Sew What?! Life's Too Short to Match Plaids

It's the easy ones that always give me trouble.  It's also the hard ones that always give me trouble.  Come to think of it, sewing always gives me trouble.  I guess I'm not very good at sewing.

My perennial complaint is that sewing is a necessary evil, its utility lying solely in transforming the ideas in my brain and the scribbles in my sketchbook into fabric-based realities.  I wish I could be one of those people who claims to find the act of sewing therapeutic but I get a pain from cutting and pinning...and from correcting my mistakes.

Exhibit A

The basic silhouette of this dress really couldn't be more simple; the margin for error was slim.  Feeling rushed to get it completed in Mary's absence, I hastily draped a skirt on a dress form and attached it to the bodice in a way that made it nearly impossible to remove when, upon her return, the fit was something awful.  The time I had spent matching the plaids, hand-picking the zipper, and hand-sewing the lining was all for naught, leaving me to wonder if it was even worth salvaging the dress.  As I ripped out all of my crude, uneven dainty, perfectly-spaced stitches, and hacked away the offending bits of skirt, I just knew that I would never get the plaids to line up the way they had before.  And then I had a sewing epiphany - life is just too dang short to match plaids!  After all, the first chapter in Mr. Tiny's wacky tacky Sewing Primer is dedicated to smoke and mirrors, the title being, "Distract 'Em with Oversize Flowers."

Having already cut the side sections of the bodice on the bias, I figured that as long as the vertical lines matched
from the bodice to the skirt, I could get away with my reckless placement of plaid.  I thought I'd try and confound you even further by making a garden's worth of self-fabric flowers so your eye would have no place to rest.  And in a final attempt at trickery I decided that the location for this shoot would place Mary in front of a mosaic wall in tonal blues that mimicked the blue check-pattern of the material.  Well, Did it work?

Because Mary's personal style has become so consistently inconsistent, I have decided to dedicate my design time to sewing things that are really portfolio builders for me as opposed to wardrobe builders for her.  Made from discount-bin, blue-checked cotton, this dress really has no practical place in a wardrobe anyhow.  The gown was born of thrift (using what I had in the stash) and a desire to try new techniques (a heaping headpiece, a one-shoulder dress, and bowers of fabric flowers).  Because the gown itself is a little unorthodox, I also wanted to stray, if ever so slightly, from such literal vintage-styling by encouraging Mary to create a more stark look with her hair and make-up. Thankfully, our collaborator and friend, Fabian, was available to work his photographic magic on our most recent fashion experiment.

Mary is always hounding me for dresses with pockets but she is NOT the boss of me!  I compromised 

by making a single pocket that is a large, lined, fabric flower disguised as part of the hip corsage.

For the headpiece, I cut approximately 457,879 bias strips of varying widths, starching them heavily

before turning them into flowers and attaching them to a chunky headband covered in self fabric.

Even with my fumble-fingered fixes, the dress is far from perfect.  But, as I said, my sewing is merely a means to an end.  An end if wherein I didn't find some sense of therapeutic relief, I might need actual therapy for my PTSD (Post-Traumatic Sewing Disorder).  The thing that haunts me most about sewing this look is that, even though the color and silhouette are completely different, the final product is so reminiscent of John Singer Sargent's most celebrated painting, Portrait of Madame X.

Madame M???
She's "Just That Type of Girl."

A big thanks to my favorite team, Mary and Fabian, for once again breathing energy and vitality into my humble, homemade creations.  I can't wait for the next time I get to be scolded by the pair of you for holding the reflector incorrectly!!!

Even though Fabian's car (a '55 Buick Super) is more famous than the three of us combined, I am honored to feature this photograph as a "THANK YOU" to Fabian.  In fact, it is my great pleasure to state, completely free from duress, that this first-class automobile is much prettier than Mary and emits far less noxious fumes...(Did I get that right, Fabian?).

"Just That Type of Girl" - Madame X

(If only the car in the video was a '55 Buick)

Cheers!

