1920s Beaded Bag (HSM #11)

The November Historical Sew Monthly Challenge was Purses and Bags (you’ve got your arms covered in July, your hands in September, now make something amazing to dangle from them). Late in the month I realized this was a great poke to finish an idea I’ve had for about six years. It was a bit of a challenge to complete my project before the end of the month, but I just slipped in, finishing it on November 30.

The idea came from my 1912 Tea Gown. I had intended it to have elaborate beading, but decided not to do that for a variety of reasons detailed in that past post. However, I had already beaded one panel that I decided not to use. I’ve been holding on to it waiting for the opportunity to put it to use in some other way. And so, I decided to turn it into a handbag.

Saving your scraps comes in handy on projects like this, because I had plenty of velvet to cut the additional pieces I needed for the bag. I looked through my stash to find a lining and came up with grey silk shantung as the best option. This was also a piece of fabric that I only had scraps of. It was originally used for the boning channels on an 1883 corset I made way back in 2011 (you can see it in this rather old post).

My inspiration is this page showing handbags from 1922 (source). It inspired me to go in a more structural direction rather than a gathered top bag, which was my initial thought.

I had the idea in mind, but I was restricted in the shape of the bag based on the beading that already existed on the main piece. So I cut out another rectangle the same shape as the beaded piece, a long strip for the outside edges of the bag, a strap piece, and a triangle piece to make a flap that would close the top.

Along the way I realized that interfacing wasn’t going to stiffen the bag enough for what I was envisioning. I cast about for ideas of what to use for stiffening and settled on cutting up a shoe box that was in my recycle bin. It was a great weight of cardboard–not too thick, not too thin, and not too bendy. There are cardboard pieces on each flat side, along the bottom, and a strip along the top edge to keep the flap nicely shaped. The pieces on the sides and bottom are (shhh…) masking taped together to create a flexible but stiff foundation for the bag. The piece in the top is stitched into a channel that is only sewn through the interlining so it doesn’t show on the velvet or the lining.

I assembled my pieces, thinking hard about which part to leave open to set in the lining, and struggling a bit with the shifty velvet. I wanted to sew most of the seams on the machine for speed, but sewing it by hand would probably have been more pleasant. I wrangled it mostly into submission, only needing to restitch a few sections as I went along. The only hand sewing came when I needed to close up the lining after putting all the pieces together. Things had become a bit wonky with seam allowances and shifting velvet, so I did my best, figuring that the seam would be on the inside and I really just wanted to finish the darn thing.

After that seam, the only thing left was a closure. I decided on a simple hook and bar. Not quite as classy as a real purse, but it gets the job done and I had it on hand. On the outside is a decorative button.

And that’s it, except the facts!

Fabric: Scraps of silk velvet, silk shantung, and cotton canvas.

Pattern: My own.

Year: c. 1925.

Notions: A shoe box, thread, beads, and a button.

How historically accurate is it?: 60%? The silhouette and fabrics are plausible, though the cardboard probably isn’t. The beads are certainly too big and the method of closure is unlikely unless the item was made at home.

Hours to complete: Not counting the beading, approximately 3 hours.

First worn: Not yet!

Total cost: Free! All of the materials and notions came from my stash.

Exploring The Crane Estate Gardens

I recently shared photos of my 1925 Blue Coral Day Dress and Lace Cloche, both of which I wore to the Crane Estate Gatsby themed lawn party in August. I wanted to share a few more photos from the day that didn’t fit into posts about the construction of the clothes I made for the event. To start, here’s our elegant, shade-proving picnic setup. This lawn party is always hot, so parasols and umbrellas are essential to stay comfortable.

After sitting for awhile we decided to explore the gardens. Every year I’ve been they’ve been a lovely and cool respite during the hot afternoon.

This year we were excited to find that an area that has previously been closed off behind a locked gate was open! (Check out this post to see the closed gate!) There were lovely flowers in this area and fun spots to take photos, too!

