Imitation vs Inspiration // Authenticity in Style and Sewing

Jean Shrimpton Photoshoot // Boots and Cats

Have you ever seen a photo of someone and just wished you could be them? Whether it was their on-point style, their illustrious setting, or their radiating confident attitude. This can lead to jealousy, but oft lends itself to ideas and inspiration. Pinterest has opened the doors to every image of every style imaginable perfect for each person’s tastes. Personally, I can’t get enough of vintage photos and styling, especially from the mid-century. I want to be transported to that era of designer dresses, flawless eyeliner and sculpted to perfection hair. I imagine the feeling of exuding youthful coolness and fun, so effortlessly.

Style icons, muses, and inspirations do come from all eras, times and places for me, but ever since I opened a John French Photography calendar when I was 15, model Jean Shrimpton became one of those women captured in time that I’ve always wished I could be.

I guess what all this is getting at, is that the real reason I arranged a full out sixties photo shoot was that I wanted the opportunity to be Jean for a day. There’s a photo from a 1965 issue of Vogue that just captures the essence of everything I love and admire about the decade. I’ve always wanted to step inside that photo and live a bit of that reality. While that isn’t possible, I looked to the talented friends around me and thought, if I was going to make it happen, we could do it right.Jean Shrimpton Photoshoot // Boots and Cats

The whole experience was a dream, a day full of laughs, inspiration, (and a few dresses thrown in for some good blogging measure). I could not be happier with everything that came as a result. But as I started to share and post the photos, I felt a twinge of apprehension.

If you know me in real life, you know this isn’t how I dress and look everyday. In fact, I appear very 2016 casual. I am by no means committed to vintage style regularly. I love it, but it doesn’t always work for me, and takes more time and effort than is usually available. I worried that people who knew me thought I was simply wearing a costume, or those who found me and the blog through these photos would find some of my other sewing projects and feel like I’ve deceived them, thinking I was a mod-girl 24/7.

It’s really a shame that in this day and age, with access to so many influences and muses, there is still the prevailing idea that we are supposed to be committed to a single style persona. We’re encouraged to explore and develop our personal style, but there’s a catch; “It’s totally okay to be anything you want to be, but as long as you stick to that one thing.” I understand why we think this way, if someone presents themselves consistently, it’s easy to understand and relate to them.

Authenticity in Style // Boots & Cats

I, and so many people I know, have such an array of interests and fashion muses that it seems inefficient (and boring!) to stick within that box. It can be hard, because to people who don’t know you, it creates a dissonance in who they’ve assumed you are, but I think we need to work toward allowing ourselves to take on a new persona as frequently as we like without fear of being judged as fake, or a poseur, because you fail to commit to a single definition of how you look everyday. I don’t want to feel uncomfortable to be a 60s girl one day, to a J. Crew girl the next, and a fluffy skirted fashion blogger the day after that.

The way I see it, there are so many ways to draw elements of your style in different ways, and those may change depending on the aspects of your life. Sometimes certain things don’t fit the situation , but it’s a balance of your mood of the day, convenience and practicality, your environment, your dream self and your aspirations that all work together to create your style output. And sometimes that means you appear radically different each day to the next.

And then, if that wasn’t enough, you have to wonder, no matter how you choose to present yourself, where are you drawing your style from? How is it influenced from those you admire – by drawing your look from someplace else, where is the line between imitation and inspiration?Jean Shrimpton Photoshoot // Boots and Cats

These photos, for example, were planned out down to the colour and size of the flowers to directly reflect the photo in Vogue. Does that mean I wasn’t creative enough? Is my choosing to recreate something that brings me joy celebrating the influence it’s had on me, or does it display a lack of individual creative thought?

In the world of sewing, I often ask myself if choosing to make a dress exactly how it appears on the pattern envelope makes me less of a creative person than someone who hacks, slashes and reinvents the design or even drafts their own concept from scratch? Sometimes, the way a garment is presented by the designer is exactly what I want to have in my life, and I shouldn’t feel guilty for not re-interpreting it.

Can you even compare someone looking for something relaxing and straightforward make with someone who had the desire to inject their own elements based to grow their skills and techniques? Maybe it’s not something we should consider at all, and instead look at the act of creating ANYTHING as a marker of expression and leave it at that?