Mr. Tiny

Silly Cinema: Lady on a Train (1945)

If The Parent Trap (1961) is my very favorite movie, then Lady on a Train (1945) is pulling into the station right behind it.  It is another film that I can watch time after time and find myself both comforted by the familiarity and still keenly invested in the story.

Lady on a Train (1945)
"Deanna...on a Man (Oh! Man) Hunt!"
(Source)

At its heart, Lady on a Train is a screwball comedy that also happens to be a musical, murder-mystery, film-noir, fashion-show romance.  As with many of my favorite films, Lady on a Train has a little bit of everything and every little bit is done well!

Like all classic pieces of cinema, this film was adapted from
the finest literary sources.  Actually, Lady on a Train might
be the exception that proves the rule; it is probably the one
time when the movie is better than the book!
(Source)

The movie stars Deanna Durbin as Nikki Collins, a daffy San Francisco socialite who is obsessed with pulp crime novels.  On her way to New York to visit relatives for the holidays, she witnesses a murder outside of her train window.  With no victim and little evidence, Nikki enlists the help of the police, an executive from her father's firm, her favorite novelist, and possibly the murderer himself to solve the crime.  Certainly, the story practically requires a winch to assist in all of the disbelief that viewers are expected to suspend; the magnetism of one of Hollywood's most underrated stars, however, is enough to carry the audience happily along to the very end.  Even if one is not sustained by the plot, the sets, the costumes, the music, and the cavalcade of character actors are more than enough keep any "Silly Cinema" fan entertained.

The only way this movie could've been better was if we were able to see it
in the Streamline Moderne opulence of Broadway's Loew's Criterion theater!
(Source)

From train compartment to elegant hotel suite, from industrial silo to luxury penthouse apartment, the sets in Lady on a Train are all fantastic and fully-realized.  They are but the stuff of community theater productions when compared to the brilliant, three-ring setting of the movie's biggest action, the Circus Club.

I'm not sure when things changed (or if there were ever such grand, themed night clubs outside of a Hollywood film), but how badly do I want to go to a circus-themed nightclub where the doorman is a giant, the emcee is a ringmaster, the foyer is a circus train carrying an animal band, the chorus line is Josie and the Pussycats, the waiters are dressed like Pagliacci, and all of the entertainment is performed under the acrobats' safety net?

I believe that Lady on a Train is Durbin's first film in which she appeared as blonde.  Growing up recognizing her as my grandfather's favorite chubby-cheeked brunette, it was a little jarring when I first saw Durbin in Lady on a Train.  After countless viewings, I'll willingly put her up against any "Hollywood blonde."  In fact, blonde is the perfect color for Durbin as idealized, post-War, noir-ish fashion plate.  Strangely enough, the film credits no one for the amazing costume designs.  It is particularly odd as Lady on a Train features a film-within-a-film moment when the main characters disrupt a theater full of movie-goers watching a film reel about forthcoming fashions (that incidentally features marionettes wearing miniature versions of the couture ensembles - wacky tacky gold).

Again, it is shocking that no credit can be assigned to a costume designer*.  Durbin's character has no less than one dozen distinct costume changes (plus a few variations), in a story that is set over the course of only a few days.  The costumes range from sight-gag rain slicker with Pippy-Longstocking braids to a bustled formal with peek-a-boo cut out at the back.  I call this movie part fashion show because within one scene, Durbin's character undergoes three dramatic costume transformations, all with equally dramatic and significantly-different hairstyles.  It is difficult to choose a favorite when the looks include a studded, cowhide jacket, a two-toned, hooded suit trimmed in fringe, an asymmetrical, cropped tweed jacket with one fur lapel, and an unbelievable chiffon-and-midnight-lace evening gown.

It was difficult but I managed to do it; my favorite ensemble in the film (and maybe in movie history) is this simple black suit.  The signature 1940s silhouette is achieved by a straight skirt and a jacket with a nipped waist and broad shoulders; the plume-covered hat with matching muff and the double-donut hair transform an otherwise elegant suit into something truly over-the-top and inspiring.

