Mary Martha Poppins

By now, it should be a well-known fact that Halloween is my favorite holiday. I prepare for the occasion, beginning in August, and hope to be finished with the last stitch of my costume before I emerge for my night of trick-or-treating on October 31st. Since working in grocery retail, I have to be clever in the selection of my costumes so that they fit the parameters of my various job class roles. In 2025, I was a chef.

As I began to ponder my potential costume for the year, I recalled several customers and managers along the way who had related to me that I had an unmistakable “Mary Poppins vibe.” Whether the comments were drawn because of my throwback aesthetic or my penchant for controlled chaos (or something else !), I haven’t a clue, but the idea had me thinking… I had never played a nanny character before… it would be fun to make a period costume again… the outfit should be suitable for my job… My decision was made ! Even better, I knew I could convince my friend, Jacob, to be a soot-faced Bert, adding to the charm of the ensemble.

Mary Poppins (1964)

With so many different cinematic outfits to choose from, I opted to style my costume after the blue skirt suit that Mary wears in the beginning part of the film. Featured on both the skirt and jacket are piped princess seams with contrasting fabric peeking through.

Julie Andrews as Mary Poppins and Dick Van Dyke as Bert

Pattern selection has always been one of my favorite parts of the design and sewing process. Although there were a plethora of Edwardian/Titantic style patterns available, I chose Folkwear’s 216 Schoolmistress’ Shirtwaist and Skirt pattern for the blouse and the skirt.

Folkwear 216 Schoolmistress’ Shirtwaist and Skirt

The beautiful heirloom blouse came together marvelously with my own added ruffle at the neckline to better emulate Mary’s blouse. However, after reading scant reviews of the 7 gore skirt, I felt I needed to revisit my cutting plans─ many had noted that the skirt was very slim fitting through the hips, so I cut my front and back panels in the largest size possible (3XL) while leaving the side panels as my standard Medium. This allowed for better placement of the front princess seams and gave me needed wiggle room. With excess fabric at the back, I decided NOT to follow the instructions for making a sewn pleat along the back seamline and opted to take up the extra folds into pleats at the waistband, giving the skirt more of a traditional “walking skirt” look.

For Mary’s signature wavy-brimmed boater hat, I used a pattern from a blog, which I modified to fit my adult head. Then I adorned it with daisies and cherries. The double bow tie was fashioned from red velvet ribbon and safety pinned at the neck.

I debuted the completed parts of my costume at a special needs Halloween dance where everyone jived to all the best tunes.

With two weeks until Halloween, I needed to focus my attention on the jacket. For this I turned to Black Snail Patterns’ Edwardian Coat 1910 pattern.

Black Snail Patterns Edwardian Coat 1910

Like the skirt, the jacket would need alterations. Not only did I dislike the puffed sleeves, but the notched collar also needed to be redrafted to be a shawl collar, like Mary’s jacket. These modifications tried me as a seamstress ! The hours spent fiddling with the paper adjustments and corresponding mock-ups for the sleeves alone were almost enough to make me throw in the towel and cut the pattern “as is”. But I persisted…
With the help of online resources and friends with greater knowledge and expertise than myself (thank you, Katrina !), I managed to redraft the collar to my liking and swapped out the Black Snail sleeves for another historical pattern’s sleeves.

My new front pattern piece, redrafted to have a shawl collar

While the jacket body came together fairly easily, I struggled with attaching the lining to the back vent in a professional way. Resignedly, I left an unsewn opening in the back lining of the jacket, but who would have known ? It was time for me to fly !

Because my workplace allows its associates to dress up for the holiday, I wore my costume to the store, white gloves, and all.

For Jacob’s costume, I bought a brand new men’s jacket on eBay for around $25 (retail price of $199 !). I hemmed his sleeves so they wouldn’t get in the way of sweeping the chimneys.

Halloween was a super­cali­fragilistic­expiali­docious success ! Just look at all that candy…

Toi, Toi, Toi,

Mary Martha

Rusalka

Dvořák’s opera of a water nymph who desires to be human should be familiar territory to anyone who has read or seen “The Little Mermaid” in any of its contexts. Whether it be the Hans Christian Andersen tale or Disney’s beloved movie, “The Little Mermaid” has had an endearing effect on the public. As someone who grew up watching the Disney film and reading Andersen, Rusalka was a must-see for me during the 2016-2017 Live in HD season. It was now time for the Czech composer to shine in the thalassic classic.

This was a new production for the Met and Mary Zimmerman’s designs were brought to life with forest fauna and frothing watering holes…

The forest sprites in Rusalka / Metropolitan Opera

This was fitting, but the glaring garishness of the palace where the prince lived was (intentionally) off-putting. Even Rusalka was ready to hightail it back to her pond !

Kristine Opolais (center) in a scene from Act II of Rusalka / Metropolitan Opera

An attractive draw to this performance was the casting of Kristine Opolais as the title character. As an actress, she’s evocative and affecting, yet her voice doesn’t tend to coat my ears in richness. However, my auditory senses were deliciously rewarded when Jamie Barton took the stage as Ježibaba, the cackling, steampunk-esque witch. She stole the show !

Kristine Opolais as Rusalka and Jamie Barton as Ježibaba / Metropolitan Opera

Yes, I was eager to attend Rusalka. Even more, I was excited to create a costume for the opera. With the scene set as the rivers and lakes amidst a cool forest, I played around with the thought of building a transitional outfit that started as “water” and gradually turned into a “land” ─ like an ecological ombré effect. Skirts and scarves in blues and greens would resemble the water and an Easter bonnet made of paper plates would have been a crafty representation of the flora above. Here’s my Easter bonnet from years ago:

Remember this, Aunt Countess ?

But no ─ I couldn’t wear my flamboyant fascinator to the theater and cause the folks behind me to become utterly enraged. Farewell to the forest ! Returning to the water theme, a backstage video from the Met threw me a helpful costuming clue…

Rusalka costume discussion / Metropolitan Opera

Just as in the Met costume shop, I fashioned my own lilies for my skirts of “water”… except my lilies were not silk… they were coffee filters !

A stack of basic white coffee filters were snipped and twisted to create fanned water lilies with pale yellow stamens reaching forth. Atop my head was a lily pad, which was a crocheted doily I made for my mother years ago. And the crochet lace halter top ? I bought it at a consignment store. My outfit cost me next to nothing and was a worthy copycat of Kristine Opolais’s Act I gown.

Kristine Opolais in Act I of Rusalka / Metropolitan Opera

In “The Little Mermaid” as well as Rusalka, the price for becoming a human being is the seeker’s own voice and immortality. And while the ending in the opera was not a “happily ever after” scenario, I couldn’t have been more pleased with the result of my costume ─ all the fun of a water nymph for the day with no remote danger of losing my voice or life.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Rusalka ─ Antonín Dvořák (1901)
Live in HD air date: February 25, 2017

Cast:
Rusalka ─ Kristine Opolais
The Prince ─ Brandon Jovanovich
Ježibaba ─ Jamie Barton
The Foreign Princess ─ Katarina Dalayman
Vodník, the Water Gnome ─ Eric Owens

Credits:
Conductor ─ Sir Mark Elder
Production ─ Mary Zimmerman
Set Designer ─ Daniel Ostling
Costume Designer ─ Mara Blumenfeld
Lighting Designer ─ T.J. Gerckens
Choreographer ─ Austin McCormick
Live in HD Director ─ Gary Halvorson
Host ─ Matthew Polenzani