Authenticity in Style // Boots & Cats

To me, creativity is a spectrum and there’s no wrong way to do it. Following the steps 1-2-3 can be an entryway to learning something new, or even a relaxing way to keep moving forward. I didn’t stray very far from the envelope my first few patterns, and I stick pretty close when I entering new territories (sewing with knits, or tailoring) or even trying a new craft altogether. It’s okay to make the decisions and play out your work in the way that speaks true to you.

Recreating these photos brought me, and those who helped me bring it to life, a lot of joy. The fact that we had to plan, collaborate and bring everything together was enough of a journey that, even though we were quoting the source material, lent itself a voice of it’s own.Jean Shrimpton Photoshoot // Boots and Cats

I believe the reason the online sewing community in particular is thriving is because of the concept of inspiration. I don’t know about you, but before I purchase any new pattern, I have to do an image search for every possible version I can find of it made online. It helps me visualize what can be possible, and what options are open for me to explore. I enjoy seeing how everyone infuses their own elements of style. I find things that have been made the exact same way I want to make it, and I am sometimes pleasantly surprised with twists people have put on things that I hadn’t even considered before. There is so much to be gained by just being open to the ideas and concepts from everyone, and getting to know all sides of them, and embracing the style they present.

Something as simple as a few fun photos can open up so many questions! I definitely would love to hear any thoughts you have on the subject as well. Do you feel comfortable deviating from your ‘normal’ style, and does sewing allow you to do that more easily?

And when you are creating something, how closely can you draw from others before it becomes more than just inspiration? Have you ever felt nervous to share something you are afraid people will judge as inauthentic or copied, even if your journey to that result was completely you own?

A Taste of the 60s // Striped Coco Dress

Tilly and the Buttons Coco Dress // Boots and Cats

I’ve got another really fun one to share with you today. For the second look capturing the fun and bright spirit of the 60s, how could I deny you the most perfect retro-made-modern dress that is the Tilly and the Buttons Coco?

I realized that I don’t really have much to say about this dress, yet it’s one of my favourite makes to date. It’s funny how that works out that way. When I initially got this striped fabric, I knew right away this was exactly what it was going to be. A striped Coco has been on my sew-do list since I first laid eyes on the pattern. I talked about my finding-a-good-striped-fabric woes in the post about my Coco Breton top last month, but if you got any good stripe sources, hook me up!

Both striped Coco projects were actually cut out at the same time. I cut out the dress, then noticed I had enough left to make the breton top too. Probably because it was still pants weather at that point, the top got made first.

On that note about pattern cutting, I have to ask, what’s your process with sewing projects? Do you work on a single garment, start to finish before starting something new, or do you have multiple things on the go? I used to be strictly one-at-a-time, but I found I ended up sewing less frequently because of it.

Cutting out pattern pieces is definitely my least favourite part of the process (it doesn’t help that I don’t have room for a table and I work off the floor) so it takes a lot of inertia to get started on a project, especially if I am short on time. I have started to cut out a few projects in bulk when I have lots of energy, so I have at least one or two projects ready to go when sewing time is scarcer. I do have to be careful not to prepare TOO many projects or else they stare me down and make me feel guilty they aren’t done yet, but so far this is working pretty well. I’d love to hear how you work around your projects and prep things to sew. I’m all about streamlining.

Anywho, back to Coco.

I was trying to think about why this dress just worked for me. It was hard to narrow it down to describe. It’s this perfect blend of simple yet bold, classic yet unique, different but everyday wearable. It’s everything all in one, and it just ‘clicks’.

This makes my third Coco overall. I said it before, but I think this pattern will be my ultimate TNT. I remember when I first started thinking about what I truly wanted from my clothes, I was often pinning styles that had the 60s funnel neck collar, without pinpointing that was a design element I loved. Once I discovered Tilly, it totally made sense to me, and it was one of the first indie patterns I bought. Unfortunately my first top was made of a poor quality fabric and hasn’t worn super well over time.

Construction notes are super basic: Straight cut in size 2 with usual waist length added. I wanted to play with the graphic nature of the stripe so I opted for the option with contrast cuffs. I thought of adding in the pockets too, but it was much too busy. It was all sewed with the overlocker except for the hem.  Easy peasy lemon squeezy.