While the film is not a musical per se, there are a few beautifully integrated musical numbers that use Durbin's incredible voice to full advantage.  In spite of the fact that Durbin gained fame as the operatic counterpoint to Judy Garland's colloquial singing style, I much prefer when she lends her voice to more popular songs of the day, including a sultry rendition of "Gimme a Little Kiss."

"Gimme a Little Kiss" - Deanna Durbin from Lady on a Train

"Silent Night" - Deanna Durbin from Lady on a Train

"Night and Day" - Deanna Durbin from Lady on a Train

As if Deanna's charms aren't enough, Lady on a Train also boasts a roster that includes Ralph Bellamy, Dan Duryea, and David Bruce.  Yes, the stars shine in Lady on a Train but it is the supporting cast that truly brings the film to life.  As per usual, my favorite performances are delivered by the character actors.

William Frawley, Elizabeth Patterson, Allen Jenkins, and Edward Everett Horton are but four stand-outs amongst the film's unbelievable cast of supporting players.  These four are special because, whether series regular or guest star, each one of these character actors went on to appear on I Love Lucy.

Beyond the sets, the costumes, the music, and the cast, the most interesting part of Lady on a Train may very well be the marketing campaign.  The full-color movie poster at the beginning of this post makes it look like Nikki Collins (Durbin) is madcap man-trap who gets her fella by the point of a pistol and a goofy grin.  The below poster looks very much like an edge-of-your-seat noir thriller.  Much like the film itself, the ads for Lady on a Train are suffering from an altogether-entertaining identity crisis.

"A song on her lips - MURDER on her mind!"
(Source)

What is your favorite movie?  Have you ever seen Lady on a Train?  Have you watched any of our other "Silly Cinema" recommendations?  If you are a fan of film-noir, romance, mystery, drama, comedy, thriller, musicals (that just about covers all the bases), or simply "Silly Cinema," then I suggest booking first class accommodations with Lady on a Train.  If Walter Winchell says, "It's big-time," then you know it's good!

Cheers!

Mr. Tiny

*Thanks to the superior cyber-sleuthing skills of our pal, Lauren, at Wearing History Clothing/Patterns/Blog, we learned that the designer of Ms. Durbin's screen wardrobe was the inimitable Howard Greer, known for costuming other well-known screwball-comedies including Bringing Up Baby and My Favorite Wife.

Sew What?! The "Happy Holiday" Frock

People often ask me where I go shopping for the fabrics that I use to create Mary's wardrobe.  The answer is simple - everywhere.  Wherever there is fabric being sold at discounted rates, one will likely find this oversized cheapskate knee-deep in broadcloth, seersucker, tartan plaids, and even metallic upholstery yardage.  It is, in fact, six-and-a-half yards of lamé, ribbed upholstery fabric in crimson and gold, bought at a deep discount at a hole-in-the-wall fabric store, that became Mary's Christmas frock this year.

As usual, my design process meant allowing the fabric to dictate the silhouette.
Surely there are myriad directions one might take with this light-as-a-feather, shimmering,
fantasy fabric, but in my mind, Christmas always calls for an extremely-full skirt!

Adapting the pattern I drafted for Mary's Halloween costume, I made a drop-waisted, boned bodice with princess seam lines.  When Mary wore the dress to a Christmas party last weekend, I was flattered when a new friend complimented my decision to vary the direction of the stripes (vertical on the bodice, horizontal on the skirt).  As much credit as I wanted to take for the clever design choice, I had to come clean that it was merely a byproduct of laziness.  Vertical stripes on the bodice meant I didn't have to worry about matching stripes; horizontal stripes on the skirt meant I could use the full length of the yardage with only one seam at the back.  The real question is, why is it so hard for me to just accept a simple compliment?

