Fringed Friends in Pamela’s Patterns

Scrolling through my daily e-mail from Fabric Mart Fabrics, I spotted something that grabbed my attention in addition to the day’s latest sales. A new class offering had been posted for Fringy Bias Skirts with Pamela Leggett using her favorite bias skirt pattern. So chic, so bohemian, so… unique ! I knew I had to sign up for the virtual class.

As per Pamela’s suggestion, the skirt was best suited for a softer linen fabric so that the strips of linen bias would “bloom” when washed. However, I had a resolution to use up some of my unfathomable fabric stash and unearthed a fawn colored linen, which I bought from a “Julie’s Picks” swatch mailer some years prior. It was crisp ─ not ideal ─ but it would have to work. And since my yardage was inadequate for the full length skirt, I was rendered one solution: to make the knee length version.

Soon before the first class session, my friend, Chris, had sent me an e-mail with an outrageously priced Nieman Marcus skirt that was fashionable, but beyond the point of reason to even consider making a purchase. “Who would pay that for a skirt ?!” she wailed. At that moment, I showed her the class example that I was going to make and she was hooked. Intuitively, Chris selected a soft linen/rayon blend in a bright navy for her midi length skirt. Her choice of fabric was perfect; after two washes, the blended material far “outfringed” mine that had been washed and dried close to 10 times. Mawhh-velous !

Custom fitted in our fringy bias skirts, we had fun during a photo shoot at Chris’s elegant home.

Interestingly, Pamela revealed during the first session of class that she got the idea for the fringed skirt from an old Soft Surroundings catalog and wanted to make a knock-off version for herself. I laughed as I had done the same procedure when I attempted to recreate a Soft Surroundings gown for one of the Met concerts.

My Soft Surroundings Knock-off

The Fringy Bias Skirts episode was a win-win-win: Chris didn’t have to cancel her Berlin Philharmonic Orchestra subscription to pay for the skirt, I gained a new client, and we both ended up with two stylish and flattering skirts ! Thank you, Pamela !

Toi, Toi, Toi,

Mary Martha

Art Deco Rigoletto

Even if you’ve never seen the opera Rigoletto, you are most likely familiar with the Verdi work by its famous, hummable aria, “La donna è mobile,” heard everywhere from TV commercials to Italian restaurants. While I had the chance of watching a Rat Pack, neon-bedecked, “Vegas” Rigoletto during the Met’s free streaming at the time of their shutdown, I still felt the need to see the opera “in person” at the theater, this time set in the Weimar Republic of the 1920’s. Talk about a departure from 16th century Mantua !

Michael Mayer’s “Vegas” Rigoletto

Bartlett Sher’s “Weimar” Rigoletto

What struck me the most about the new Bartlett Sher Rigoletto were the parallels to Sher’s Met production of Otello: blocky sets that felt closed off to the audience and gave the appearance of hazardous movement among the singers (watch out for the columns !). Another exasperating comparison was the inability to distinguish the lead characters from the rest of the crowd. Both the Duke in Rigoletto and Otello wore the clothes of their compatriots, with little, insufficient distinction. The costumes for the men looked to be the same in both productions ─ perhaps the budget was snug ? Overall, I felt the Weimar production was too garish and dark and was left questioning… “What’s wrong with 16th century Mantua ?!”

Repurposed costumes ? Bartlett Sher’s Rigoletto and Otello / Metropolitan Opera

I always knew what I would wear before I ever had a 20’s themed opera to attend. A few years back, a friend gave me a vintage black cashmere sweater with a cream fur collar and rhinestone buckle at the waist. The tag indicated its pedigree: “100% Cashmere, Made in Scotland.” It was an instant love affair. Musing over the garment brought to mind the Silent Film era and its actresses I had seen in movies. My vision of a pale pink charmeuse gown and a black wool cloche was the surest way to bring the sweater’s former glory back into the limelight. A flapper would agree…

Louise Brooks

Louise Brooks

Anita Page

Since I knew that I was going to wear a cashmere sweater, the last thing I wanted was a long sleeve dress. That narrowed down the field of patterns. Ultimately, Folkwear’s Tango Dress fit the bill of a sleeveless, Art Deco design for my Silent Film Star look. Mary Pickford, here I come !

Folkwear’s Tango Dress

Silk charmeuse and a gorgeous wool suiting tangoed their way to 1920’s perfection ! This was my first time making a real hat, not one out of cardboard or headbands, and Elsewhen Millinery’s pattern was just perfect. A silk taffeta band decorated the supple cloche. With expensive fabrics and elegant finishes, these garments and accessories definitely classified themselves as ‘Couture’ pieces.

The hardest part was working on my 1920’s “slouch.” (Ouch !)

Thank you, Nancy !

Bundled in the warmth of the sweater, I was set for the cold January day. Only my feet were chilled. To fashion a Mary Jane style shoe, I safety pinned sewn strips of black linen to the inside of my regular black pumps. Effective, cheap, and temporary ─ no need to buy new shoes !

Nearly everyone I meet fawns over the fan purse I crocheted specifically for this opera. And the best part ? The cotton lining material is printed with opera glasses ! How neat is that ?!

An Art Deco Rigoletto allowed me to venture into a decade that has never suited my fashion tastes. But as with most bouts of historical costuming, I gained an appreciation and greater attraction to the bias-cut drop waist dresses of the time. I can’t say that the same treatment applied to Rigoletto was as appealing.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Rigoletto ─ Giuseppe Verdi (1851)
Live in HD air date: January 29, 2022

Cast:
Rigoletto ─ Quinn Kelsey
Gilda ─ Rosa Feola
Duke of Mantua ─ Piotr Beczała
Maddalena ─ Varduhi Abrahamyan
Sparafucile ─ Andrea Mastroni

Credits:
Conductor ─ Daniele Rustioni
Production ─ Bartlett Sher
Set Designer ─ Michael Yeargan
Costume Designer ─Catherine Zuber
Lighting Designer ─ Donald Holder
Live in HD Director ─ Gary Halvorson
Host ─ Isabel Leonard