Category Archives: Mid-Century style

How Exciting Can a Bathrobe Be?

Or – Who Is That Woman in our Kitchen? After well over twenty years of wearing the same ratty old bathrobe (well, it wasn’t old or ratty when I first started wearing it, but the years took their toll on it), I now have a new one. I will admit to being almost unrecognizable in the mornings and evenings now, as I float through the house in my new attire – leading my husband to wonder if a new woman is now making the morning coffee.

I found vintage Viyella wool/cotton fabric on eBay last year. Although only 35” wide, the length available was 5 ½ yards which I determined should be enough for a ankle-length bathrobe. Viyella is a lovely blend of 40% wool and 60% cotton, and it is machine washable. It is lightweight, but warm, very soft, and such a pleasure with which to sew.

The paper labels were still attached to this length of Viyella.

From four bathrobe patterns in my collection, I chose this one for its classic styling, including a wrap front and shawl collar:

I made a muslin (toile) to check on the fit, and then I used the muslin as my pattern, marking the seam lines onto the Viyella using waxed tracing paper.

Because of the narrow width of the fabric, and the need to be precise with matching the plaid in the fabric, I laid out my muslin pattern singly. I had to do this on the floor because of the great length with which I was working. Matching the plaid, although thankfully a very even plaid, took a lot of time – and time on my knees! Ouch!

One of the pattern pieces close up.

And here is one piece with markings transferred onto it. I am used to sewing on a marked seam line, and prefer this method rather than using set seam allowances.

I am always impressed by some of the subtleties in these vintage patterns. This one includes bust darts that descend from the shoulder seams. Also, two small back darts make the fit across the shoulders so much more precise. Both are clearly shown in the diagrams on the reverse side of the pattern envelope.

Click on the picture to see the details.

Also detailed on the pattern layout diagram is the slight flare to the front edges of the robe. I didn’t really pick this up in the muslin I made, but once I was working on the robe, especially in this plaid, which makes a flared seam more apparent, I was very aware of it. It is such a nice detail, making the wrapped front closure more graceful in appearance and offering just a bit more coverage than a straight edge would do.

You can follow the flare of the front edge by looking at the descension of the plaid.

A detail of the back neck edge.

I did make a few changes to the pattern. First of all, I used a fusible interfacing instead of a “sew-in” one (typically indicated on vintage patterns form the 1950s, as this one is.) I don’t use fusible interfacings very often, but I decided this would be a good application for such. I used “Heat n Bond” woven interfacing, ordered from fabric.com, and so far, I am very pleaded with its performance. Secondly, I added another pocket, as I like two pockets on my bathrobes. I also had to lower the placement of the pocket from the lines indicated on the pattern, which were inexplicably high!

Two pockets!

A third change was the elimination of the wide self-binding on the pockets and the cuffs of the sleeves. Instead I used a 1¼ inch self-binding which I cut on the bias. With all that plaid, I thought a little bit of variety would add a nice touch.

A minor fourth change was the addition of fabric belt loops, as opposed to the thread loops called for in the pattern instructions.

 

 

 

 

 

 

 

 

 

I love the classic styling of this robe. The fact that I was able to use such a glorious fabric for it (contemporary with the age of the pattern, by the way!) makes it even more lovely to wear. Not only am I – yes – very excited (!) about wearing this new bathrobe, I also find it to be an unexpected, but wonderful change of persona for my early morning and late evening hours.

 

27 Comments

Filed under Bathrobes, Mid-Century style, Uncategorized, Vintage fabric, vintage Vogue patterns from the 1950s

Coming and Going: a Split Personality Dress

Dresses – and garments in general – with back interest have always intrigued me. The addition of a simple back belt can add so much to a coat design, for example, and a yoke in the back of a dress can be the perfect place to add complimentary buttons which might not have a place on the front of the dress. Perhaps it was this reason why I was drawn to this Advance pattern, which I found in an Etsy store.

Thanks to one of my readers, I know that this pattern dates to 1964.

Thanks to one of my readers, I know that this pattern dates to 1960.