If you follow Mr. Tiny on Instagram, you might remember this picture, a
sneaky peek-y of  the dress in progress.  When a fabric I love comes in
multiple colorways, I will almost always buy them all.  Having bought
this material in purple (project pending), red, and acid green, I thought
I could use the latter colors to add a whimsical hip corsage in the form
of holly and berries; when it came time to apply it to the dress, I just
couldn't make myself do it.  Even the king of wacky tacky found the
size and scale of this appliqué a little too whimsical.  Occasionally,
I am forced to admit that in some cases, simplicity really is best. 

While a very-talented friend, and photographer, has graciously offered to take proper pictures of Mary in her new dress, I couldn't resist sharing a couple of photos of the Happy Holiday Frock in action before the big photo shoot.  I figure that it is best to share a couple of "low-budge" images and give you a very honest sense of how regularly unprepared we are to take glamorous photos (the following were taken at two-thirty in the morning on the streets of Los Angeles using an iPhone) and how much we preferred enjoying the scintillating company of the amazing party to pretending we know what to do with a camera.  The lighting and the resolution may both be low but the dress still sparkles!

It is hard to convey the scale of the corsage but I would estimate
that it was roughly the size of her face.  Don't you think I was right
to leave it off?  Even thought the belt was part of my original design,
I sort of hemmed-and-hawed over that decision as well.  In the end, I
think it defines the waist well and breaks up Mary's already-long torso.

Mary was a trooper; it was crazy-cold by Southern
California standards and the only she thing she had to
protect her from the cold night air was the matching wrap...
and the six-and-a-half yards of skirt.  Nary a crinoline nor a
petticoat was needed;the fabric was so airy and voluminous
that the skirt's fullness supported itself!  

What will you be wearing this season?  Do you have a favorite holiday ensemble?  Be you clad in fancy frock or ugly Christmas sweater, we wish you a very Happy Holiday!!!

"Happy Holiday" - Bing Crosby with The Music Maids (1942)

Cheers!

Mr. Tiny

Sew What?! Looking Our Gift Horse in the Mouth

Where do we come up with these crazy phrases, phrases like, "Never look a gift horse in the mouth?"  I have never found a single occasion to look any standard-issue horse in the mouth, let alone a benevolent gift horse.  I must admit that until very recently I hadn't given much thought to this particular barnyard idiom.  In actual fact, whenever the phrase was uttered I couldn't help but picture a nattily-dressed thoroughbred rapping at the door with a beautifully-wrapped gift box in hand hoof.  But who was this horse and on what occasion would he be obliged to give me a gift?  I kind of assumed that this was vestigial phraseology, lingering long after the demise of some ancient culture whose venerated horse figure, "Father Equus," - very much akin to our Santa Claus - once a year blessed the good, little children with a bounty of gold, and frankincense, and myrrh (if it's good enough for Him, it's good enough for me), and hay.  However, the question remained, why would I look in his mouth?!!  

Upon reflection, I suppose the real sentiment is that when given a gift (in this case a horse), it is decidedly bad form for one to appraise the quality and value of the gift (in this case inspecting the mouth of said horse).  Instead, one should simply be thankful for the generosity behind such a spectacular gift - I mean, who at some point in his life hasn't wished (in vain) for a pony?  This was a full-grown horse!  

Our gift fabric...or is it our fabric horse???

Not so very long ago, our pal, Charles Phoenix, gifted us with roughly two-and-a-half yards of the most brilliantly-colored, vaguely-tiki (maybe rustic, mid-century Scandinavian folk?) printed material, exhorting me to turn it into something great.  The yardage turned out to be a decent-sized, vintage tablecloth.  As a collector of vintage tablecloths, I am typically one to "let sleeping tablecloths lie," unless they have completely outlived their use as such.  This tablecloth happened to be in excellent condition; nevertheless, Charles had issued the gift with a specific challenge.  Not wanting to appear the equine equivalent of the Grinch, I figured the best way to honor our great Gift Horse was to give his tablecloth a brand new life (and avoid even a fleeting glance into his mouth).

Proof that not all of my sketches skew blonde!
Letting the fabric be my guide, I opted to make Mary a three-
piece, tiki-inspired playsuit (shorts, top, and cover-up).

