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

Agrippina

The opera that catapulted Handel to stardom in 1709 certainly didn’t appear to possess any of the typical semblances of its Ancient Rome setting. TV news reporters, business suits, smartphones, and rather raunchy physical comedy could all be taken in during the Live in HD performance of Sir David McVicar’s staging of Agrippina.

So why did I decide to attend ? After all, I don’t like modern productions… or do I ?

A scene from Agrippina / Metropolitan Opera

A course taken on 18th-Century Opera from edX the previous summer softened my ossified resolve on the idea of attending a Baroque opera in a Y2K setting. It was worth a shot… and that shot was fired with poignant accuracy─ I laughed harder than I have ever laughed at any opera, nearly falling out of my seat on innumerable occasions ! The antics were well-timed, especially from Joyce DiDonato’s saucy Agrippina and her hellion son, Nerone, played to utmost perfection by a tattooed, skinny jean wearing, cocaine snorting Kate Lindsey in a trouser role.

Kate Lindsey as Nerone and Joyce DiDonato as Agrippina / Metropolitan Opera

As a scintillating counterpart to the opera’s R-rated comedy, the singing was sublime. With many scenes being accompanied only by the deft strings of maestro Harry Bicket’s harpsichord, the singers were exploited for their talent and technique alone, which was all the more appreciated after the insightful edX course.

The question remains to be asked: was the radical redux of the Met’s oldest opera in the repertoire worthy of my stalwart traditionalism ? Resoundingly, yes ! Call it sacrilege if you please, but if Agrippina had been staged in its original setting of the infancy of A.D. history, I think it would have been an absolute snoozefest ! Sorry, Handel.

Joyce DiDonato and Matthew Rose in Agrippina / Metropolitan Opera

Realizing the modern-dress style of the opera could very well lead into a fashionable sewing project, I envisioned a specific mode ─ an overall perceived attitude ─ for the styling of my outfit: Italian couture. Fittingly, Agrippina is centralized in Rome and while Ancient Rome is a completely different entity from the country of Italy in existence today, I still couldn’t resist aligning the two nations in my quest for haute couture.
Perusing pictures and watching video clips from previous renditions of the same McVicar production (extant since 2000), I chose to model my outfit after the Agrippina standing on the stairs in the picture below.

Sarah Connolly as Agrippina, circa 2009 / Gran Teatre del Liceu in Barcelona

Up close, the blazer was not just one solid color; it was subtlety patterned in a diamond motif. Satin first popped into my mind until I spotted the perfect fabric, which arrived in one of my monthly swatch club mailers from Fabric Mart Fabrics.

Taking the plunge: Wool, Dry Clean Only, $20/yard… Agrippina pushed my boundaries in more ways than one !

To sew my very first blazer, I used a PDF pattern from Lekala. Although not without flaws, I learned in strides how coat construction comes together. Styled with a “business bun”, Whiting and Davis purse (my mother’s), cat eye sunglasses, and gobstopper pearls (thank you, Aunt Countess !), I was poised to take on the world in sleek, corporate couture fashion.

The classic, Chanel-esque cocktail dress, which employed pattern and alteration techniques from the Corset Academy, was the perfect base garment for my “cutthroat corporate” ideal. Here was my inspiration dress:

Circa 1995 Chanel silk slip dress / via 1stdibs.com

The ponte knit dress was customized with a mesh upper lining and built-in underwire bra…

Did I mention this was an Italian couture outfit ? Everything, from the damask weave crepe challis wool of the blazer to the black ponte knit of the cocktail dress, was sourced from Italy.

Even the gold shank button was from The Boot !

Italian couture and a ruthless Roman matriarch… a match made in heaven ? You be the judge ! The taste for high-end fashion and the delicious vocalities of Handel’s breakout opera left me as hungry as the titular Empress herself, salivating over her next scheme.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Agrippina ─ George Frideric Handel (1709)
Live in HD air date: February 29, 2020

Cast:
Agrippina ─ Joyce DiDonato
Nerone ─ Kate Lindsey
Poppea ─ Brenda Rae
Ottone ─ Iestyn Davies
Pallante ─ Ducan Rock
Claudio ─ Matthew Rose

Credits:
Conductor ─ Harry Bicket
Production ─ Sir David McVicar
Set and Costume Designer ─ John Macfarlane
Lighting Designer ─ Paule Constable
Choreographer ─ Andrew George
Live in HD Director ─ Gary Halvorson
Host ─ Deborah Voigt