During a summer of serious Covid confinement, keeping in consideration my soon-80-year-old husband's lung frailties and my own last decade of serious health treatments, we needed to find a more and immediate source of daily joy here in our Swiss village in hard-hit virus-heavy Vaud. Our three adult kids were in lockdown in London. Our constant worries for them with their employment abruptly curtailed or, in one case seriously overloaded, were sometimes overwhelming. Our routine companions here were also being ultra-careful because of age and health histories and sticking close to home. I continued writing and husband continued his own projects, but...meh...
We had wonderful weather, a large house and garden to enjoy, a vast library of music and books to rediscover, the internet and a new Netflix account, and myriad digital contacts with friends and family. And we've kept our health, fingers crossed, so far. The numbers are shooting up again and we know we're counted among the 'vulnerable.'
But we mourned our cancelled vacation to a beloved hotel on the Ligurian shore in Italy, where the virus has been raging up and down the coast with the coffins piling up, as well as our traditional visits to rough it lakesite at camp with extended Swiss family in Walchwil, not far from Zurich, another national hotspot of infection. I also missed all our usual outings to concerts in Lausanne and Geneva for which I love getting properly dressed.
So, no occasions, no meetups, no sewing?
Working hard as usual, we still needed to play away from the computers on a regular basis. So we settled into a serious season of good old-fashioned American croquet, with suitable iced drinks and lots of laughs. And I sewed three 'croquet' dresses, (as this is a decorous sport, to say the least.) White sneakers were de rigeur.
First, the striped linen-viscose number, with its very loose-fitting, dropped waist and unfitted bodice is my tribute to the 1920's resort of Deauville, using Burda's Easy March 2020, 4C. The only challenge of this model was to match up the stripes and reverse the given layout for the more interesting horizon/vertical effect of the stripes.
The second dress, Burda Style's 6-2020-118, is my tribute to a 1940's tea dress, with its chintzy viscose print, fitted waistband, and slightly puffed shoulder seam. To mature this wrap dress a little for a woman my age, I finished the lower edge of the sleeve without the gathered puff. The construction of this design's waist band extending into ties turned out to be a bit of a puzzle. I had to take it slowly, and translate Burda's cryptic instructions from the French into English with an uncharacteristic level of attention. Their construction of what should have been a straightforward collar was also odd and I ended up just reverting to what I was used to doing with similar collars, using a technique from a book of couture shortcuts.
My third 'croquet dress' is a rip-off of the Pretty Woman
polka dot dress, done in a lively red viscose.
This is a beast of a skirt to hem, as the skirt pieces are cut on the bias, but the result gives a really lovely flow. I skipped the slit cut at the back neckline as I found this construction cheaply designed, without a center seam and in the end, unnecessary. The dress slips over your head without any special opening at the back.
This was the featured cover dress of the April 2020 Burda which included a wonderful tribute to memorable dresses from Hollywood, including Julia Roberts' brown version in Pretty Woman.
I love the rare occasions when Burda does this.
The Russian cover for the same Burda Style April edition featured Grace Kelly's outfit by the wonderful Edith Head from Rear Window.
But notice that Grace's version, in an expensive silk faille? or taffeta? has been carefully lined, while the Burda version isn't. I'd add a lining for more elegance.