With a matching Put A Lid On It Sun Hat, of course!!!

It was an outfit that seemed ideally suited for the scorching heat of the Viva Las Vegas car show and for her Ponyboy Magazine photo shoot.

I thought it was a bit cheeky to feature the large flower pattern on the
bra top which also features traditional shoulder and halter straps.
(Photo courtesy of Alexander Thompson/Ponyboy Magazine)

After making a fully-lined top and shorts, the tablecloth fabric was running low.  To subsidize it, I used a coordinating cotton in solid yellow for the body of the cover-up, binding the center front and side vents in tablecloth remnants.  There was just enough material left to make patch pockets and a sash (finished with those signature yarn pom poms).

(Photo courtesy of Alexander Thompson/Ponyboy Magazine)

I trimmed the "Put A Lid On It" sun hat with coordinating yarn (vertical stripes and the obligatory pom pom) and bound it with the fashion fabric.  Isolating a couple of flowers from the design motif, I machine-appliquèed them onto the headscarf.  The sunglasses were an acquisition made during our trip to Japan last year.
(Photo courtesy of Alexander Thompson/Ponyboy Magazine)

In the end, by examining the fabric, measuring it, and determining its worth as a garment, I suppose that I am guilty of the very behavior I was so earnestly trying to avoid - looking a gift horse in the mouth.  The thing is, I like what I saw and indeed it made me all the more grateful for the gift...or the horse.  I really think this whole thing could be cleared up with some simple rewording; "Never look a horse gift in the mouth."  "Never look in a horse's gift mouth?"  "Never gift a horse's mouth without looking in it?"  Shoot, when someone gives you a gift, just say "Thank you."  Thank you, Charles.

These pictures are a bit of a bonus because they are probably my favorites from the Ponyboy style editorial by the generous and talented photographer, Alexander Thompson.  Of course, my favorite photos feature an outfit of which I only really made half.  The entire outfit is vintage, but the simple, dirndl skirt was made by me from a length of vintage material that was also a gift from Charles.  Teal and white dahlias/spider mums highlighted in gold - they just don't make exciting border prints like they used to!!!
(Photo courtesy of Alexander Thompson/Ponyboy Magazine)

Replace "Ed" with "Tiny" and it all makes so much sense...

So where do you stand on the gift/horse/mouth issue?  Have you ever looked a gift horse in the mouth,  yea or naaaaaaaay?  Did you like what you saw?

Cheers!

Mr. Tiny

Sew What?! Red, White, and NEW!

I often get sentimental thinking of my grandparents - particularly during holiday celebrations (the 4th of July being no exception).  Although it has been many years since their passing (as romantic as it seems, they did not have The Notebook ending; they died quite separately and years apart), I find myself wanting to visit them, to bask in the warmth of their gentle, old-timey, unconditional, grandparental love.  As much as I appreciated having them as such an integral part of my youth, I find myself craving their love and counsel even more as an adult.

Leona & Bob
(Read more about them here and here)

And so I do visit them.  As well as visiting their "final resting place," when I am in the area, I also make a habit of driving past the home in which they lived out their last days (Neighborhood Watch is on high alert).  I've even eaten at the local coffee shop they frequented, confirming that the food is just as terrible as I remembered.  It brings an immeasurable amount of comfort to revisit some of their old stomping grounds, including their local thrift store.  It was there that I nabbed a length of tricolor, floral seersucker for the bargain price of $3.00 (I like to think it was grandmotherly providence; she was both thrifty and a sewing fiend).

As an inveterate fabric hoarder, rare is the occasion when I know
exactly what form the fabric will assume; usually I just hoard and hope for
the best.  Because the amount of fabric was limited, so were my options!

In the end, short supply and color palette dictated that this would be a fun, 1940s-style sun suit comprised of a ruched bikini top and a short, semi-circle skirt with attached bloomers.  Mary would have a red, white, and new outfit for the 4th of July!