I hesitated for quite a while before buying it, as I just wasn’t so sure the gathered back skirt on this dress would look as good on me as it looked on the pattern envelope. I also did not want a “dated” or “too cutesy” look. But finally I gave in and made the purchase. The buttoned back and the dropped back waist were two details which really appealed to me, as well as the sleek sheath look of the front of the dress. I also knew that the right fabric could work wonders, and I bought the pattern with this gray and blue polka dotted wool/silk blend in mind.

I purchased this fabric from Mendel Goldberg in New York City.

I purchased this fabric from Mendel Goldberg in New York City.

Then, there is always that steadfast fall-back, as well – making a muslin (toile) and if it really doesn’t work, then just scrapping it! What could I lose besides a few yards of cheap muslin and a few hours of time?

I had never used an Advance vintage pattern before, so I was interested to see how one would make up. I was impressed! The pattern pieces went together very precisely, and, in particular, the flounce, or gathering, at the back of the skirt was not overdone. The only initial change I made to the pattern before cutting out my muslin was to lower the bust dart, which I always have to do. Once I made the muslin, it was a little snug across the front, so I added ¼” to either side seam. As it turned out, I needed the extra width just across the midriff area, and ended up taking out quite a bit of extra width from the waist down.

Some pictures of my muslin.

Some pictures of my muslin.

Coming and Going

While I was working on the muslin, I was in a quandary over the buttons. I had to have them before I could start work on the fashion fabric because of those pesky, but beautiful, bound buttonholes, which are one of the first things to go in. Nothing I had on hand was right and after a very brief dalliance with the thought of blue buttons (what was I thinking, even briefly??), I knew gray mother-of-pearl buttons were what was needed. As luck would have it I found a set of six 5/8” buttons in an Etsy shop, which were described as blue-gray mother-of-pearl. As soon as they arrived in my mailbox, I knew they were perfect.

Coming and going

By this time I had transposed the muslin onto white silk organza, made my working pattern, basted the fashion fabric and the organza together, and ordered marine blue crepe de chine from EmmaOneSock for the lining.

For those of you who asked, here is a picture of the silk organza being used as the pattern piece. when cut out, the two are basted together by hand along the seam lines, dart markings, and hem lines.

For those of you who asked, here is a picture of the silk organza being used as the pattern. When cut out, the two are basted together by hand along the seam lines, dart markings, and hem lines and then handled as one piece.

I also used silk organza patches for the facings for the bound buttonholes.

I also used silk organza patches for the facings for the bound buttonholes.

Here the facings are turned towards the inside. Proper measuring is essential for this technique to be successful.

Here the facings are turned towards the inside. Proper measuring is essential for this technique to be successful.

The back of the dress during construction.

The back of the dress during construction.

Although the pattern called for lining only the skirt back, I wanted to fully line the entire dress. The pattern for the back skirt lining is shown here in the thumbnail diagram:

coming-and-going-thumbnail-sketch

It was cut narrower than the skirt back, with darts for shaping rather than gathering. I had to make a decision about how to complete the lining – should I attach it to the waist seam at the back and somehow join the front to the back at the side seams, or should I make the lining as a completely free-falling piece? I opted for the latter, with the sleeves, of course, being inserted separately. It worked beautifully. Then, for some extra detail, I added a contrasting flat piping to the edge where the lining meets the facing.

I had this coral colored silk bias tape which I chose to use for this extra detail.

I had this coral colored silk bias tape which I chose to use for this extra detail.

Coming and going

Often facings are eliminated in couture sewing, but in this case, with the buttoned placket in the back, I decided to keep the facings so the buttonholes and buttons would have a firmer foundation.

This dress turned out to be all that I wanted – a classic slim sheath from the front, with surprise back detail which (I think?) is flattering, adding extreme comfort to its wearing, and which sets it apart from the average design.

Coming and going

Coming and Going

Coming and going

 

Coming and going

Coming and going

Coming and going

Coming and Going

Coming and going

coming and going

Coming and going, it feels like a good way to start off the new sewing year .