I enjoyed looking at the interesting, new sights as well as the columns. It felt like a grand adventure and was easy to imagine we were in the (mostly well-manicured) ruins of some ancient civilization.

Our walk also included a stroll around the main house, where there were antique car rides. We didn’t take a ride, but it was fun to capture one of the cars in our photos.

All in all, I had a nice day and enjoyed adding new memories to those I already have from this event.

1925 Lace Cloche

I knew I wanted a cloche to go with my 1925 Blue Coral Dress from early on in the process of making it. It was going to be hot when I wore the dress, so I knew I wanted something that would both look and feel lightweight. Turns out any hat was warmer than a bare head (well, one with hair on it!), but that being said, I think this was on the right track with a lightweight hat.

I considered making the cloche from fabric, but couldn’t decide on a style with seams that I liked. However, as I was browsing my Pinterest board, my eyes kept settling on straw, horsehair, and lace hats. It seemed like that was the way to go.

I didn’t have any particular materials on hand or in mind for that type of hat but I had come across a modern cotton lace cloche on Amazon for $14 that seemed like a good starting point. It’s no longer available, but I’m sure a careful search could find something similar. To the right is what it looked like before I started changing it up.

Generally, modern cloches have such a deep crown that they don’t leave any space for hair arranged on the back of the head. I have long hair, so that just doesn’t work for me. Cloches from the 1920s frequently have a cutout in the back to allow for your neck… or hair! They also have more interesting brims than modern cloches often do. Perfect. That’s what I wanted. An interesting brim and a cutout for my hair.

With my design plan in place, I started disassembling the modern cloche. First, I removed the braided band and flower. Then, I started unwrapping the lace on the brim, taking out the stitching that held one circumference to the next. I stopped at the bottom of the crown. I removed the inner hat band for most of the way around the hat, so I could stitch the new brim shape and the back cutout without stitching through the hat band.

Next, I played with the lace I had unwrapped for the brim to decide on a new shape. Once I made some decisions I had to make a few shorter pieces out of the lace, but most of it I tried to keep intact. In the back, I decided where I wanted my cut out to be… and cut it! Then I bound the edge using the lace and topstitched it down to encase the edges.

It was a bit tricky to find an acceptable shape for the new brim. The first few tries were so similar in shape to the crown of the hat that they hardly showed when I put it on my head. I ended up with a brim that flares out a bit so it stands away from the crown of the hat, especially in the front. I had to be careful to cover the ends of the plastic horsehair braid that backs the cotton lace, as it is very poky when cut. I covered the ends either by turning them under or having the inner hat band cover them.

After sorting out the brim and back cutout it was time to reattach the inner hat band. Then I sewed on my trim. Here’s what the hat looked like on the inside after all that.

I’ve loved Leimomi’s cloche decoration in this post since she posted about it in 2014. Having that in mind, I thought of what bits of trim I already had in my stash and what might work for this hat. I decided on a random yard of navy grosgrain ribbon, which I cut into thirds, pleated, and attached in imitation of this hat.

When I styled my hair, I tried to have hair come down to my jawline more than I usually do. I think cloches look less silly if there is some hair showing around them. My hair didn’t really look like a bob, but at least there was some hair showing in the front. In the back, it was pinned into a low twist-y mass of curls.

The great thing about the materials of this hat is that they are intended to be flexible for packing and traveling. Not only is it easy to store this hat but it’s also easy to remove it at a picnic and leave it on the blanket or put it in a bag without worrying that it will be damaged. It can get crushed and bounce back into shape!

In the end, I continue to think my head looks like an egg when I wear a cloche. I like styles that don’t hug my head better! That’s my own feeling–other people don’t think it’s nearly as egg-like as I do! But as egg-heads go, this was better than some attempts, so I think we’ll call it a success! It certainly looks cute on the fence!

