Category Archives: Pattern Art

“To the Most Imaginative Woman in the World”

“You see her leafing through pattern books – picking out a collar here, a cuff there, a new way of pleating a skirt . . . You see her fingering a tiny swatch of fabric, Yet she’s seeing it as a whole dress, or a blouse, or a jacket . . . Who is she – this lady with the limitless imagination? She’s the woman who sews. YOU . . .”

Most imaginative woman - Burlington-2

This is just one of many ads placed by manufacturers of fabric in the April-May 1950 Vogue Pattern Book Magazine. Ordinarily I would not have purchased this issue, as most Vogue patterns available before 1955 were not printed, and I rarely buy a vintage pattern which is not printed! My particular interest in these vintage magazines is the opportunity they provide to identify dates for patterns, fabrics and style trends, making the experience of sewing with vintage patterns (and fabrics) even more enjoyable.  However, when this issue was available in an Etsy store, I succumbed. I was born in May of 1950, and my curiosity just got the better of me.

I find the haughty expression on the cover model somewhat amusing.

An early haughty expression on a  model!

Looking at this issue made me realize how old I am… NO, NO, NO! Just kidding, I think. Actually, what really popped out at me was how exciting it must have been to be a home dressmaker at this point in time, with the home sewing business booming, post-war, and fine fashion – and the desire to look wonderful – such important aspects of a woman’s life.

And then, as I was leafing through the magazine, I found an unexpected surprise. Tucked in between two pages was Vogue Patterns April 15 Collection, an 8-page flyer, available at pattern counters and easily something that could be tossed away. I find it remarkable that this slim printed piece survived.

Most imaginative woman - flyer cover-5

The format is larger than what I am used to seeing in later Vogue pattern flyers from the 1960s and 1970s.  When one looks at the fashions and patterns detailed, it is easy to imagine the woman who picked this up, looking at it again and again.

This is one of the inside pages of the flyer.

This is one of the inside pages of the flyer.

Not only that, also tucked in with this flyer was this page from Harper’s Bazaar, March 1st, 1950.

Most imaginative woman - Harpers Bazaar

How many of you save pictures of dresses/blouses/coats you would like to copy? Pinterest, anyone? I certainly do!

Clearly she had in mind making the dress pictured on the back cover of the flyer:

"Consider them two by two - the pattern and the fabric, and you will always have a happy result." Timeless advice!

“Consider them two by two – the pattern and the fabric, and you will always have a happy result.” Timeless advice!

Some of my favorite pages in this, my “birthday” issue? I was delighted to find an ad for Moygashel linen, for which I have a particular passion:

Most imaginative woman - flyer cover-1

A lover of polka dots makes me partial to this gorgeous blouse:

Most imaginative woman - flyer cover-3

This blouse is very similar to one I made a few years ago.

And how can I resist this stunning “moulded sheath dress with a draped cascade”?

Most imaginative woman - cascade dress-4

I am so struck by the sophistication of the styling of the fashions and illustrations, the emphasis on Designer offerings, and the exciting abundance of piece goods being sold by manufacturer’s name to the home sewing population. Times and fashions change, but I believe we have much in common with these mid-century home dressmakers plotting their wardrobes with creativity and skill – pairing fabric and pattern. We are the women who sew – and are still the ones with the limitless imaginations!

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Filed under Messages from past owners of vintage patterns, Mid-Century style, Moygashel linen, Pattern Art, Polka dots, The Conde Nast Publications, Uncategorized, vintage Vogue patterns from the 1950s

Oh, The Things We Can Learn!

When is a pattern envelope not just a place to keep a tissue pattern? When it is a mini lesson in sewing, style, history, elegance, and story-telling. Of course, I am thinking primarily of vintage pattern envelopes – and because I primarily sew from Vogue patterns, those are the focus of my thoughts.

I am also limiting my short exploration of these topics to the course of about ten years, from approximately 1956 until 1966. Most of the pattern art from this time period was in illustration form rather than photography. There were exceptions, such as this classic polka-dotted dress and coat ensemble from 1959:

The reverse of this envelope has very precise sketches of the fronts and backs of the dress and coat. This is one of the few envelopes from this period - 1958 - that I have seen that features photography rather than illustration art.