41 Comments

Filed under Advance vintage patterns, bound buttonholes, Buttons - choosing the right ones, couture construction, Day dresses, Linings, Mid-Century style, Polka dots, Uncategorized, vintage buttons

A Good Start

Happy December! It seems like a long time since I have been here with a new post for Fifty Dresses. The first thing I want to say, since my forced hiatus from sewing (due to my badly injured left hand), is “Thank You!” to so many of you who gave me encouragement, sent sympathy and healing thoughts, and made me feel like such a valued part of our worldwide fashion sewing community. Your kindnesses meant the world to me at a personally difficult and discouraging time.

Although my heart never left sewing (attested to by the new vintage patterns and a couple of lengths of new fabrics which have somehow found their way to my sewing room over the past weeks!), my hands have finally come back to it as well. While I still have weeks and weeks of “hand therapy” to attend in an effort to restore full use of my left hand, I now can sew at the machine, cut and mark fabric, and even hand sew. Having said that, I wish I had something truly spectacular to show you to prove that point, but alas, I do not. What I can show you is a promise of things to come, things which are now destined to make their appearance in 2017 instead of in November or December of 2016.

I had my heart set on getting this fabric made into a dress to wear during this month of December, even though back in October I still had not settled on a pattern for it.

I purchased this fabric from Mendel Goldberg in New York City. It is a wool/silk blend, similar to fabric in a dress I made last Fall.

I purchased this fabric from Mendel Goldberg in New York City. It is a wool/silk blend, similar to fabric in a dress I made last Fall.

After searching online through many, many vintage patterns, I finally came across this one, an Advance pattern (a small departure from my normal preference for Vogue):

I still need to do a little research on the exact date for this pattern, but it appears to be from the mid-1960s.

I still need to do a little research on the exact date for this pattern, but it appears to be from the mid-1960s.

I could easily see this dress made up in polka dots, with the three-quarter sleeves. I think the back detail with the buttons is so pretty. My muslin is in the process of being completed, and then I will determine if this style looks good on me. I certainly hope so…

Another project I wanted to complete this Fall was a new bathrobe. A while ago I found this vintage Viyella fabric (cotton/wool blend, warm but light-weight, 5¼ yards, 35” wide), and it just spoke “bathrobe” to me.

The paper label is still attached to this length of fabric.

The paper label is still attached to this length of fabric.  Isn’t it lovely that this fabric is washable?

This Vogue pattern seems just about perfect for it, as long as I can match the plaid and still have enough yardage to eke it out. My muslin will tell the story.

I definitely want to make the long version of this robe.

I definitely want to make the long version of this robe. This pattern is from the late 1950s.

But before I can get any further on either of these projects, I have some sewing to do for Christmas gifts. The countdown is on, but I think I have a good start. It is wonderful to be back in my sewing room, which now looks like a cross between a couture atelier and Santa’s workshop, with fabric and wrapping paper and ribbons vying for equal space.  Happy December, indeed!

38 Comments

Filed under Day dresses, Mid-Century style, Uncategorized, vintage Vogue patterns from the 1950s

Just for the Chill of It

Autumn is a delightful season here in the northeastern part of the United States. One can tell it is on its way when the warm days quickly take on an evening chill once the sun slips below the horizon. It is the time of year when a light coat or sweater is a necessity, especially with a sleeveless dress.

With this scenario, and a September wedding to attend, what better excuse did I need, to make a coat to go with this dress?

The Year of Magical Sewing

If you follow my blog then you probably already know this was my intention all along, when I made the dress two years ago. But it took a while to find the right coordinating fabric for a coat. I was looking for something between a coral and a pink. While the silk taffeta I found at Britex Fabrics looks more like a deep persimmon color when photographed, the fuchsia pink warp is very apparent when being worn.

Taffeta coat - swatch

Once I decided the Jo Mattli-designed coat, part of the original dress pattern, was too voluminous, I went to another pattern. I wanted to keep the “intention” of the original coat, but have it more streamlined.

The "original" coat designed by Jo Mattli.

The “original” coat designed by Jo Mattli.

Taffeta coat - %22too scimpy%22

The coat pattern I settled on.

Somehow along the way, in making my muslin, I got the idea to add a curved belt to the back of the coat. I knew I had used a coat pattern several years ago with a curved belt back detail, so I went through my pattern collection to retrieve this:

This is a 1957 pattern, but look at the belt shown on the back of the envelope, below.

