ULTIMATE COTTAGECORE DREAM DRESS: VINTAGE SIMPLICITY 9259

There were a few moments while sewing this dress that I wondered: Is it too saccarine? too nightgown? But after some instrospection, I realized I’m not sure if those limits exist in my closet. I love that styling can turn up or down the sweetness level, and I know I’ll wear this cotton confection with everything from bare feet to boots.

I was in a bad mood before I started this dress, so I gave myself permission to make something floofy. Gathering and embellishment cheers me up. I like to give myself an assignment to keep things engaging, so for this one, I challenged myself to use as many trims from my stash as possible.

The pattern is vintage, so just one size per envelope, and I used my usual size 12. The gal on the far left (dress 1) caught my eye as I flipped through my patterns. I just love that sleeve! And the trim on view 2 confirmed this was the pattern to try.

The pattern tissue is heavy and includes every seam line, markings for anywhere you need to clip, stay stitching, etc. The pattern also includes a bolero to layer over your dress. The tissue was neatly cut out by the previous owner with a few markings in blue chalk on the tissue. That always delights me!

Trims were purchased from the following shops (from Left to Right): Mokuba, Daytona, Daytona, Splended Trims in Brooklyn, Daytona, Etsy (from my stash).

I wanted to use a fabric similar to the one on the envelope, and I had just the right fabric on hand. It’s a sheer cotton with some denser woven stripes, and a little tossed flower design. I cut my fabric on the cross grain due to the direction of the woven stripe. For underlining, I used a super sheer, light & crisp cotton batiste. I used sew-in interfacing to be true to the pattern, and it worked quite nicely.

As for trims, I had plenty, and picked up a few more vintagey, cottony options from Daytona Trimming. I can’t resist!

I combined and layered trims with abandon! On the skirt are two trims sewn together, and one of them has been threaded with a narrow satin ribbon.

Pattern is dated 1971 and the instructions are typical of that era. They are quite charming: for seam finishing you are told to pink edges, interfacing is assumed to be sew-in, and if you have a zig-zag only machine, "stitch seams with a narrow zig-zag". Current sewing patterns would have you do many of the same things with fewer steps, but I decided to follow the instructions.

I serged my seam allowances together with a 3 thread narrow overlock, used sew-in interfacing, and a straight stitch for all seams, because it’s 2020.

The interior of the bodice: the bodice has bust darts, waist darts, back waist darts, and back neckline darts.

When using sheer fabrics, you are directed to underline the bodice, but the pattern calls the fabric "lining fabric" and refers to it as "lining" (what they want you to do is well illustrated, and it is what I have always understood is underlining). I considered actually lining, but the purpose of the underlining is to prevent the fabric in the darts from stacking up and being super visible on the finished garment. So, I followed along and underlined and used facings (in spite of my aversion to them).

My flat pattern adjustments were very straight forward. I prefer patterns from the 70s, because they fit me really well. For bodices, Simplicity brand works especially well for me - I do not need a narrow shoulder or hollow chest adjustment. In current patterns, I often require a significant shoulder adjustment.

So for this I simply lengthened the bodice 1" above the darts (thus also lowering the darts 1") - this is a typical adjustment for me. I am 5'8" and one of my extra inches seems to be there. From there, I tissue fit the bodice, and decided to lengthen the bodice an additional 1" by adding to the bottom of the bodice. This was more of a style change, I don't love a true Empire on me, I prefer the waist seam to hit closer to my natural waistline.

I used an invisible zipper, which vintage patterns never do, so I had to change the order of construction to accomodate that. It went in easy peasy with my invisible zipper foot (worth its weight in gold!). I cut the skirt pattern piece at the shorter line (where you are meant to attach the hem ruffle), and added 3” so it hits at my favorite midi length. So in total, I added 5” length to this dress.

Because my fabric is sheer, I underlined just as the pattern instructed me to. I regret that a little (but the regret is fading after wearing it), because it makes the dress feel vintage. Not sure how else to explain it! It looks and feels like an actual vintage dress, when I prefer to make something that feels more fresh.

I think if I had left the dress completely unlined - sheer - and worn it with a slip, it would have a more contemporary look and feel. Oh well, I am still happy with the result, and now know I’d like super sheer dress in my closet.

The fashion fabric and underlining fabric are both super light 100% cotton fabrics, yet together, they are warmer than I would have anticipated. I’ve decided this will be a plus for me, as I am annoyingly always cold. The sleeves are a single layer of fabric, and are wonderfully billowy and light. When I started sewing this, I thought it was one last summery hurrah before I started fall sewing. But I’m realizing now, with boots and a slouchy, chunky sweater, I’ll be wearing this into the colder months.

I made the ceramic vase, too!

In the end, it’s more contemporary Victorian nap dress than straight up vintage nightgown. So I am happy with it! But I’m wearing it with combat boots or Converse, and that’s final!

I’d love to tell you I’m going to dive into sewing trousers and warm layers…. I do love sewing coats…. but making this dress was so calming! There might be another cottony gown inching its way to the front of my queue! How about you? Have you packed away the soft dresses? Or do you wear them year ‘round? XO, Martha