Category Archives: The Conde Nast Publications

A Passel of Patterns

“Just when I thought I had seen it all…” That was my reaction when not one, not two, not three, but four “new-to-me” vintage Vogue patterns came up for sale in the span of just a couple of weeks. Although I am always on the lookout for any pattern which might expand my collection in a meaningful way, I am, nevertheless, quite particular when it comes to buying new ones. I only want to add patterns which I think I will use at some point, even if it is just one detail which I might combine with another pattern. But I admit to having certain proclivities which seem to guide (no, sabotage) my pattern collecting – such as coats. I am complete mush in the face of a beautiful coat pattern! Another weakness is cocktail dresses and ensembles, especially ones with little jackets. Oh, I do love a classy cocktail dress! So, is it any wonder, that when these four patterns came “on the market,” I put considerable effort into trying to make them mine? And I hope that, even if you would never see yourself using a vintage pattern, you might still find much to admire in these beauties.

If you follow me on Instagram (@fiftydresses), you have already had a sneak peek at the first pattern.

The description reads: “Slim dress has flange with front draping. Narrow shoulder straps. Short jacket with below elbow length kimono sleeves has crossed over fronts. Left shoulder scarf is joined to front shoulder.”

Lots of pattern pieces as you can see in the diagram.

The front draping and the left shoulder scarf, adding back interest, put this ensemble on a notch well above ordinary.

This Vogue Couturier Design by Ronald Paterson was next to come on the market, at which time I happened to be traveling. Of course, that did not discourage me from keeping at the important business at hand, i.e. pattern collecting.  I felt very fortunate to have the winning bid, tucked in between airline flights!

This coat is a perfect example of what is known as a “dressmaker coat.”

I was initially drawn to the blouse pattern, which has such a demure, ladylike feel to it, but, of course, the coat with its lovely collar and flattering seaming completely won me over.

The description reads: “Narrow, semi-fitted coat has curved seaming at back of waistline. Small, shaped collar; long sleeves, four fake welt pockets [I can live with that, or perhaps eliminate them…] Fly-front, tuck-in blouse has kimono sleeves in front, set-in at back. Trim-stitching on shaped neckline and sleeve bands. Slim skirt.”

The long darts in the coat sleeves are an unusual detail, and notice the four neck darts on both the coat and the blouse.  These vintage patterns give so much useful information on the backs of their envelopes.

No sooner had the last pattern appeared than another one from the same decade came to my attention. From the House of Dior, this classic dress and coat have some notable stylistic details, such as the Dior darts in the bodice of the dress and the shoulder line extensions on both the dress and the coat.

The description reads: “Sleeveless, semi-fitted dress has back shoulder line extension and high round neckline. Ribbon belt. Slender coat has padded [YES! Padded!] band edging at side closing, around neckline and on long sleeves.”

If I make the dress, I will be cutting in the shoulders by a few inches and probably slightly reshaping the neckline. Also, the ribbon belt looks a bit too wide, but that will take some more thought. I think the coat is gorgeous.

When the final “new-to-me” pattern came up for sale, I was still traveling! I was getting proficient at keeping up with multiple bids, but the auction for this one was ending when I was going to be landing at our home city, so I resolved myself to losing this one. How lovely when I found out a few hours later I had, indeed, had the winning bid.

I have found that vintage Guy Laroche patterns often have a bit of “drama” to them. Certainly that is the case with this dress with its draped back.   That detail and the perfectly placed, half-looped bow at the shoulder make this design a winner in my opinion.

This pattern is copyright 1960, making it the earliest of these four patterns.

The description reads: “Slim skirt in two lengths joins the bloused bodice at waistline. Loose draped back section below shaped neckline. Three quarter length fitted sleeves and sleeveless. “ I quite like the options available: long, short, three-quarter sleeves, sleeveless. This dress could be quite fancy or understated, depending on the fabric and how it is made.

Once these patterns started arriving in the mail, I was, happily, not disappointed.  However, since I’ve been home, I have been trying to tow the line on any more pattern purchases after my flurry of activity! I have, instead, been trying to concentrate on a flurry of sewing. It’s great, finally, to be back in the sewing room. Dare I say (without jinxing myself) that I am excited to show you – soon – what I am working on?