This is a 1957 pattern, but look at the belt shown on the back of the envelope, below.

taffeta-coat-belt-pattern-thumbnail

The belt is only shown in view A.

It took a couple of tries with the muslin to get the placement and angling of the belt correct, but once I did, I knew it was a winner. Dressmaker details like this always give me a thrill!

I anchored the belt in the side seams right under the bust darts.

I anchored the belt in the side seams right under the bust darts.

Just for the Chill of it

The curve of the belt needed to fall at my waistline.

The curve of the belt needed to fall at my waistline.

One of the things I like about this pattern is the two-part sleeve with a center seam. I think this design is always flattering to the shoulder. Here are the constructed sleeves:

Just for the Chill of it

That center seam also provides the opportunity for a faux vent, and since I just happened to have three buttons, which I thought would be perfect for the coat, I happily included vents, as the pattern dictated:

Just for the Chill of It

A small, cylindrical, crystal button!

A small, cylindrical, crystal button!

Although I originally thought I would leave the coat “closure-less,” that third button kept calling to me. While I did not want to have a single bound buttonhole in the center of the chest, I thought a button loop might do the trick. If I didn’t like it, I could remove it fairly easily from the front facing seam.

Just for the Chill of it

I also decided to add a loop at the neck, with a plain flat button under the collar. This way, I could close the collar if I chose to do so.

I pad-stitched the collar, but forgot to take a picture. Pad-stitching is like magic in how it makes the collar roll properly!

I pad-stitched the collar, but forgot to take a picture. Pad-stitching is like magic in how it makes the collar roll properly!

I have to say, I think the coat looks equally good any way it is worn: with the single button at the bust line closed, with both buttons secured and with neither of the buttons secured.

I chose not to add the optional pockets to this coat, but if I make it again in a less formal fabric, I would absolutely include them.

Once I got to the lining, I had to decide if I wanted to add the flat piping detail which I like so much. Of all the bias silk ribbon I have on hand, the only one which looked good was deep pink. Because of that, it doesn’t show contrast all that well, but I still like the subtle finishing look it gives to the lining.

Just for the Chill of it

Just for the Chill of it

Here, by the way, is the coat before I inserted the lining:

I underlined the entire coat with silk organza and added "cigarette" sleeve headings.

I underlined the entire coat with silk organza and added “cigarette” sleeve headings.

I love a center back seam!

I love a center back seam!

I used some vintage silk buttonhole twist to tack the center back fold in the lining at the neck and at the waistline.

Just for the Chill of it

There is no question that the dress and the coat go together once the lining shows!

There is no question that the dress and the coat go together once the lining shows!

Just for the Chill of it

I love that the lining peeks out from the sleeves when I am wearing the coat.

I love that the lining peeks out from the sleeves when I am wearing the coat.

taffeta-coat-full-copy

I was delighted when the photographer at the wedding wanted to take my picture because he "liked my outfit so much." (This is not that photo...)

I was delighted when the photographer at the wedding wanted to take my picture because he “liked my outfit so much.” (This is not that photo…)

Here with my husband - with a coordinating tie, no less (not planned, but makes for a great photo!)

Here with my husband – with a coordinating tie, no less (not planned, but makes for a great photo!)

It may seem a bit frivolous to make a coat like this, knowing that it will not be worn all that often – although I do have two other dress-weight silks in my collection which would look fairly stunning paired with this coat!  However,  it really is the perfect weight and look for an elegant, but chilly, evening out – and it was so much fun to make.

36 Comments

Filed under Buttons - choosing the right ones, Coats, Cocktail dresses, couture construction, Dressmaker coats, Dressmaker details, Linings, Mid-Century style, piping, sewing in silk, Silk taffeta, Uncategorized, vintage buttons, vintage Vogue patterns from the 1960s

“Mrs. Scimpy”

Two years ago I made this dress:

The Year of Magical Sewing

From this pattern:

Perfect Blue - Mattli pattern

Once I had the dress finished, I liked it so much that I decided a coordinating coat, with a lining to match the dress would be wonderful – sometime. I even went so far as to order more of the blue silk blend fabric from EmmaOneSock, while I knew it would still be available.   Tucked away in my fabric closet, it has patiently waited while I searched and searched for the right coat fabric in a coordinating/contrasting color and in silk. I finally found it last Spring, during a online silk sale at Britex Fabrics in San Francisco.