1925 Blue Coral Day Dress (HSM #8)

The summer has been very busy and I don’t feel like I’ve completed very many sewing projects for myself. Really the only reason I’ve completed anything is because I’ve been live streaming my sewing, which forces me to make things from the list of the-things-I-want-to-make-that-I-never-make-time-for. Do you have a list like that? Mine is lengthy!

One of the first of these things-I-don’t-usually-make-time-for projects was a dress made out of one of the fabrics I bought earlier this year. I really wanted to have it for events this month as they are generally quite hot and the fabric I found is nice and lightweight while still being opaque. I found this fabric at a local discount store for the awesome price of $2.99/yard and then later saw it at a regular price store for somewhere closer to $10/yard, which really made me feel like I got a deal!

The pattern for this dress is a Quinnpen special (ie. made by me). I took my inspiration directly from this extant dress at All The Pretty Dresses. Due to that, it qualifies for the HSM Challenge #8 Extant Originals (copy an extant historical garment as closely as possible)!

To start, just the facts:

Fabric: 2.5 yards cotton lawn.

Pattern: My own.

Year: 1925.

Notions: Small bits of contrasting fabric for bias binding, thread.

How historically accurate is it?: I’d say this one is about as close as I can get to 100%!

Hours to complete: Approximately 8 hours.

First worn: August 5, 2018.

Total cost: $10.50 (including the fabrics I used for decorative sash options).

For the bodice of this new dress, I started with my 1927 Blush Sparkle dress (that dress started life as a tube before I added a head hole, armholes, and side seams/darts to about the hip level). For the skirt, I made a circular pattern that had the zig zag top edges that are featured in the extant dress. It was a bit of trial and error process to get the zig zags just right, but I made it in the end! You can see the topstitched zig zag detail on the extant inspiration if you look at the pictures carefully.

The zig zag top edge of the skirt is pressed under and topstitched onto the bodice. On both my dress and the extant dress that detail gets lost in the pattern, but it allows the skirt to have a lovely drape and fullness while the top can stay that straight 1920s shape that is so iconic. Here’s a closeup of my topstitching. Not bad on the pattern matching!

I finished my dress armholes and neck hole using bias, as I believe the original did based on looking at the photos. My only changes here were to use a contrasting color so I could actually see where the openings are (before I put on the orange binding the blue on blue pattern just made a big indistinguishable pile!) and to turn the bias binding to the inside of the openings (given that I was using a contrasting color). Aside from that the only other detail I omitted was a center back seam on the bodice since I had enough fabric not to need it when I was cutting out the pieces.

The photo above shows the dress with two different sash options that I made for it: pink and orange. I bought the orange when I bought the blue, but when I got home I thought it might be too bold and decided I might like the pink better. But I really couldn’t decide, so in the end, I made both!

When I wore the dress, I was still undecided… so I took pictures with all three options: no sash, pink sash, and orange sash. See each look below!

The idea behind a sash was this inspiration: Wilton Williams, The Bystander, August 12th 1925, though after wearing it my preference is no sash! I think that the bold, large scale patterns in the fabrics of the inspiration dresses lend themselves better to a sash than this blue dress.  The bonus part of not having a sash is that the dress is easy to wear, there’s no fussing with keeping a sash in place, and the dress really does have a nice 1920s shape to it even though the detail of the zig zag is lost from more than a foot or two away. What do you think? Does one style of sash (or no sash) speak most to you?

It’s fun to have a new dress to wear, discuss, and document! There are more dresses in the live stream queue, so if you want to stay in touch with what I’m making I would love to have you join me for one of my virtual sewing circles. You can join me on Wednesdays and Fridays from 9-10:30pm EST!

Spring & Summer Fabric Stash Additions: Stripes & Patterns

For most of this year, I’ve had a dress in mind that I want to build for an event in August. I’ve been on the hunt for just the right striped fabric for it for a few months, but really hadn’t found anything that was just right. I was shopping for another fabric and saw that Farmhouse Fabrics had a large section of stripes… I had to come back and look through them!