I'm going to try and continue including my sketches in an attempt at
practice making perfect - both in drawing and silencing the nagging
voice inside that says the drawings are never "good enough." 

In spite of what I like to believe, my sewing skills are also rather amateurish.
Hoping to expand the breadth of my abilities with each new project, I try to
challenge myself with some easy but new-to-me techniques.  This time,
I drafted my own pattern for the fully-lined, elasticized bikini bottoms/bloomers
and made a shaped hem-facing for the skirt from the fashion fabric.  

Luckily, my efforts made the cut for Mary's Las Vegas shoot with the photography phenom, Alexander Thompson, for a style editorial in Ponyboy Magazine.

Capturing simple beauty is a task I think often more difficult than documenting
"grittiness" and "edge" - not that there is anything wrong with grit and edge.
I just know that our grandparents would have truly appreciated the simplicity
and loveliness of this photograph.
(Photo courtesy of Alexander Thompson/Ponyboy Magazine)

Feeling the pressure of last-minute holiday preparations, I am grateful that this ensemble was completed with a few months to spare!  I am also grateful for the talents of Alexander Thompson and Ponyboy Magazine, without whom we would not have these great photos - THANK YOU!!!

Do you hoard fabric with the intention of making themed, holiday outfits?  Were your grandmothers sewing fiends like mine?  Do certain sounds, sights, or smells remind you of your loved ones?  Are you a sucker for seersucker?

While you are pondering these questions, we hope that you have a safe, sane, and Happy 4th of July!!!


Cheers!

Mr. Tiny

Sew What?! Spot, the Pet Zebra!!

Call it too many viewings of The African Queen and The No. 1 Ladies' Detective Agency, but I can't seem to escape the unwitting inspiration of my latest sewing projects.  I have never seriously considered a trip to the African continent but after our "Rick-y Rack-y Safari" and "Serengeti Serenade" ensembles, all the subconscious arrows are pointing in that direction.  This most recent look is yet another indicator as to the location from which the next stamp in my passport might come - zebra territory!!!

Question: What did the blonde call her pet zebra?
Answer: SPOT!

A quick Google search of zebra-themed jokes devolves quickly from kindergarten domain to the terribly vile and profane.  Knowing that head-to-toe animal print is often relegated to the jokey end of the fashion spectrum, I thought I would attempt to instill my "pet zebra" with a serious touch of 1940s resort wear.

Among other things considered to be a joke is my pitiful lack of photography skills; if there is a way to get every angle wrong and treat lighting like a non-issue, I will find it.  Our photography woes were all but driven to extinction when Mary was recently shot by that talented man behind the golden camera, Alexander Thompson, for a music/fashion feature in "Ponyboy Magazine."  I knew that in his capable hands, these photographs would be no laughing matter!

"The Mary Simich Look"
(Photo courtesy of Alexander Thompson/Ponyboy Magazine)

So the question must be asked, is there such a thing as too much animal print?
If there is, we haven't found the cutoff; I almost forgot that I had made a matching handbag!
(Photo courtesy of Alexander Thompson/Ponyboy Magazine)

Mary has both a long torso AND long legs (I know, cry me a river) but at approximately
4.5' long, the whole of this six-gored, floor-length skirt couldn't be contained in the frame!
(Photo courtesy of Alexander Thompson/Ponyboy Magazine)

Were I to remake this outfit, there are definitely a few tweaks I would make.  I would try to cover the bare midriff just a touch by widening the bra top's bottom binding and possibly raising the waistband of the skirt.  I would also spend time redrafting the sleeve to minimize the fullness at the shoulder seam and add even more fullness at the cuff.  As is, it all can go so quickly from 1940s screen siren to...

Full-on Fly Girl realness!!!
Mary is too young to remember In Living Color,
but I couldn't help but think of it!

Do you walk on the wild side with extreme animal prints?  Do you think that there is a line one can cross into animal print overload or is too much never enough?