Taffeta coat - swatch

The fabric is lightweight silk taffeta, with the weft in persimmon color and the warp in fuchsia pink, giving it a shimmer which changes color with movement. I decided it would be my first project after we returned from our summer travels – with the intention of having it ready to wear with the dress to a September wedding, which happens to be at a location where a light coat or wrap is advisable.

All along I had intended to use the Jo Mattli coat pattern that is shown with the dress. I liked the idea of no buttons and simple lines.

Taffeta coat - Mattli pattern

The thumbnail diagrams on the back of the pattern envelope.

The thumbnail diagrams on the back of the pattern envelope.

However, when I got the pattern pieces out, here is what I found:

Front and back pattern pieces

Front and back pattern pieces

Yep, that is one voluminous coat! I knew that, even with taking some of the bulk out, I would probably still look like I was wearing a tent. With that slim dress, I am not sure why the coat has to be so full, but I had no qualms about deciding not to go in that direction. However, I still wanted a coat with no buttons or maybe just one button. I dug through my collection and came up with several possibilities, which included this one:

I do like the looped buttons, but I just wasn't convinced this was the right look.

I do like the looped buttons, but I just wasn’t convinced this was the right look.

I have another Jo Mattli coat and dress design which I love, but I think the coat would make up much more attractively in wool rather than silk taffeta, so I ruled this one out:

Taffeta coat - 2nd Mattli pattern

Then I came across this one: View B shows it with no button/buttonholes down the front. I also like the three-quarter sleeves, with the cuff detail.

The pattern description reads: "Striaght coat with or without buttoned closing below notched collar. Long and below elbow length sleeves with button trimmed vent. Optional pocket in side. Slim skirt.

The pattern description reads: “Straight coat with or without buttoned closing below notched collar. Long and below elbow length sleeves with button trimmed vent. Optional pocket in side. Slim skirt.”  I knew this coat would take on an appropriate dressy look when made up in silk taffeta.

Now –  I try to buy vintage Vogue patterns in sizes with a 32” bust and 34” hip measurement; however, that is not always possible, so I will go up or down a size if it is a pattern I really want to have. When I make my muslin (toile) for such a pattern, I try to include adjustments for the size issues so that my final alterations will be easier. However, the handwritten note on the front of this pattern gave me pause: “too scimpy” it reads. She obviously meant “skimpy,” but those two words spoke volumes to me (no pun intended!) Maybe I would just follow the pattern exactly (except for lowering the bust which I always have to do), and see if the size is okay.

Taffeta coat - pencil notes

And that is exactly what happened! Little did Mrs. “Scimpy” know that her simple pattern review, circa 1961, would save me both time and effort in 2016!

It looks like Mrs. Scimpy made her coat out of red wool, with a matching skirt. Her pencil notes on the yardage required indicate such, along with the cost of the fabrics: $22. I certainly hope she figured out that the coat was too skimpy in time to make adjustments, as a red wool coat with matching skirt would be lovely indeed!

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Filed under Coats, Dressmaker coats, Messages from past owners of vintage patterns, Mid-Century style, silk, Silk taffeta, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

Blame It on the Buttons

It can be a little overwhelming to look at my (growing) collection of beautiful summer linens, and then try to make a decision on which piece to select for my next project.

Fortunately, a random purchase of buttons helped me make up my mind this time around. I found these buttons at Britex Fabrics in San Francisco last year, and purchased them on a whim, not knowing when or how I would use them. I also don’t know what possessed me to purchase 6 of them, but that’s what I did.

Yes, those are interlocking "a la Chanel" Cs.

Yes, those are interlocking “a la Chanel” Cs.

When I got them home, I realized they were a perfect match with a length of vintage, pale yellow, Moygashel linen in my possession. I tucked the fabric and the buttons away together, confident that the perfect pattern would also be found amongst my many vintage Vogue patterns.

It was a bit of a trick finding a pattern that needed 6 (or fewer) ¾” buttons. This one kept surfacing as the most ideal candidate:

I am making the short sleeve version - but a little shorter!