‘Danger!’ Should have been posted somewhere, because I wound up purchasing three different striped cotton fabrics instead of just the one I’d been looking for!

I have solid plans for all three fabrics, which somewhat justifies their purchase. The green seersucker I plan to make a modern dress out of, most likely with a circle skirt. The cotton candy stripe, as I call it, I’m planning to also use for a modern dress based on New Look #6143. The yellow stripe is intended for McCall’s #7153, a 1933 Archive Collection pattern.

I also came across (yes, I promise, I wasn’t intentionally looking for these either!) two interesting patterned fabrics this spring.

The one on the left is a rayon from Joann’s (and in looking for the link I see they’ve got a whole bunch of lovely looking new rayon prints–more danger!). It’s great that they’ve got a wider variety of fiber contents lately. I think it will make an interesting Henrietta Maria. Leimomi posted one awhile ago that I loved and this fabric reminds me of it a little.

The fabric on the right was super discounted at a local store (though I’ve seen at regular price at another store, so I definitely got a deal). It’s a lovely cotton lawn that I think will make an interesting 1920s day dress. I’ve got lots of evening gowns but my daywear options are somewhat limited. It will be fun to have new 1920s daywear! In fact, I’ve already started making a dress with the cotton lawn! I’ve been posting progress pictures of it on my Instagram account. Check it out!

Oh, I also came across remnants of seafoam green silk taffeta for a bargain price that I also bought, though I don’t have a picture or a specific project in mind for that. It’s hard to pass up silk taffeta even when there is no project in mind, because if you go on a hunt for a specific color you can’t usually find it at a bargain price.

I’m looking forward to putting these new fabric projects high enough on the to-do list to actually accomplish them!

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If At First You Don’t Succeed… (HSM #1)

I made this 1928 evening dress and first wore it in 2012. Back then it was simple, with just a small cascade of fabric and no sash or bow (I show the construction in detail in this past post). Three years later, I decided to add the sash, bow, and extra cascade of fabric (and wrote a post about it). I liked the effect but wasn’t pleased with the slippery silk moving all over and sliding around. The armholes were also a bit high under the arms from the beginning, causing the trim to dig in a bit which wasn’t very comfortable.

Due to these issues and the addition of other 1920s evening dresses to my wardrobe I hadn’t worn this dress in a few years. But for an event this January, I decided to give it another go. Luckily, the dress still fit and didn’t cling in unwanted places! The first HSM challenge of 2018, Mend, Reshape, Refashion, was the perfect complement for the updates I wanted to complete.

To be specific about the updates, this time I lowered the armholes about 1″ and then pieced in extra trim to fill in the gap, sewed the sash/bow in place, and added an interior waistband that supports the weight of the bow and keeps the dress from pulling down on one side.

Our hotel room had a bonus vanity table and stool that was a perfect prop for photos…

I did my hair like I did last year but added a gold hair comb I recently discovered at my parent’s house. I’m pretty sure my mom gave it to me when I was a child or maybe a teenager… It’s just been sitting there waiting for me to put it to use again!

Just the facts:

Fabric: The only new fabric was a scrap of tightly woven polyester for an inner waistband.

Pattern: My own, based on measurements.

Year: 1928.

Notions: Extra trim to piece under the arms, thread.

How historically accurate is it?: Let’s say 95%, with points lost for the polyester.

Hours to complete: The updates took about 4 hours. I felt like hand sewing most of it so I could watch Netflix!

First worn: With the updates in January, 2018.

Total cost: Free!

I love how this dress looks and fits now! Yay! It only took three tries… It’s a good lesson: if you don’t succeed the first time, try again! And keep trying…! Third time is the charm on this one!

 

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1920s Island Escapade In Black And White

Here are a few more photos from my 1920s island weekend last August. These first few were taken with the same modern camera as all the photos in my previous post about the weekend.

