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I knew I was going to check out the Liberty of London stuff at Target this past Sunday.  I also knew I was not going to wake up at 6am (ON A SUNDAY) to get there before the store opened, especially with the time change (side note: Yahoooo!!!).  I wanted to avoid the mad rush and figured if there was nothing left for me when I got there at 11, then it wasn’t meant to be.

When I arrived, I first headed to the women’s section.  Not unexpectedly it was a bit of a mess and I could tell my size was virtually sold out.  There was one dress left and while it fit, I put it back because it was polyester.  I’m not a fabric snob but I was hoping for cotton.

Then I went to the girls’ section: score!  Cute and cotton dresses aplenty and this was one of those times that I was glad to be petite.  The smock dress above is my favorite.  The color is not something I would normally pick out for myself but it goes well with my skin tone and the length is just right.

I also snagged these darling gardening gloves (the ones on the right).  I actually needed a pair:

OK, here’s where the decision-making comes in.  I don’t know if I should keep the following:

I love the sweet pea print of this top, but is it too juvenile for me?

Same question goes for this sundress (called a cover up on the tag; I guess it supposed to go with the swimsuits).  I love the almost psychedelic print.  I don’t normally wear such loose styles and do I really need these?  But wouldn’t these be great for late summer when the weather is really warm?  Could these transition into mommy-to-be wear?  (I’m not a mommy-to-be, by the way!)

I don’t know, any thoughts?  Did you pick up anything Liberty at Target?

Unless you yourself are afraid to leave your nut tree and explore the world, you probably know Scaredy Squirrel. I first read this several years ago and bought the book without blinking.
It popped into my head as I was thinking of a blog post for this week so I looked it up. The series is now up to 4 books, there is a puppet, and there is a TV show in the works. If that's not enough, it's also #46 on School Library Journal's top 100 picture books (a good list to browse anytime!) That's the type of success I know many of us would love to achieve, but here's where it gets really interesting for me.
I browsed this book she illustrated at our local garden store a few years ago. I was grabbed by the lovely cover, and surprised to see that it was illustrated by Melanie Watt. Such a different style from the flat, cartoonish Scaredy Squirrel. Gorgeous though, right?
And then there's this other style I saw. I haven't read this, but the cover is beautiful and so very different than the other two styles. Perhaps I'm looking for a little comfort since I'm experimenting with style currently too. Is this the type of thing that is allowed when you have a little (or a lot, in Melanie's case!) success under your belt? Is this something that is almost irrelevant when you're pitching your own dummy? So long as the style is appealing and suited to the story, are you free to play? Just thinking out loud here as I work on a new style and think of where it might take me.

I have this habit of buying vintage for a bargain (because pieces are damaged, ill-fitting, etc.) and taking forever to getting around to making repairs and thus wearing said items.  But I’ve made the commitment to change this bad habit into a good one and I’m working my way through my to do pile. This is the first post of my vintage dress parade and I’ll detail the fixes and tweaks I’ve made for each one.  I’ll try to remember to include “before” shots next time, hee hee.

The above late 1930s or early ’40s dress was quite the steal as it was falling apart in various places, had a motley crew of ugly buttons and was an unflattering mid-calf length.  My fixes:

• Changed the buttons to clear glass ones with faceted edges; I figured this would work well both in the light-colored printed (and flocked!) fabric as well as the navy blue organza.  (My camera died before I could get any close up shots.)
• Added bust darts for a better fit.
• Trimmed the flutter sleeves for a little bit more modern look.  (I felt like I would fly away before I narrowed them down!)
• Hemmed the skirt by a few inches.  Each tier in the skirt was a little bit wider (taller?) than the proceeding one, from waist to hem.  Instead of hemming just the bottom tier (and messing up the sequence) or hemming each tier (too much work!), I hemmed the second navy blue tier to match the width of the first one.  This way there is still some order/design to the width of the tiers.
• Used the piece I trimmed off the skirt and turned it into a sash (original belt was missing).  I can see here that the sash could stand to be shortened (that’s the beauty of taking photos of your projects - you see things you might miss in the mirror!).
• Made other minor repairs like loose seams, wonky tiers, etc.

