Striped Seersucker Shirtdress

It may be apparent by now that I am an alliteration advocate. As much as I try to suppress my affection, there’s just something about starting a succession of words with the same alphabetical letter that tickles my fancy. Inadvertently, my new summer creation was an alliterative delight: a striped seersucker shirtdress !

Here’s how it began…

McCall’s 6891 Shirtdress

Originally purchasing this pattern to sew for a new Met production of Die Zauberflöte (which was subsequently canceled), it sat shelved, along with the yards of white chambray linen I bought for the project, without a hope except for the fact that I did very much like the pattern.

Nadine Sierra in Die Zauberflöte (Opéra National de Paris)

The idea of sewing a shirtdress never strayed too far from my mind, but it wasn’t until an issue of “Julie’s Picks” swatch club popped in the mail that the romanticized idea rose to the forefront as a planned reality. Could it have been a coincidence that the pattern suggestion for a dandy red stripe cream seersucker be none other than the McCall’s (reprinted as Butterick) shirtdress pattern I bought for the scrapped Met project ? Whether you believe in coincidences or not, I had my sign: I was making the dress !

“Julie’s Picks” July 2021 issue, Page 3

With this pattern being a Palmer and Pletsch design with extensive fitting instructions, I spent a good week perfecting the fit with the adjustment lines on the pattern tissue. My only substantial tweak was taking out ½ inch at the shoulder blade level to eliminate a gaping armhole in the back.

I wish there would have been more fitting tips besides the most common ones because I then needed to alter the sleeve pieces to compensate for the reduced armhole length. The attempt was in vain. As a result, my sleeve cap was gathered more than I had intentioned…

But, no matter !

The dress (a combination of Views C and D) turned out in tip top fashion and gave me the feel of a 1950’s waitress/housewife. I especially love the red “jelly” buttons that appear like hard candies on the peppermint stripe cotton.

I loved nearly everything about this dress: the American made fabric, the fit, the retro vibe, the color scheme… the list goes on. And while it wasn’t imperative that its descriptors start with the same letter, the fact that my striped seersucker shirtdress was an alliterative creation was just the icing on the cake.

Toi, Toi, Toi,

Mary Martha

The Magic Flute

Mozart’s last opera also happens to be my favorite ─ similar to the way Puccini’s posthumous Turandot holds a dear place in my heart. In this abridged English adaptation of Die Zauberflöte, the German originator, the Met’s annual encore of The Magic Flute provides a holiday tradition that has become a classic on its own. Interestingly, The Magic Flute was the opera that spawned the Metropolitan Opera’s Live in HD series in December 2006. Having known this for years, it’s always been on my to-do list to attend one of the yearly December rebroadcasts, not only for the singing and story, but for curiosity’s sake as well… “What was the first Live in HD performance like back then,” I’ve wondered.
Because of scheduling conflicts or the inevitable “Christmas burnout”, my intended trip to The Magic Flute has never occurred… until now !

Ying Huang as Pamina and René Pape as Sarastro in The Magic Flute / Metropolitan Opera

Was the experience worth the hype ? Absolutely ! Not only did I feel like I was witnessing history, but it was also notable to see how young singers, like Matthew Polenzani, have improved in their vocal skills since 2006. Even the video production format has evolved: no welcoming host to preview the opera behind the curtain, no intermission interviews with the singers (The Magic Flute has been shortened to exclude intermissions), and limited backstage peeks in the inaugural telecast. Goodness, how the movie theater audiences are spoiled nowadays…!

Matthew Polenzani as Tamino in The Magic Flute / Metropolitan Opera

One element that felt familiar was Julie Taymor’s extant production, filled with imaginative sets and costumes. Whether a fan of opera or not, the visual and textural stimulation of the mystical world manufactured by the same creator as The Lion King on Broadway is scintillating enough to hold the interest of the least enthused.

Nathan Gunn as Papageno in a scene from Julie Taymor’s production of The Magic Flute / Metropolitan Opera

Just as The Magic Flute is a seasonal tradition at the Met, so I wished for my attire to grasp that same nostalgic feel, but with some updated tweaks. With only a few days notice, I wanted to theme a “modern retro” look that would scream “Holiday !”

And so, I hurried to my closets…

The button waist yoke dress, an original 1980’s garment from my mother’s closet, was the perfect teal green color to set off the beautiful brooch and earring set that I bought at an estate sale recently. Also coincidentally coordinating was the red felt hat, bedecked with green, red, and brown speckled feathers. Because my dear “adopted” Grandma could no longer make use of the pillbox, she passed it on to me. My gratitude knows no bounds.

The black gloves are some of my favorites with the sheer ruffle alongside the wrist and side seams. And those red stilettos ? I adore them ! They’ve traipsed the floors of many operas: Traviata, Rosenkavalier, Traviata again, etc.

Most likely, you’re probably thinking that I look like I stepped straight out of the 1940’s, right ? “So what’s modern about this ‘modern retro’ outfit ?” you might ask… Frankly, the fishnets ! From the front they seem tame, but the backs are are another story with racy lace climbing up my calves and hamstrings. I doubt the women of yesteryear would have worn something so daring… unless your name happened to be Ava Gardner or Rita Hayworth.

Red and green were never lovelier together… Almost as lovely as Mozart and the Met at Christmastime.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

The Magic Flute ─ Wolfgang Amadeus Mozart (1791)
Original Live in HD air date: December 30, 2006
(Encore seen December 7, 2019)

Cast:
Tamino ─ Matthew Polenzani
Pamina ─ Ying Huang
Papageno ─ Nathan Gunn
Sarastro ─ René Pape
Queen of the Night ─ Erika Miklósa
Speaker ─ David Pittsinger

Credits:
Conductor ─ James Levine
Production ─ Julie Taymor
Set Designer ─ George Tsypin
Costume Designer ─ Julie Taymor
Lighting Designer ─ Donald Holder
Puppet Designers ─ Julie Taymor, Michael Curry
Choreographer ─ Mark Dendy
English Adaption ─ J.D. McClatchy
Live in HD Director ─ Gary Halvorson