This last photo shows other photographs taken with a friend’s vintage film camera. I don’t think the camera is as old as the 1920s, but I think it’s a least from the mid-20th century. Though I do remember the days of film cameras, I’m so used to digital cameras these days that a film camera is quite the novelty.

A 1920s Island Escapade

I’m terribly delayed in writing about a lovely event I attended last summer… Gatsby On The Isles was a 1920s weekend getaway to a coastal island, including a ferry ride, picnic, clambering on the rocks and in the water, lawn games, dancing, card games, and napping in rocking chairs on the large porch of the grand hotel. A fabulous live jazz band played great music throughout the weekend. It was very much like having a soundtrack to my own personal movie!

It was quite hot last August, so the strong breeze on the ferry and some parts of the island was quite welcome, as was wading and hiding under my parasol. (Had I not had a sturdy grip, my parasol would surely have been blown away during these pictures.)

I wore my 1930s beach ensemble for travel to the island and the afternoon picnic. I am always pleased with how the (polyester, ahem) pants don’t wrinkle, even with heat and sweat and sitting, and how gloriously cool and comfortable I am while wearing it.

Partway through the afternoon I changed into my 1925 bathing suit in order to go wading. Again, a very comfortable and fun item of clothing! I can now report that wearing a wool bathing suit in the heat is no different than wearing a modern suit. I certainly wasn’t any warmer than I would have been in a more modern style.

Getting to the water at this part of the island required some clambering over rocks, but also made a great backdrop for pictures!

Dinner was a casual affair, for which I changed into my 1926 sailor dress. An unplanned wardrobe similarity required picture documentation.

For the evening dance, I changed into my 1924 Golden Robe de Style. The parlor of the hotel had some fabulous couches that called for lounging and sultry faces. Despite being hot, it was fun to dance the night away to wonderful music, with breaks to sit out on the porch with a 1920s cocktail.

The next day was low-key. I explored the island, played cribbage, and took an unexpected nap in a rocking chair on the porch. I decided to be slightly old fashioned and wore my 1919 Ivory Eyelet Dress, another comfortable summer ensemble, with my 1920s Sinamay Hat.

I tried a forward thinking 1930s inspired hairstyle for the weekend. I did it early Saturday morning before hitting the road and then wore it all weekend without a change. It went from day to evening with no problem and stayed in place through wind, hats, and sleeping. (This is the same hairstyle I hinted about in the post about my 1927 Blush Sparkle Dress.)

In order to keep the frizz down, I did my hair while it was still wet, using Tigi Small Talk as setting lotion to help the waves and curls stay in place. The front and crown were shaped with wave clips while the rest of my hair was massed lower on my head in tight curls. There were TONS of bobby pins hidden in there and it was very secure. I was very pleased with the security of the style and with how well it lasted without frizzing!

It was a very fun escape to the past and I’m so pleased to have great pictures to document it all. What a different scene and temperature than these last four or five months of winter!

1927 Blush Sparkle Dress

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I was at the fabric store looking for other things… (the beginning of a lot of my fabric buying adventures) when two super sparkly fabrics caught my eye. They were screaming “1920s!” But the colors were somewhat costume-y 1920s and not often seen in my research of actual historical dresses from this period–red on nude net and black on nude net. A bit disappointed, I looked at the sparkly lace section some more and found the same fabric in blush on nude net! It was so sparkly and the pattern on it was so perfectly deco that I had to take some home with me. Luckily it wasn’t expensive and only cost $14 for 1.25 yards. Not bad!

The timing was perfect, because I had a 1920s event in January and just enough time to make the dress.  I didn’t have a slip to go under it that was the right shape or color, so I also squeezed in making a bias cut slip.

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For the pictures, I wore my American Duchess black Seaburys. They provided just the right 1920s shoe shape, encasing the front of my foot in a uniquely historical way that modern style shoes do not. You can see the shape more clearly in this post when I wore the shoes with my 1920s bathing suit in a beauty pageant look.