Next: I love wearing this ’50s dress.  I found it soon after seeing (500) Days of Summer and thought it looked like something Zooey’s character might wear.  I bought a pale grey-blue crinoline just for this dress.  I’m also wearing the same pale blue slip I’m wearing under the dress above.  I considered going dark but then you wouldn’t be able to see the print on the sheer fabric very well.  Anyway, here’s what I did:

• Removed the sleeves: this dress had half sleeves with quick and dirty hems that were not so great.  Since I don’t like fixing/sewing sleeves I just took them off and finished the openings by simply folding under the edges (which doesn’t always work due to the curves but luckily it did in this case).
• Let the waist out: the wearer before me had a tiny waist and had taken it in in several spots around the ruched waist panel.
• Hemmed the skirt. (I will almost always do this!)
• Repaired little holes and opened seams.
• (I thought about pinning on that dark blue rose that I’m holding at the waist along with a ribbon sash but the flower is a bit dark and I think the dress looks nice unadorned.)

Hope you enjoyed this little dress tour!

(By the way, thanks for the Lucy love from the last post - it made her blush!)

I’ve had this dress for almost a year, picked it up for $15 at the antique market.   It is almost a relief to have finally done my fixes on this dress; clothes are really moving from the to do rack to the closet!  I really love this dress, I feel really at home in it.

Here’s a look at the before:

A 1970s version of a 1930s dress.  You can’t see it in the photos but the little flowers are flocked which I love (not much flocking left but still counts for something).  There’s absolutely nothing wrong with the style, only it needed some repairs here and there.  But for the most part I don’t like high necklines; I feel too closed up.  And the sleeves were shortened in a slapdash fashion by its previous tenant (Hmm, I sense a trend) so I had to do something about that.

This is what I did:

• Cut out and lowered the neckline; removed neck facing that was clearly visible under the sheer fabric.
• Added a pleated Petersham collar that I tacked down by hand. (The stitches seem very obvious to me even though I tried my best to not sew too tightly; I might redo it but it’s fine for now.)
• Cut the sleeves down, leaving a little bit of the previously gathered fabric which I hemmed creating little ruffles.
• Fixed some general wonkiness around the bust seam.
• Cut off the lace and ruffle at the hem and shortened the skirt.  I considered fixing and re-attaching the ruffle but decided I liked the simplicity of the plain hem.
• The ties were very much uneven so I shortened one. (I did not match the lengths exactly as I don’t see a problem with them being off just a little.)
• Fastened a little brooch to the neckline (from Seventh Muse).  I’ve fashioned other things like a yellow velvet bow and such which I can switch out at will!

I have to say I quite enjoy detailing all the repairs and alterations I do to my vintage finds and I hope you do too!  I think so, and I find your comments very kind and encouraging.  Thank you.

Per my statement above, I cut down the armhole ruffles quite a bit.  Even still, I feel like these are very pronounced.  ”Hey everyone, check out my armhole ruffles!”   But I’m sure it’s just me and my desire to be inconspicuous (so says the girl who BLOGS).

Cotton voile, how I love it.  The weight and print are perfect for this vintage style.  Because it’s so floaty, I added a ruffle at the hem to weigh it down and balance the silhouette.  And you may recognize that belt - it’s from my vintage shop.  I decided it went perfectly so out it went, into my closet.

The next dress is a doozy:

It’s bright seafoam green!  And synthetic!  But also really fun and cute.  (Via Clever Nettle’s shop.)  I really wish I had taken a “before” photo (I’ve got to remember to do this!) because I changed out the collar.  It seemed like a trend back in the ’60s to make necklines look like they are backwards: high in the front, low in the back like in this dress.  Personally, I’m not a big fan mostly because I don’t like the feeling on stuff on my neck with the exception of a really soft (and loosely applied) scarf.

Back to the neckline: the front was high and wide with a standing collar that came down in a “v” in the back, tied is a bow.  I really liked the bow idea and wanted to retain that.  Here’s what I did:

• Removed the collar (2 pieces) and bias tape.
• Cut a “v” down the front (I put in the dress and pinned the bottom of the “v” so I’d know where to cut).
• Lined up the collar pieces to the front and cut off the access length; sewed down open ends.
• Restitched the collar pieces on by hand (Doing it this way seemed to leave little room for wonky seams even though it takes longer [but it's better then picking out stitches!]).
• Restitched bias tape to areas of neckline that did not have collar pieces sewn to it.
• Created a loop from left over collar to make the bow in the front.
• Stitched
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I love to watch movies for the costumes.  (And if you’re anything like me, you do too!)   I had placed Kit Kittredge: An American Girl in my Netflix queue months ago for this very reason.  I’ve never had much interest in the American Girl doll phenomenon (I have to admit, I’ve been more of a Barbie fan) but when I saw the trailer for this movie I figured it would be a wealth of Depression era fashion inspiration.