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Filed under Bows as design feature, Coats, Cocktail dresses, Dior darts, Dressmaker coats, kimono sleeves, Mid-Century style, The Conde Nast Publications, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

“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

The ABCs of D-R-E-S-S-M-A-K-I-N-G, Part II

One of the most intriguing aspects of couture dressmaking is that the techniques and the sewing procedures have really not changed much in over 60 years, perhaps even longer. There seem to be very few short cuts when it comes to MAKING a quality garment. (And, although sergers are handy and have their place, they are unnecessary – nay, unwelcome, even! – in the world of couture dressmaking.)          Thus we come to our second half of  The ABCs of D-R-E-S-S-M-A-K-I-N-G

M, of course, is for MUSLIN. Although many of my fellow dressmakers around the world refer to this as a toile, in the States we call our test garment a muslin, after the basic cotton fabric, purchased cheaply, which is used for its construction. Once I started taking classes with Susan Khalje, I learned the true value and versatility of this basic part of dressmaking. Subsequently, my muslins are written upon with abandon, torn apart, discarded when too many fitting issues are revealed, and regarded with a certain restraint, for what they can and cannot do. They CAN help you fit your pattern to your particular shape and needs. They CAN be a test run for the construction of your garment. They CAN suggest to you if the design you have chosen is right for you (although not always). They CAN’T mimic the flow and drape and weight of your fabric. So – as always – one needs to use her sewing brain to compensate for the lack of this important detail – and make a best guess as to how the finished garment will actually fit and look.

How many muslins does one dress need? Sometimes, several!

How many muslins does one dress need? Sometimes, several!

A is for ACCURACY. Accuracy in marking straight-of-grain, seams, notches, darts, buttonholes, buttons, center front and center back, fold lines, pleats, tucks, pockets, etc. etc., is absolutely paramount for a successful garment. This is often time-consuming and tedious work, isn’t it? But have you ever had to go back to your tissue pattern to see exactly where a notch or seam junction are? That’s also time-consuming.   I try to do it right the first time, but sometimes I miss. So – I am always striving to increase my accuracy when it comes to marking my fashion fabric.

Just for example, the most important ingredient in making successful bound buttonholes is precise marking.

Just for example, the most important ingredient in making successful bound buttonholes is precise marking.

K is for KEEP. When you have a workable muslin pattern which has been successfully made into a finished garment, and you have notes and diagrams, and suggestions written on it, KEEP it. You never know when you might want to use it again. I think I have kept all my muslins – in large plastic zip-lock bags for the most part – except for one. I could not wait to get the muslin for what I call my Ghost Dress out of my house! I will never make this pattern again! The moral of the story is, Keep the good, discard the bad…

I also like to keep extra buttons, and at least a little bit of extra fabric and trim (if appropriate) for each of the pieces I complete. One of these days, I’m going to put together a notebook of fabric swatches, so that I can keep a record of all these yard goods which have stolen my heart.

I is for INNER WORKINGS. The inside story of any couture dressmaking is a story of attention to details. Interfacings, inter-or-under-linings, linings, seam finishes, bar tacks, waist stays, boning, pad-stitching, even labels (and the list goes on and on) – give your garment a professional look. Skimp on this part of dressmaking and results will be compromised.

Here is just one page from the 1957 Vogue Dressmaking Book which shows some "inner workings."

Here is just one page from the 1957 Vogue Dressmaking Book which shows some “inner workings.”

N is for NEEDLES. Using the correct needles will go a long way in making your sewing experience a pleasant one. I have only recently started using real basting needles for attaching silk organza underlining to the fashion fabric – and what a difference it makes.

These are excellent basting needles!

These are excellent basting needles!

Of course, everyone knows the importance of changing your machine needles frequently. I even find that my hand sewing needles sometimes need to be “retired” if they start to show signs of losing their sharpness – or get a bend in their spines.

All in all, sewing needles are amazing things! The magic within them has been recognized by artists, poets, and, of course, by dressmakers, for centuries. Samuel Woodworth summed up their charms and inextricable human connection in this charming quote:

The bright little needle – the swift-flying needle, the needle directed by beauty and art.”

G is for GET ON WITH IT. Sometimes the most difficult part of dressmaking is getting started. Starting a new project – especially a complicated one, can be daunting, but the only way to get started is to . . . get on with it.

So, there we have it – the ABCs of D-R-E-S-S-M-A-K-I-N-G, a simplified synopsis of a very complicated and diverse undertaking. Dressmaking has it all for those of us who love to sew fine fashions – and find joy in the process.