I was also incredibly lucky that the event was held in a historical hotel that provided fun backdrops for pictures! Those elevator doors are lovely! And look at this awesome phone–it had to be included in pictures!

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Another neat place we took pictures was this stairwell. I love how different these two pictures are, despite being so similar. One is much more about the dress while the other shows off the chandelier and is a bit more artsy and mysterious.

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img_3151-1I was so pleased with how my hair turned out! I tried a style similar to one I did last summer for a different 1920s event that I have yet to post about… oops! But here’s a teaser of just my hair. Soon I’ll post the details and it will bring some warm summer memories to my New England winter.

For the summer event I did my hair when it was wet, resulting in a similar style, but much smaller and closer to my head. For that version, I did all the back curls while my hair was still distinctly damp, making the curls much tighter and closer to my head.

For this event, I braided my hair in the morning while it was still damp (to help create waves on the top but curls on the bottom) and left it all day, meaning it was mostly dry when I took out the braid. Then, when doing my hair for the evening, I added small rats under the puffed bottom portion to add a bit more volume than just my own curls. I covered the rats with the length of my hair then carefully placed and pinned the curly ends to imitate having a sort of 1930s smooth-on-top-curly at the bottom style, like this. This style is a few years later than my new dress, but I think it works as a 20s style for someone with longer hair, like me. I have a lot of hair to hide in a 1920s style!

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Both the dress and slip are entirely hand sewn, due to working on it away from home (I would have hand sewed the dress anyway because of all the sequins, but probably not the slip). The dress started out as a tube, but was more unflattering than I was willing to allow. It was fine from the hips down, but needed to be taken in above the hips. What I ended up with is a curved seam (or a long dart, depending on how you look at it–one side didn’t have a seam to begin with) allowing slight shaping from the torso to the skirt portion of the dress. 1920s dresses can be such bags, but after the extra shaping I am very happy with the still somewhat bag-like, skimming shape of the dress without feeling like it’s an absolute sack.

The slip was cut from a pattern I made a few years ago–perfect, since I didn’t have time to pattern something from scratch! I intentionally picked a 1930s pattern in order to have the addition of a perfectly fitting 1930s silk slip to my wardrobe, but also because the shape of the neckline was perfectly suited to the v-neckline I decided on for the sparkly overdress.

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The slip has french seams on the sides. The under-bust seam allowance was trimmed away on the gathered piece and then the body piece seam allowance was turned over it and hand sewn to hide the raw edges. The top edge is mostly bound of with vintage cotton bias (which I removed from the top of the net petticoat I show in this post before shortening it. The piece wasn’t quite long enough to go all around the top edge of the slip, so the center back section is just turned twice and slip stitched, in the same way as the hem.

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The slip fabric is left over from a project that I did about 7 years ago. It’s lovely silk crepe back satin with the perfect weight for making bias cut 1930s clothing. I thought I would have just enough to eke out the slip, but I came up a little short on the back piece and decided to piece it to make it work, as the fabric is so nice to wear and it was the perfect color. As a result, there are two random diagonal seams on the top of the back piece of the slip. Oh well! They add character!

c. 1920 Bathing Boots

I had already decided this spring that a 1920s bathing suit was on the sewing list for this summer when Gina, of Beauty From Ashes, contacted me and asked if I’d like to test an Edwardian bathing boot pattern for her. I’m pretty sure I squeaked! “Of course!” But then I realized that there was no way I was going to have time to work on the boots before summer when I returned from my trip to Versailles. Luckily, that timing was just fine.

217ca1fa-bbe6-4199-8273-16e146a188bfGina had taken the boot pattern from a pair of extant boots that she owns, sized the pattern for her own feet,  and then made a pair herself (of course with a lot of work on the pattern  along the way). To the right are Gina’s boots, which you can read more about in her post, here.

