inadvertently, my new summer creation was an alliterative delight: a striped seersucker shirtdress !
Here’s how it began…
McCall’s 6891 Shirtdress
Originally purchasing this pattern to sew for a new Met production of Die Zauberflöte (which was subsequently canceled), it sat shelved, along with the yards of white chambray linen I bought for the project, without a hope except for the fact that I did very much like the pattern.
Nadine Sierra in Die Zauberflöte (Opéra National de Paris)
The idea of sewing a shirtdress never strayed too far from my mind, but it wasn’t until an issue of “Julie’s Picks” swatch club popped in the mail that the romanticized idea rose to the forefront as a planned reality. Could it have been a coincidence that the pattern suggestion for a dandy red stripe cream seersucker be none other than the McCall’s (reprinted as Butterick) shirtdress pattern I bought for the scrapped Met project ? Whether you believe in coincidences or not, I had my sign: I was making the dress !
“Julie’s Picks” July 2021 issue, Page 3
With this pattern being a Palmer and Pletsch design with extensive fitting instructions, I spent a good week perfecting the fit with the adjustment lines on the pattern tissue. My only substantial tweak was taking out ½ inch at the shoulder blade level to eliminate a gaping armhole in the back.
I wish there would have been more fitting tips besides the most common ones because I then needed to alter the sleeve pieces to compensate for the reduced armhole length. The attempt was in vain. As a result, my sleeve cap was gathered more than I had intentioned…
But, no matter !
The dress (a combination of Views C and D) turned out in tip top fashion and gave me the feel of a 1950’s waitress/housewife. I especially love the red “jelly” buttons that appear like hard candies on the peppermint stripe cotton.
I loved nearly everything about this dress: the American made fabric, the fit, the retro vibe, the color scheme… the list goes on. And while it wasn’t imperative that its descriptors start with the same letter, the fact that my striped seersucker shirtdress was an alliterative creation was just the icing on the cake.
Made famous by Diane von Fürstenberg in the 1970’s, the wrap dress has always been a favorite of mine for its balance of polished professionalism and flattering femininity. Whether for a meeting or a casual luncheon with friends, the possibilities for wearing the classic silhouette are almost endless. Many patterns exist on the web. However, when I came across the Untitled Thoughts Mathilde Wrap Dress sewing pattern, I felt a greater appeal and so ventured to sew my first real wrap dress.
Untitled Thoughts Mathilde Wrap Dress
The sewing was easy; the pattern was full of well-explained instructions and tips. Would the fabric fare the same ? When I first beheld the demure swatch of garden rose double brushed poly knit in one of my issues of Julie’s Picks swatch club, I barely noticed it. It was, after all, a “hot” polyester. But when my mother insisted that the color palate was a terrific match for my complexion, how was I to pass it up ? Mother knows best !
And she was right ! Despite my warranted hesitations about wearing polyester in the sweltering Florida heat and humidity, the fabric was a breeze to sew and wasn’t that warm, especially with the flutter sleeve option.
I call this my “Compliments Dress” since every time I wear it out, at least one person tells me how much they like its overall look. Perfectly paired with pearls and a blush of the cheek, I felt like a paragon of femininity. And that is a very good way to feel.
But I wasn’t done !
To me, it is important for a wrap dress to feature svelte ¾ length sleeves. Since my Compliments Dress was geared for spring and summer weather, I kept the sleeves short and free. I had other plans for the longer sleeve…
One of the most valuable aspects of the Mathilde Wrap Dress is that it comes in three different styles, including a very chic peplum top. With yet another fabric from an issue of the swatch club (this time a nautical rayon knit !), I envisioned a preppy “boat dock” look that would be well suited to an elegant dinner followed by an evening walk along the beach… or for sitting out by the pool !
The description of the pattern confides that it feels like “secret pajamas.” After wearing each style, I can testify to the truth of that statement. A flattering design, a beginner’s level of sewing, and comfort for days─ what could be better ? The Mathilde Wrap is a winner !
Costume Closet Couture 