At the Hop

Although it may seem unfathomable, in all my years of costuming I have never dressed in the fashion of the poodle skirt from the 1950’s. The iconic getup has never been one of my Halloween costumes, nor worn as an outfit to an opera. Frankly, no opportunities had ever presented themselves !
Last year when my friend, Jacob, raved about his time at a fundraiser for Silly Sock Saturdays, I knew I wanted to go the following year. Since the theme for the charity event was a 1950’s sock hop, my opportunity for soda shop bop had undoubtedly arrived.

Without hesitation, I turned to Folkwear for my pattern. I already owned the 256 At The Hop pattern, which I purchased during an e-mail flash sale to add to my burgeoning pattern collection. It seemed frivolous at the time, but I knew I would have a use for it… someday.

256 At The Hop / Folkwear Patterns

Keeping with tradition, I used a charcoal wool blend felt for the skirt, which I ordered from Fabric Wholesale Direct. Recently, FWD began a matching thread and zipper service, which made choosing complementary notions much less of a chore. The full circle skirt was sewn in a professional manner with its lapped zipper application.

Matching thread and zipper for the charcoal wool blend felt

What’s a poodle skirt without its playful canine ? I used pink and white felt for the main construction of the appliqué and then hand embroidered its outline with a stem stitch.

Fitting the blouse was more of a challenge. Previously, I had sewn a wearable muslin of the Peter Pan collared blouse included in the pattern envelope. While it seemed to fit from the front, a test of simple arm movements proved the blouse to be very constricting and an impossibility for dancing. In need of assistance, I reached out to Katrina Walker, one of my fit teachers. A broad back adjustment was applied to the paper pattern as was a full bust adjustment. After raising the armhole slightly, my new blouse was much improved. Thank you, Katrina !

A consignment cardigan, saddle shoes, pink poodle bobby sox, and a polka dot chiffon hair tie made my outfit complete. Don’t forget about the cat eye glasses ! They were given to me as a birthday gift years ago. Thank you, Aunt Countess !

Miss Poodle was ready for the hop. But what about my friend ? Still thinking of the variety and versatility of Folkwear’s vintage patterns, I recalled their 251 Varsity Jacket pattern and realized it would be perfect for Jacob.

251 Varsity Jacket / Folkwear Patterns

After taking his initial measurements, I embarked through my usual fitting processes and altered the pattern to suit his needs. Particularly, it was imperative to widen the neck and shorten the sleeves of the pattern. For ease of wear and care, I chose a soft and spongy Ponte knit for the body and sleeves of the jacket. Stay tapes and PerfectFuse interfacing added stability to the welt pockets and facings. A tip for sewists: don’t skip this step ! It will elevate your garments from amateur to professional in a jiffy.

Sewkeys-E Knit Stay Tape fused to the pocket openings and welts

My model was a perfect participant. Jacob would curiously ask me questions as to my experience with working with models whereupon I had to gently let him down that he was not my first model to fit. However, his face beamed like the sun reemerging from the cover of the clouds when I told him a secret: he was my first male model to fit.
With supportive topstitching, striped ribbing, a fully lined interior, a machine appliquéd J, and silver snaps, the jacket was ready…

…and so were we !

My mother gave Jacob a ballpoint pen “tattoo” on his arm, just like all the greasers of the 50’s. He said it kind of tickled and was “a little relaxing.”

The fundraiser was a tremendous success ! Donations for socks and goodies were abundant and the music that played was hopping.

Rock around the clock !

In between root beer floats, a generous candy bar, photo booth, cotton candy station, and a barbeque buffet dinner, Jacob and I danced the time away while wearing his mother’s high school and college class rings. How neat is that ?!

Excitedly, we cheered at the end of the evening when we won two of the raffle prizes: trips to Top Golf and the Titanic Exhibit. Whoo hoo !

A thank you goes to the sponsors who made the event possible and for the benefactress who graciously invited me to sit at her table. Thank you, Mrs. Baker !

Whether attending a sock hop or just for confectionary fun, I highly recommend Folkwear’s vintage patterns for their authentic appeal and cultural connection. See you at the Hop !

Toi, Toi, Toi,

Mary Martha

Pretty in Pink For “Barbie”

Typically, I don’t dress up for movies. However, after accepting the invitation to go see the newest “Barbie” movie with a friend, I found myself creatively stimulated by an inundating wave of online images, ranging from 1950’s style dresses to more ostentatious disco getups in the prettiest shades of pink, my favorite color. Awash with the idea of participating in a cultural phenomenon, I gave into temptation.

Margot Robbie in “Barbie” ─ Warner Brothers

It would be hypocrisy to say that I liked the movie. I absolutely loathed it ! On several occasions, I felt like walking out, but since I had paid to see the entire film, I stayed. Even the costumes were a bit of a letdown, not providing enough of a counterbalance to the cognizance that my mind was being both assaulted and liquified.
But enough of that ─ let’s move on to the clothes !

Part of what rendered my decision to dress up for the movie so effortless was the fact that I already had the fabric I needed on hand. Using an adorable pink and white stripe seersucker that had been given to me by a friend, I was in good shape to create something special ─ thank you, Miss Cindy ! One of my go-to pattern sites, Sewist.com, helped me design a 50’s inspired dress with a scoop neckline and six gore circle skirt.