The idea coincided so closely with my plan for the 1925 bathing suit that I really wanted to push the boot date towards the 1920s and wear them together. I did some digging into bathing boot history in Women’s Shoes in America, 1795-1930 and found some great info supporting my plan, including information about the wearing of stockings with swimsuits and how that practice changed from the end of the 19th century through the 1920s. The following are excerpts from pages 137-139. There’s lots more detail about stockings and bathing shoes in the late 19th century that I haven’t included here, so if that interests you I highly suggest you get your hands on the book.

Bathing shoes were always optional, depending on how rough the terrain was and how tender the feet…

The most common bathing shoe at all times is a low slipper fitted with tapes that cross over the instep in varying arrangements and tie round the ankle. These are shown as early as 1867…

As long as bathing garments covered most of the legs, that is until the late 1870s, stockings were not considered absolutely necessary…

In the late nineteenth and early twentieth centuries, black stockings were very often worn for bathing without any shoe at all… When bathing shoes are shown, they are usually lighter than the stocking…and the commonest style is still the low slipper, presumably cork-soled, with tapes to cross once or twice and tie round the ankle…

About 1915, a new style of bathing footgear appeared, a mid-calf high boot, solid on the sides and back of the leg, but open down the front and laced across the opening… [and] the acceptance of real swimming (as opposed to splashing in the waves) brought about changes in bathing costume… Closer-fitted knitted suits appeared in the 1920s, and gradually the long black stockings were discarded (the last fashion picture I find including them is from 1922). In the late 1910s and early 1920s, short stockings were worn gartered someplace below the knee, but soon even these disappeared and bare legs began to appear in the early 1920s. Bathing shoes were still worn over bare feet when rough ground made them desirable, but they were a matter of utility, not modesty.

Such useful information when deciding what accessories I wanted to wear with my swimsuit and boots! I thought of taking pictures with stockings and without but decided that was too much of a hassle and settled instead for pictures with boots and without. You’ve already seen the pictures without boots. Now for a few with! (Yes, a friend also joined the pattern testing and wore her bathing boots to the beach, too!)

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After wearing the boots in the water I took them off for pictures of the suit, but then decided to put them back on. As you might expect, they are less exciting to put on when feet and boots are already wet and covered with sand… though I think all the sand in the boots did give my feet a good exfoliation!

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As for construction, here’s a quick run-down. I chose to make my boots out of navy cotton twill and white cotton canvas. Despite the fact that green boots exist, I didn’t want to try and match my greens. Plus, both the navy and white fabrics were in the stash and are neutral enough to wear with any future bathing suit I might decide to build.

Each outsole has two layers of cork bound in bias. Nice and sturdy for walking, but too thick for a sewing machine, which meant a lot of unexpected hand sewing for this project.

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The insoles are a single layer of cork with the fabric glued in place. I just slipped in insoles into the boots for wearing, which meant I could take them out to let them dry after wearing. Given that they were soaked through this was great.

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The uppers were fully finished before attaching them to the soles. This part is all machine sewn.

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Finally, I hand sewed the uppers to the soles.

(I’ve made this all sound very easy and speedy, but I’ll admit that I took a shortcut and purchased cheap eyelets and a cheap eyelet setter to get the right look with high hopes for the quality. Unfortunately, I was disappointed. The eyelets were such a pain! The setter squashed them unevenly and then I needed pliers to make them look somewhat reasonable and trim off sharp bits. There are 44 eyelets. It took a long time. And it made my hands hurt. It would have been faster for me to hand sew the eyelets. Plus, they rusted after just the one wearing the water! And they got rust on my shoelaces, which was also a pain because the standard round shoelaces barely fit through the eyelets and getting them laced was hours all by itself. Ugh! For next time, I found narrower laces that will be so much easier to use, so I can at least take them out after wearing the boots without it taking forever. Or maybe I just won’t wear them in the water. Anyway, I don’t suggest you follow my example on the cheap eyelet front.)

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I am so grateful to Gina for sharing her pattern with me! It takes a lot of work to perfect a pattern and I probably would not have attempted bathing boots without having one already made and in hand.