Ideal, except for the yardage needed, that is. Many of you know by now that being a “little shy” of the prescribed fabric usually does not keep me from my desired goal! After making a fitting muslin and making the necessary adjustments, I cut out my underlining (light weight linen/cotton blend) and used that as my pattern. It was immediately evident that I did not have enough of that 35” width linen.

Or did I? I figured if I eliminated the center back box pleat and replaced it with just a slit in the back center seam, I’d save a bit of yardage requirements. I could make the sleeve hem facings out of the underlining, saving a bit more. And if I cut the collar on the horizontal straight of grain rather then the vertical, I could just fit the pattern pieces onto my yardage. It was a good thing I had already decided to eliminate the chest pockets (a little too 1950s.) And a self-belt?   Out of the question!

A belt turned out to be a perplexing question. I had been fortunate enough for a few years to have my belts and covered buttons custom made by Pat Mahoney, but since her retirement last year, I have found no replacement for her services. I was dreading the prospect of making my own belt. The only good thing was I knew I had a piece of vintage Moygashel linen in a medium navy blue (see the button photo above) which would be a good contrasting color for the yellow dress. I decided I would think about actually making the belt after I had the dress itself finished.

For a simple shirtwaist dress, there were a number of time-consuming details, like the gussets I covered in my last post. There were also six bound buttonholes to work.

It always amazes me how long these buttonholes take to make!

It always amazes me how long these buttonholes take to make!

Blame it on the buttons

 

There were separate front bodice facings, and a front skirt placket with separate facings. There were sleeve hem facings (as mentioned above), and lots of trimming, clipping, and grading of seams! And then the dress was done.  Except for the belt, of course.

After giving myself a pep talk, I took out one of Pat’s belts and studied it, vowing to duplicate as closely as possible her techniques and precision. Fortunately I had a belt buckle from long ago, which I had saved. It was for a 1.25” width belt, which is exactly what I wanted.  I plunged ahead and this what I made, working the eyelets by hand (which fortunately don’t show much on the dark linen!):

Blame it on the buttons

The underside, just in case you are curious!

Although not my favorite dress of all time, I think I’ll get good use out of it, and I do love its pairing with “summer” blue.

Blame it on the buttons

Blame it on the buttons

Blame it on the buttons

Blame it on the buttons

The clutch is a perfect match with the belt – how lucky is that?

Cool linen for a hot summer!

Cool linen for a hot summer!

Best of all, the buttons add just the right, somewhat mysterious, touch.

19 Comments

Filed under bound buttonholes, Day dresses, kimono sleeves, Linen, Mid-Century style, Moygashel linen, Uncategorized, Vintage fabric, vintage Vogue patterns from the 1950s

Gazing at Gussets and Fashion Exhibits

We are almost halfway through the sewing year! Time for me to just keep plugging along, being grateful for any hours I can spend sewing – or dreaming about sewing. Lately it seems I have spent more time dreaming about it than actually accomplishing anything. But that’s not quite true. I have actually done a lot of sewing (I call it necessary sewing) – just not anything worth sharing. But that is about to change.

I am working on a yellow linen shirtdress, using this pattern:

I am making the short sleeve version - but a little shorter!

I am making the short sleeve version – but a little shorter!

I am really getting to be a fan of kimono sleeves. They were incredibly popular in the 1950s (and early ‘60s), and their construction varies according to the type of gusset used. The dress in this pattern has a gusset that forms part of the sleeve, itself.

Usually gussets are diamond shaped. However, the curved lower edge shows that this gusset incorporates part of the sleeve in it.

Usually gussets are diamond shaped. However, the curved lower edge shows that this gusset incorporates part of the sleeve in it.

The instructions for inserting the gusset are quite explicit and interesting, I think. The first step is to work a “bar” across the point on the bodice where the matching point of the gusset is placed. I have actually never seen this done, but it makes sense as it reinforces that stress point.

Gazing at Gussets 1st diagran

I also like the double stitching on the interior seams of the gusset as shown in this section:

Gazing at Gussets 2nd diagram

Here is how the finished short sleeve is diagrammed:

Gazing at Gussets 3rd diagram

And here are some photos of the finished gussets on my dress:

Gazing at Gussets

This photo clearly shows how the gusset becomes part of the underpart of the sleeve.