Tilly and the Buttons Coco Dress // Boots and Cats

The thick ponte makes this dress the perfect transitional piece for this strange winter-spring (winting?) hybrid season we are currently having. It’s soft and snuggly with a print that says bring on the sunshine. I also want to make more Coco tops in a selection of basic solid colours (though my stash is currently lacking in the solid color department…) to wear year-round so keep your eyes out for more retro goodness.

One more look coming from this photo session with Breanne Marie Photography comin’ atcha next week.

Stripes & Solids // A Colour-Blocked Coco Top

Colour Blocking your Coco Top // Boots and Cats

If you asked me to describe my style I would probably tell you something along the lines of: classic, kinda preppy, with a vintage twist. I have a tendency to make some very loud statement pieces that step outside of that description, but on the daily I tend to feel most comfortable and confident in neutral colours and classic cuts. You’ll find me often in skinny jeans and cardigan, or if I’m feeling fancy, a high-waisted skirt and a comfy sweater.

But for the longest time a crucial staple in the classic-preppy-vintage style profile was glaringly missing from my wardrobe selection: a Breton top. (Or as most people know it, a striped shirt, or sailor shirt. Tilly rounded up a wonderful history of it here)

I’ve always loved the ease and style that was exuded from a Breton. So effortless, so chic. This admiration, of course, made me unwittingly picky about what it should be. Not too sheer or draped, has to have the classic wide neckline, long sleeves, preferably colour blocked, with smaller, unbalanced stripes.

How could any shirt possibly meet those standards? Turns out, they couldn’t. It seemed the more I looked for the perfect shirt, the more elusive it became.

Colour Blocking your Coco Top // Boots and Cats

So I turned to the wise muse that is Dr. Seuss in one of his all-time classics.

Did that stop the old Grinch? No! The Grinch simply said,

“If I can’t find a Breton top, I’ll make one instead!”

 

(That’s totally how it goes.)

Though, as you sewing folk will know, simply deciding to make the perfect Breton top isn’t as easy as waltzing in to the nearest Fabricland to get started. Finding a halfway decent striped knit can be like searching for a needle in a haystack. Even when I did manage to find a fabric that was soft, had good stretch recovery and weight…it was always in the weirdest colour. You’d think black and white would be far more in demand.

Thankfully, this Christmas I received the most wonderful gift. I opened the box and inside was a beautiful black and white striped ponte knit from Girl Charlee. The heavens opened, angels sang, and many projects were planned.

I unquestionably chose Tilly & The Buttons Coco for the pattern because it perfectly encapsulates the vintage and modern vibes I love. (I plan on making many 60s funnel neck versions soon too! I think I can safely say this is one of my first TNT patterns)

Colour Blocking your Coco Top // Boots and Cats

I wanted to soften the look of the stripes for this top and opted to colour block the shoulders. Ideally it would have been in white, but the ponte I had was a slightly cream colour and didn’t match. Luckily, black goes with everything.

I looked into some colour blocking pattern hacks in bloggerland and it seemed like a pretty simple adjustment. The Grainline Lark tutorial was the easiest way I found to line up your blocked seams. I did start to notice, however, that the shoulder curves on the Coco sleeves were quite shallow. I feared this would mean that if I blocked my pattern straight across from the armpit seam it wouldn’t cut straight across my body as I wore it. I didn’t want to lower the blocking either (it would look strange if it cut across the bust), so I would need to do some crafty drafting.

Colour Blocking your Coco Top // Boots and Cats

Using a highly professional (made-up) method, I had to determine the shape of the sleeve cap so it would appear straight as I wore it. I put on my first Coco I made and took an elastic band and wrapped it on my arm. I moved it up until it was touching the underarm seam and arranged it to look straight. I then got Rory to take a measurement of the elastic to the shoulder seam. This distance was about 12 cm. (If I cut straight across the pattern piece, this distance was closer to 10cm, meaning it definitely would have angled upwards when I wore it).

To make my pattern pieces, I traced the sleeve onto some paper and measured 12 cm (+the seam allowance) down from the center of the sleeve. Using a dressmaker’s curve, I met the center line with the underarm seam points, so it would match my blocking point on the bodice. I then cut along this curve, added seam allowances, and had my new pattern pieces!