We extend a heartfelt "THANK YOU" to Alexander Thompson  and Ponyboy Magazine for this incredible feature on Mary.  You continue to prove that photography is definitely a fine art and you've given a whole lot of credibility to Mr. Tiny's humble workshop!


Cheers!

Mr. Tiny

Sew What?! PACKING a Wallop!!!

Soooooo....it has become apparent to me that our subconscious suburban safari has been extended, with us managing to trek even further into the sartorial Serengeti.  You'll soon see what I mean....  

I've been on a sewing/crafting kick that is showing no signs of stopping and that is something about which I will not complain.  I'm getting a lot of satisfaction out of creating things that I feel are a better representation of my design sensibility and an opportunity to hone my skill set.  

The last thing Mary needs is more options in her full-to-bursting closet but when I get the itch to create, she is always happy to make the trip to buy more hangers.  With yet another example of Mr. Tiny's "Put a Lid On It" sun hats and a matching frock, Mary had a nice, new ensemble to don for the sun-soaked, grand opening of the Anaheim Packing House (est. 1919).

Anaheim Packing House - Anaheim, CA

Well, I guess that technically it was the grand re-opening.  First opened in 1919 as the central location for the processing and packing of Anaheim's abundant citrus crop, the Packing House has endured the ups and (mostly) downs of Anaheim's old downtown.  With a history that also includes life as a semi-questionable, less-than-savory living space, the Packing House has been completely rehabilitated with a definite eye toward historic preservation.  It is now a community space that houses multiple cafes, bars, and vendors of artisanal foods.  Things are looking up in downtown Anaheim!

As one might expect, it was a packed house at the Packing House on opening day.  Fortunately, from patios to park space to a cozy backyard, the Packing House offers plenty of charming outdoor space.  With friends, we escaped the crowds for some fresh-air photo ops.

Now do you see what I mean about our extended suburban safari?
I don't know why it didn't occur to me immediately, but this fabric print, an African
print (duh) from one of my favorite discount stores, screams mid-century safari!

Prints can be tricky for me (I usually dream in solid colors) but the
simplicity of the dress' silhouette required a print that packed a wallop -
perfect for a day at the Packing House!!! 

I redrafted a halter pattern to include a peek-a-boo, triangular cutout in the back bodice.
It really is just a peek-a-boo; those ties ended up being pretty concealing.
I hadn't sewn a proper dress in a while so I decided to attach the fully-lined bodice to a 3/4 circle skirt.

I've always been a fan of repurposed buildings; the idea of living in an old firehouse, post office, church, or barn is very appealing.  There must be a great thrill in bringing bustling new life to a space that has fallen into disrepair.  The revitalization of the Packing House is a true inspiration; it is definitely the crown jewel of the new downtown Anaheim and we have high hopes for its long-term success!

That's a funny way to squeeze orange juice...

Packing House at The Anaheim Packing District

440 S Anaheim Blvd

Anaheim, CA

anaheimpackingdistrict.com

Cheers!

Mr. Tiny

Sew What?! wacky tacky Gets Ric-ky Rac-ky

We've made no secret of it around here that our two very-favorite trims in all of fabric land are ric rac and pom poms.  If there is ever a way to include them both in a wacky tacky "Sew What?!" project, Mr. Tiny will find it!

Mary is only pretending that she doesn't know what to wear to the wedding of ric rac and pom pom.
Don't be fooled; she's wearing the answer.

I don't know that I'll ever understand my thought process but for some reason this ensemble reminded me of something a mid-century fashion maven would have worn on safari.  Since we're a long way from the Serengeti, we were going to have to settle for a suburban safari.

Like any good (style) hunter, Mary wears a mix of camouflage green for cover and bright orange for safety.
The outfit began with a blouse that I made several months ago; the coordinating sun hat came next, with just enough remaining ric rac to replicate the blouse's stripes and just enough material left over from the blouse to make a matching scarf tie.  

The ric rac on the sleeves of the peasant blouse was applied by machine but the bow was tacked on by hand.
Nearly all of the vintage ric rac came from the sewing basket of my great-grandmother. 