The reverse of this envelope has very precise sketches of the fronts and backs of the dress and coat. This is one of the few envelopes from this period – 1958 – that I have seen that features photography rather than illustration art.

It was up to the fashion illustrators and artists to represent the pattern accurately. Darts, seams, buttons, belts, pockets, etc. all had to be clearly indicated in the illustrations on the fronts of the envelopes and in the thumbnail sketches on the back of the envelopes. Home dressmakers wanted to know these things about a pattern before purchasing it – we still do! Here is a great example of the clarity of these pattern illustrations in regard to these items:

The darts, seams, and buttons are clearly delineated in this artwork.

The darts, seams, and buttons are clearly delineated in this artwork.

The back of this pattern also gives lots of additional sewing information. The thumbnail sketches clearly show that there is no back zipper. Among the details listed is a 12” zipper. That can only mean that a side zipper is used – which makes sense as it is paired with the front-buttoned bodice.

Oh the things we can learn, no 2

Further scrutiny of the pattern layout shows a gusset, obviously for use under the arm. If you, as a dressmaker, were uncomfortable with putting in a gusset, then maybe you would want to avoid this particular pattern!

It is such an advantage to be able to see the shapes of the pattern pieces in these layouts.

It is such an advantage to be able to see the shapes of the pattern pieces in these layouts.

It was also up to the fashion illustrator to make the pattern look relevant to one’s life. Different views were often shown in varying colors, widening the visual appeal. They were also shown in dressier or more casual renditions, making the pattern attractive to different lifestyles and age groups. These two patterns clearly show this endeavor:

Oh the things we can learn, no 4

The inclusion of accessories in the pattern illustration from this time period shows just how much Vogue and other pattern companies were selling a complete look. They were saying “Start with this pattern, add gloves, a bangle bracelet or two, sunglasses or a hat, maybe a scarf, earrings, high heels, and a handbag, and you, too, can walk out looking like a million dollars!” The great desire in looking well-dressed and chic during this time period is so beautifully reflected in these pattern envelopes.

Gloves, gloves and more gloves! And look at those glasses!

Gloves, gloves and hats and scarves…   And look at those glasses!

This has got to be one of my favorite examples of pattern art: the model in white holding the scarf so casually, the stylish shoes, and the large clutch handbag on the model on the left - lovely and evocative!

This has got to be one of my favorite examples of pattern art: the model in white holding the scarf so casually, the stylish shoes, and the large clutch handbag on the model on the left – lovely and evocative!

One way of dating pattern envelopes is by looking at the hairstyles of the illustrated “models.” After about 1960, Vogue stopped including the copyright date on their envelopes. But it’s fairly clear by the bouffant and flipped hairstyles on the pattern on the left that we are looking at one from the early to mid-‘60s.  The one on the right is a few years later, based on the hairstyles alone.

Note, too, how the Vogue masthead changed during this short time period.

Note, too, how the Vogue masthead changed during this short time period.

Finally, I am delightfully intrigued by the almost universal depiction of “elegance” on the pattern envelopes from this period. From the leopard print hat and lined cape on this suit from 1959:

Oh the things we can learn, no 8

to this reversible car coat from the early ‘60s:

The model in the red version of the coat strikes a chic and elegant pose with her hair tucked under a scarf, her arms casually folded, and with her stylish handbag...

The model in the red version of the coat strikes a chic and elegant pose with her hair tucked under a scarf, her arms casually folded, her stylish handbag looped over one arm …

to this cocktail dress and coat ensemble from the mid ‘60s:

Oh the things we can learn, no 10

the message seemed to be: “These beautiful clothes which you can create are ladylike and elegant (even the casual ones), and you will be, too, when you wear them!” Perhaps Virginia Woolf said it best: “There is much to support the view that it is clothes that wear us and not we them; we may make them take the mould of arm or breast, but they would mould our hearts, our brains, our tongues to their liking.”

And therein lies the intrigue of it all. The story, which begins on the outside of the pattern envelope by way of the artist’s hand, becomes our own to finish when we are creators of our own clothing. How much fun is that?

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Filed under Mid-Century style, Pattern Art, The Conde Nast Publications, Uncategorized, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s