Colour Blocking your Coco Top // Boots and Cats

It was stressful cutting out the pattern pieces, not knowing if this would actually work or not (yet not stressful enough to make a muslin it seems…). The stress must have impeded my attention to cutting detail and I totally miss-cut one of my sleeves (it was the bottom layer and I didn’t notice I hadn’t enough fabric in that spot). I hate that feeling of wasting fabric on silly mistakes.

Then for some strange reason after I re-cut my second sleeve and compared it to the first, even though they start on the same stripe and measure to the same length…they end on different stripes? I tried to even it out when hemming but I didn’t want to make one sleeve much longer than the other. Can’t really explain how that was accomplished…but hey I bet you didn’t even notice.

I cut a straight size 2, but added my usual 6cm length to the bodice and sleeves, and took down the flare of the pattern a bit at the hips.

Colour Blocking your Coco Top // Boots and Cats

The sewing was a breeze, as this wasn’t my first Coco rodeo. Tilly’s instructions are beautiful and simple with helpful tips thrown in. I just love this pattern so much.

And wouldn’t ya know, my pattern hacking totally worked out! It can be harder to see in the photos because the stripes and fabric movement, but the line of the colour blocking is DARN NEAR PERFECT! Aha. Victory. Pattern drafting and I have a nice streak going.

I am so pleased to welcome this classic staple into my wardrobe FINALLY. The ponte is soft, stretchy and quite thick, making it a wonderful winter top. Come summer though, I might want to make a lighter weight version.

I guess the search for stripes continues.

Vintage Refashion // #1

vintagerefashion1

I have had an appreciation for vintage clothing and aesthetic, mostly for the late 1950’s and 1960’s, for most of my life. I can still remember the feeling when I first saw images of Jean Shrimpton in the 60’s, and that having that ache you feel when you know you’ve made a connection with something.  I so wished I could be her in that moment in time. It took me probably longer than it should have to realize that I could tailor my style that way if I wanted to. So, it was only a few years ago when I started to seek out and purchase vintage clothing. It took a bit of time to narrow down what I would actually wear, and find things that would blend into a modern wardrobe, be comfortable and not come off as ‘costume party’.

A good vintage dress can make you feel powerful, confident and invincible. Once you find one.

Vintage hunting can be tedious, frustrating and expensive. Things don’t fit,  can be stained and damaged, or that one beautiful piece you are dreaming of just doesn’t seem to exist. What is a girl to do?

My solution to these problems on a few occasions have been to take charge of the situation…with a sewing needle.

Re-fashioning, altering or otherwise changing vintage apparel can be a hot-button issue for some vintage wearers. Some say that we should preserve the garments in their current form, as they are pieces of history that need to be saved. While I agree that some dresses should be left alone (the massacre in Pretty in Pink anyone? How horrid.), sometimes a dress needs a tweak or a change to fit, or better fit your style and thus giving it new life. People used to re-purpose their clothing many times in that day and age anyway.

For example, I found a gorgeous vintage satin spring dress that fit almost perfectly, had a great print…and had a ‘lovely’ 25 cm bow right in the middle of the chest. The bow went chop and the sleeves were let out slightly for fit and boom, a total revival.

before-and-marks

Today’s dress was found in slightly rough condition, the neckline tie was falling off, the kick-pleat was hastily sewn closed and it hadn’t been pressed in a while.

I also found that, on me, while it fit, it was a bit long, and the slight flare of the skirt just wasn’t doing it for me.

After conducting the minor structural repairs, the dress was nice, but probably not something I would be willing to wear often. I didn’t feel invincible in it. To allow that to happen I made the decision to narrow the shape of the skirt to a straighter silhouette, and to take the hem up 10 cm.

I first took in the skirt by wearing it inside out and pinning. This way I could test that with the amount I had taken in if I could still walk.

pinning

I didn’t cut the fabric I had just taken in, this way should I (or any future wearers) want to open it up again it is as simple as picking the stitch.

For the hem, I just couldn’t bring myself to cut  off the excess, so here too, I just rolled the hem up and did a blind whip stitch hem and pressed it (really well, there was a lot of fabric in there).

after

Now my dress will have many more wears in it’s lifetime. Simple refashions like this I think most people can get on board with. I have a more drastic vintage refashion coming this summer that might be a little more controversial…

beforeandafter

What do you think about re-fashioning vintage clothing?