This photo clearly shows how the gusset becomes part of the under-section of the sleeve.

Here is an inside look. While the dress is underlined in a very light weight cotton/linen blend, I opted not to underline the gusset, in order to add to flexibility. I got this brilliant idea from Laura Mae of Lilacs and Lace sewing blog.

Here is an inside look. While the dress is underlined in a very light weight cotton/linen blend, I opted not to underline the gusset, in order to add to flexibility. I got this brilliant idea from Laura Mae of Lilacs and Lace sewing blog.

The seam you see at the top of this photo is the shoulder seam which runs down the length of the sleeve.

The seam you see at the top of this photo is the shoulder seam which runs down the length of the sleeve.

I managed to tear myself away from my sewing room for a few hours this week to go to see an exhibit at the Michener Museum in Doylestown, Pennsylvania (USA). Entitled Philadelphia In Style, the exhibit featured fashions either made, worn or purchased in Philadelphia, PA over the course of about 100 years (1880-1980).

Duskin - Exhibit title

All are part of the Robert and Penny Fox Historic Costume Collection at Drexel University in Philadelphia, a veritable treasure trove of designer, haute couture and ready-to-wear dresses, coats, ensembles, shoes, handbags, and accessories of all types. The Exhibit has special meaning for those of us with Philadelphia ties, but universal meaning for lovers of fine fashion anywhere.

Although the clothing on display was fascinating and, for the most part, lovely, it was the numerous fashion illustrations, framed and lined up one after the other, which really caught my attention. They had all been done in 1954 for a specialty ladies’ shop in Philadelphia, called Nan Duskin. The most amazing thing is that each one had a swatch of the intended fabric taped in the corner of each drawing. Here is a sampling:

Duskin sketch - purple dress

The buttons were still in question for this dress – note the line in the upper right side “buttons?”

Such a lovely coat! Note the fabric swatch, held in place with yellowing tape!

Such a lovely coat! Note the fabric swatch, held in place with yellowing tape!

So many of the illustrations were of dressmaker suits. This one is made in brown checked wool.

So many of the illustrations were of dressmaker suits. This one is made in brown checked wool.

I love the saucy pose in this sketch - and the posy perched on the shoulder!

I love the saucy pose in this sketch – and the posy perched on the shoulder!

One of my favorites: in red, of course!

One of my favorites: in red, of course!

Here are a couple of the fashions represented in the Exhibit:

This was called a Day Ensemble. It bears the table "Irene for Nan Duskin." This was Irene Lentz Gibbons, 1952-53, USA.

This was called a Day Ensemble. It bears the table “Irene for Nan Duskin.” (Irene Lentz Gibbons, 1952-53, USA)

This shirtwaist dress, Norman Norell for Trina-Norell, circa 1955, had finely done bound buttonholes. the fabric is s ilk and wool brocade.

This shirtwaist dress, Norman Norell for Trina-Norell, circa 1955, had finely done bound buttonholes. The fabric is silk and wool brocade.

The Exhibit did manage to include one of the most unattractive Chanel suits I think I have ever seen.

The Chanel suit on the left is shown with an ultra-suede shirtdress by Halston, on the right.

The Chanel suit on the left is shown with an ultra-suede shirtdress by Halston, on the right.

But it was still fascinating to look at the cuff detail:

Duskin Chanel suit detail

One of the most charming displays in the Exhibit was a collection of hat boxes from the stores in Philadelphia which were the purveyors of so many fine fashions over the decades.

Duskin - hat box display

As a lover of pretty boxes and bags, I found this vignette not only delightful, but also evocative of the thought and care inherent in buying and wearing beautiful fashions. They reminded me of the same little thrill I get when a piece of beautiful fabric which I have purchased shows up in the mail, elegantly presented in crisp tissue and tied with silky ribbons.   It makes it oh-so-easy to fall in love immediately!

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Filed under bound buttonholes, Coco Chanel, Day dresses, Dressmaker suits, Fashion Exhibits, Gussets, kimono sleeves, Mid-Century style, Uncategorized, vintage Vogue patterns from the 1950s