When I found the tangerine twill (a grandma hand-me-down) in my fabric stash,
I couldn't quite convince myself that capri pants could complete a cohesive ensemble.

Mary, a huge fan of quirky color stories, was convinced immediately!

Although she'll probably be extremely chagrinned that I chose this particular musical accompaniment, I couldn't help but think of Henry Mancini's classic to underscore our suburban safari!  HATARI!!!

What do you wear on safari - urban, suburban, or otherwise?  Do you think you think neon tangerine, olive green, and shades of pink are a Sub-Saharan sensation or a victim of the veld?

Cheers!

Mr. Tiny

p.s. PLEASE STAY TUNED!!!!  Mr. Tiny will soon be able to "Put a lid on it" for you!  Sun hats, like the one Mary is sporting here, will soon be for sale on Mr. Tiny's South Side Market on Etsy!!!!

Sew What?! A Back-to-School & Back-to-Bavaria Dress

Are you the victim of frequently asked questions?  When meeting new people at a party, do their inquiries usually gravitate toward a particular subject beyond the usual, "What do you do?" and "How do you know the host/hostess?"  Are these unusually-direct questions pervasive no matter the social setting?  From my many observations, Mary is subject to two FAQ's.  "Gee whiz, how tall are you?" And, "Where are you from?"  

Having been born and raised in California (with any cultural or ethnic identity completely bred out of us by previous generations trying their best to be "American"), it never occurred to me that people would think that we were anything but plain, old slices of America's most-tasteless, white bread.  Upon meeting our family, even a few of our now good friends needed some convincing (in the form of government-issued documentation) that we were not of foreign extraction.  It was truly puzzling because I didn't think we looked so very different from everybody else.  We acted the same.   We spoke the same.  For gosh sakes, we had the American flag flying in our yard! 

And then I realized that we were sending mixed signals...

Made with the intention of being a back-to-school dress last year (what, college kids don't get new back-to-school clothes?), this most recently-worn frock is yet another item from Mr. Tiny's sweatshop workshop that was forced to learn to love the deepest recesses of Mary's closet as it watched other skirts, and blouses, and dresses issued reprieve and enter into regular rotation.  Just when it thought it was going to go crazy in stir, this jumper was granted pardon and allowed to leave the dark confines of Mary's wardrobe.  

In making/styling it, I thought that this little number was sort of a nostalgic nod to collegiate costumes of yesteryear.  Seeing it all put together, however, I half expected Mary to be selling schnitzel in the Schwarzwald.

A little corny, a little costume-y, but ideally suited to a night of accordion
music at our local German social club (a lot like the Buena Vista Social Club,
only much oom pah pah-ier), this is simply a dirndl-style skirt with suspenders
 attached to the waistband with buttons.

Corny? Costume-y?  In a way, that is wacky tacky - pushing the boundaries of everyday design ever so slightly for the sake of silliness.

The fabric came from the discount section of one of my favorite local fabric
 stores where the only rotation in stock occurs when someone finally buys
 the remnants.  I'm convinced that some of the material is older than I am.

Our accordion nights are always progressive in nature; we make our way from bierstube to banquet hall, invariably ending up at the Thursday night ballroom dance.  There is a cover charge that we always seem to avoid by being the youngest people in the room by at least fifty years.  Last time, a woman, whom I later found out was the onsite ballroom instructor, credited me with being "a natural."  You'd better believe that "Old Twinkle Toes" over here has been lording that over people's heads ever since!

Barefoot on the ballroom floor
Always a class act!

As it turns out, we do have German ancestry so it is no wonder that we get on so well at the German Club; Mary practically blends right in.  And at least, for one night, her FAQ's varied from the typical height/nationality variety.  In fact, in her back-to-school/Bavaria get-up, she learned pretty quickly how to answer, "Can we get another round of beers over here?" and "May I please have a pretzel?" in her most elementary German.  "Nein!"


Cheers!

Mr. Tiny