After three separate muslin mock-ups, I felt the pattern had been suitably adjusted for style and comfort. Notably, I lowered the waistline seam over an inch, moved the straps inward so they wouldn’t fall off my shoulders, created a scoop neckline for the back, and adjusted the bust darts for a more pleasing angle. A fluffy petticoat and a nude pair of pumps bought off eBay completed my impromptu Barbie look.

Jewelry played a starring role in shadowing the iconic persona; I employed a mix of both real and costume pieces.

Have you ever had the back armholes gape on your sleeveless tops ? It could be that your shoulder blades are prominent, like mine. Adding a small dart at the back shoulder straps magically removed those pesky openings.

Despite the glitters and charms of my attire, Opie was not impressed.

While it was fun to dress up for a movie, I don’t think it will become a habit of mine. Opera is my passion and its intellect, complexity, and sophistication suit my norms and standards far more than the inane cinematographic “Barbie”. But at least I got a pretty dress out of it !

Toi, Toi, Toi,

Mary Martha

Fifties Falstaff

“A Cad’s Comic Comeuppance”

This alliteration advocate certainly appreciated the Met’s promotional tagline for the upcoming performance of Falstaff ! And on April Fools’ Day, it couldn’t have been more fitting. As the final opera of a venerable 79-year-old Giuseppe Verdi, Falstaff doesn’t follow in the steps of the slew of tragedies and dramas that emerged from Verdi’s pen. However, it’s an opera that is full of plucky delight and ebullient personality.

Michael Volle as Falstaff / Metropolitan Opera

While the comedy, based on Shakespeare’s The Merry Wives of Windsor, is set during the reign of Henry IV, Robert Carsen’s Met production places the opera in the 1950’s. This was brilliant. No part of the production conflicted with the concrete libretto and the stage flow felt natural to the circumstances. But really, the best part was the fashion ─ hands down !

Hera Hyesang Park, Ailyn Pérez, Jennifer Johnson Cano, and Marie-Nicole Lemieux in Falstaff / Metropolitan Opera

For Fifties Falstaff, opportunities abounded for sumptuous styles. Everything from wide collars to houndstooth was on the table, but I favored Alice Ford’s lemon yellow dress worn during Act II while working her wiles on Falstaff in her Betty Crocker kitchen.

Michael Volle and Ailyn Pérez in Falstaff / Metropolitan Opera

Simplicity 1459 was my chosen pattern because, although it wasn’t a carbon copy of Brigitte Reiffenstuel’s stage costume, it featured many of those retro details that make an outfit unmistakably 50’s: full skirt with crinoline petticoat, portrait neckline, covered buttons, and a cummerbund sash.

Finding an accurately matching yellow satin proved to be more difficult than expected. Samples turned out to be either too pale, too brash, or too exorbitantly priced for my tastes. Ultimately, I settled on a sample that seemed close to my vision. More than fiddling with shades of satin, another reality posed a problem with production. I now work a part-time job and my sewing time came down to the final 3 days before the opera. That’s right─ with 3 days before the performance, I had nothing to wear ! Can you imagine my stress ?

Sewing on the hooks and eyes of the sash the morning of the opera, my outfit was ready, but don’t look too closely at some of those seam finishes !

After a quick glance at the pattern envelope while writing this, I do believe I wore the cummerbund sideways. The opera wasn’t the only thing that was topsy-turvy on April Fools’ Day !

And that satin sample ? Well, the yardage that arrived turned out to be glaring in its intensity. Whether it was the same dye lot as the sample or not, I haven’t a clue. Its Crayola hue rendered my shoes a temperature mismatch, but who noticed ?

Fun Fact: That’s me in the picture above my shoulder when I was about 5 years old.

My mother styled my hair in a relaxed French twist, pearls were donned, and white gloves worn. Classic !

For just over 2 days worth of work, I was relatively pleased with my nifty Fifties dress, even laughing at times. Coincidentally, that adopted attitude corresponded with a main theme from the comedy. At the end of the opera, Falstaff and the cast of characters agree on one thing: “the whole world is nothing but a jest.”

Toi, Toi, Toi,

Mary Martha

Cast and Credits

Falstaff ─ Giuseppe Verdi (1893)
Live in HD air date: April 1, 2023

Cast:
Falstaff ─ Michael Volle
Alice Ford ─ Ailyn Pérez
Nannetta ─ Hera Hyesang Park
Meg Page ─ Jennifer Johnson Cano
Mistress Quickly ─ Marie-Nicole Lemieux
Fenton ─ Bogdan Volkov
Ford ─ Christopher Maltman

Credits:
Conductor ─ Daniele Rustioni
Production ─ Robert Carsen
Set Designer ─ Paul Steinberg
Costumer Designer ─ Brigitte Reiffenstuel
Lighting Designers ─ Robert Carsen, Peter Van Praet
Revival Stage Director ─ Gina Lapinski
Live in HD Director ─ Habib Azar
Host ─ Ryan Speedo Green