“Depression era fashion inspiration” sounds rather contradictory.  But even those families who had to pinch their pennies often managed, with a lot of creativity, to produce unique and pretty clothing for themselves.  Feedsacks, scraps and old clothes were given new life and transformed things like day dresses and quilts.

My favorite part of everyday 1930s fashion (besides the sweetest prints and handmade sweaters) are the little details: plackets, collars, ties, buttons, etc.!

I don’t want to spoil the movie for you so I’ve only posted some of my favorites. There are plenty more highlights in the movie, including lots of inspiring grown-up wear!  (I even spied some Remix shoes.)  It’s a cute family film with a wonderful cast (Stanley Tucci, Abigail Breslin, Joan Cusack and Julie Ormond), albeit a little slow at times.  It would be a good movie to watch on a Sunday afternoon or weekday evening with a pot of tea and some vintage sewing or knitting to work on.

Have you seen this movie?  If so, what are your thoughts?  What costumes movies do you find inspiring?

I’ve spent some time today reading a terrific little book of writing instruction for both the beginning and experienced writer. The book’s been around for a long while.

After some thought,  I have some questions regarding how certain aspects of writing discussed in the book are handled by today’s editors. I’d like to address one aspect in particular.

Transitions

In Brandon Rotal’s Little Red Writing Book the subject of transitions placed near the beginning. Rotal goes through the four types of transitions: contrast, illustration, continuation, and conclusion. All writers use transitions. They’re a necessary step in moving an essay, article, or story from start to finish.

Regardless of transition’s importance, in much of today’s editorial preference, specific transition words are currently discouraged. I’ve read recent articles written about the overuse of “however”, “though”, “therefore”, “but, etc. I’ve been told by various other writers to limit my use of such traffic signals in my writing.

Two important questions arise for me. How do transitions happen without initial trigger words? Does a writer’s style dictate use of transition words?

New Transitions

Whether a writer has fifteen years freelance experience or a mere few months, small considerations such as transitions can make or break an acceptance in today’s competitive market. If former transition words are no longer received favorably, something else must take their place.

Let’s start with the contrast transitions. If “however,”  “but,”  “on the other hand”, etc. doesn’t cut it anymore, there are ways to shift thoughts. After all, the brain does it all day long.

For instance: Rather than say “However, we couldn’t move the fallen tree without more industrial power,” create a substitute. Try something like “Moving the fallen tree would require more industrial power than we possessed.”

The meaning remains the same. The sentence is stronger. The traditional transition was eliminated.

“Nevertheless” can be left behind for “Notwithstanding.” It isn’t used as often. The key is to refrain from using it often. Of course, the writer doesn’t have to use any trigger words.

Example: “Nevertheless, the fallen tree would take more resources to remove than we had available.” becomes “Without bringing in additional resources from outside, we couldn’t move the fallen tree.”

The latter transition takes one less word and doesn’t use trigger words.

Using Style Transitions

As seen above, the writer uses a shift of thought to bring about transition in subject direction. Transitions don’t have to be abrupt and jarring. The writer can slide through them without breaking for turns.

For example: “While writing this piece I’ve had to think up more unusual transitions than I’ve taken time for in many weeks. Normally, I don’t sit and ponder the use of traditional transition words. I could get stuck in each sentence, if I allowed myself that luxury.

 Instead, I try to ignore the existence of traditional transition words. I think of them as unnecessary descriptors and work to leave them out of my writing.  It’s difficult, especially when a person has to change a total perception of proper writing style.”

New Version: “As I write this I have to create many new transitions. To eliminate the difficulty, I try to ignore the existence of traditional transitions. Shifting thought allows the writer to say as much in a more fluid way. If I think of transition words as unnecessary descriptors, my writing flows with strength and clarity.

The second version says the same thing as the first. The difference is length and flow. Personally, I like it better than the first one. In the end, that’s all that matters. If it works better, the likelihood of an editor liking it, too, increases, which is the final writer