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

Der Rosenkavalier

Richard Strauss’s galloping social comedy of class and sex was a double shot of caffeine that left me both breathless and exhilarated. Although originally set in the 1700’s, the latest Met redux advanced the story to 1911, the year that the opera first premiered while coinciding with the cusp of World War I and the disappearance of the Habsburg empire.

Günther Groissböck (center) as Baron Ochs and Renée Fleming as the Marschallin in Der Rosenkavalier / Metropolitan Opera

Uniquely, this was to be the farewell of Renée Fleming and Elīna Garanča, both retiring their respective roles as the worldly and wistful Marschallin and her adolescent lover, Octavian. It’s really a pity ─ both were superb, but especially the latter, who had me completely under the spell of her masculine alter ego. Their affair may have been short-lived, but their legacy will live on !

Elīna Garanča as Octavian and Renée Fleming as the Marschallin in Der Rosenkavalier / Metropolitan Opera

Equally scintillating were Günther Groissböck as the hilariously oafish Baron Ochs and Erin Morely as the dainty debutante, Sophie. In fact, I would venture so far as to deem the cast as nearly immaculate: I couldn’t imagine better singing actors to play each role, especially in regards to the stratagems and horseplay of the opera. My sides were splitting !

Erin Morely as Sophie and Günther Groissböck as Baron Ochs in Der Rosenkavalier / Metropolitan Opera

Since Edwardian was the style à la mode, I did my best to try and capture the time period using what I had one hand. My mother’s red Christmas dress, worn in the late 1980’s, offered a classic silhouette that could surely mimic the matronly Marschallin. To tie in the ecru lace collar along the neckline, I crocheted a pair of gloves to further my ideal of the graceful Edwardian lady.

The makings of a lady

The hat, oh! the hat…

How many times are the fashionable ladies of the early 20th century pictured without some enormous feathered and flowered chapeau nesting upon their updo ? Hardly ever ! I needed something spectacular to set off the conservative frock. So I snatched an old Panama laying around from years ago and padded the crown with wads of cotton to eliminate the outer indentions. Then, I sandwiched the brim of the hat with two large cardboard “donuts” and applied copious amounts of duct tape to secure the layers from shifting.

A swath of vibrant scarlet velvet was tucked into the newly expanded brim and reshaped crown. Out of the same velvet I stitched a gigantic bow and attached it to the back of the hat…

A bouquet of red roses (Walmart’s Finest) and gold Christmas bow were all that were needed to christen my hat for Edwardian greatness.

Elegant and ostentatious… just like the ladies of the Edwardian era and Strauss’s brilliant Der Rosenkavalier !

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Der Rosenkavalier ─ Richard Strauss (1911)
Live in HD air date: May 13, 2017

Cast:
The Marschallin ─ Renée Fleming
Octavian ─ Elīna Garanča
Sophie ─ Erin Morely
Baron Ochs ─ Günther Groissböck
Faninal ─ Markus Brück
An Italian Singer ─ Matthew Polenzani

Credits:
Conductor ─ Sebastian Weigle
Production ─ Robert Carsen
Set Designer ─ Paul Steinberg
Costume Designer ─ Brigitte Reiffenstuel
Lighting Designers ─ Robert Carsen, Peter Van Praet
Choreographer ─ Philippe Giraudeau
Live in HD Director ─ Gary Halvorson
Host ─ Matthew Polenzani