 

 

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Filed under couture construction, Love of sewing, Quotes about sewing, The Conde Nast Publications, Uncategorized

The ABCs of D-R-E-S-S-M-A-K-I-N-G, Part I

Those of us who do fashion sewing sometimes have difficulty identifying what we do in a single descriptive word. A “sewer” (not those stinky things that go underground that happen to be spelled the same way) can be one who sews many different things, right? The term “sewist” is a somewhat new word, made up of sew + artist, which really doesn’t describe anything specific to my way of thinking. Most of us are not “designers” (and not all designers can sew), although most of us use some design techniques in our fashion sewing.   Some of us may be “sewing professionals,” a term which covers a broad range of endeavors, such as being a custom clothier, a sewing teacher, a writer about sewing, or even a retailer involved in the sewing industry. The term “seamstress” implies one who sews on a machine, as in a factory; although this person may be very talented in certain techniques, her job does not leave room for innovation or creativity. And that is why I like the term “dressmaker” so much. In one word it expresses many things explicit and implied. And although it is a term much used until the 1960s and not much since then, I consider myself a Dressmaker; maybe you do, too?

This wonderful Vogue book, copyright 1957, still used the term "Dressmaking" in its title.

This wonderful Vogue book, copyright 1957, still used the term “Dressmaking” in its title.

A dressmaker is one who makes custom clothing for women (oneself included.) She usually works from a commercial pattern, and then uses all her creative, design, and technical skills to create a one-of-a-kind dress, blouse, skirt, coat, etc. I have devised this ABCs of DRESSMAKING to define some of the important aspects and practices of dressmaking, especially in the couture sense.

D is for Design. This seems like it should be common sense, but it cannot be said too often that you should choose a design that is going to work for you. Unlike ready-to-wear that we get to try on, when we sew, we are working from patterns that we think will be flattering, but we really will not know until it is finished (a muslin takes some of the guesswork out of this, but not entirely.) Most of us have our own personal style that we know is flattering to us. Even if you want to diverge a bit from it (which is fine), it’s probably best not to go too far afield. Also, beware of trends that may not be flattering. (An example of this from a couple of years back is the revival of the peplum, a look that not too many of us can wear very successfully.)  When it comes to Design, choose one that is “smart for [many] seasons” rather than “one that’s soon outdated.”

The first page of the book pictured above tells the reader why she should be using Vogue patterns, but it also suggests some of what it means to be a "Dressmaker."

The first page of the book pictured above tells the reader why she should be using Vogue patterns, but it also suggests some of what it means to be a “Dressmaker.”

R is for Risk. Let’s face it, fashion sewing can be risky. We can be sewing with really expensive or “difficult” fabric or vintage fabric, which is now no longer available – or sewing with a complicated design/pattern – or making something for a very special occasion – and the outcome is entirely in our hands! It takes bravery, confidence in one’s skills, patience, and a willingness to take a risk to grow in our dressmaking, but the rewards are manifold.

One of the Dressmaking signs I have hanging in my sewing room.

One of the Dressmaking signs I have hanging in my sewing room.

E is for two things: Engineering and Embellishment. I have said this before, but it bears repeating – sewing is engineering. I love to read pattern instruction sheets, especially for something that is complicated, and I bet many of you do, as well. It’s fascinating to see how patterns go together, how different fabrics demand specific approaches to that process, how the pattern pieces need to be manipulated to fit one’s particular form. A well-engineered pattern is a beautiful thing, and it takes a sewing-engineer’s mind to know how to best bring that pattern to life in a stylish and successful fashion. It takes a dressmaker.

Another one of my signs, the first one I purchased and still my favorite!

Another one of my signs, the first one I purchased and still my favorite!

Embellishment is almost synonymous with the term dressmaker. “Dressmaker Details” include such things as ruffles and frills, ribbon, or braid, but also those little touches that add so much to a successful garment, such as well-chosen buttons, interior trims, non-boring linings, covered snaps, bound buttonholes (when appropriate), and the creative manipulation of, or addition to, a pattern to get the effect you want. A creative dressmaker can start with something basic and make it unique – and couture – by adding just the right embellishments or details.

S is for Seams. This is about as basic as it gets, but those seams must be sewn well and finished well for a successful finished garment. One of the techniques I learned in the couture sewing classes I have taken with Susan Khalje is, for me, the method to achieve successful seams. That is – thread basting along seam lines to use as your sewing guide, rather than relying on the seam allowance markings on one’s sewing machine.   This is the building block for successful dressmaking.  And then, finish those seams on the inside to control bulk and add to the wearability and durability of your garment.

S is also for Steam. As in ironing. A good steam iron is worth its weight in gold! Steam is useful in so many ways – here are just a few:   1) When sewing with wool or most dry-cleanable fabrics, a good place to start is steaming your fabric before you begin to lay out your pattern pieces. Even if you have pre-washed cotton or linen fabrics, a good initial steaming of your yardgoods will insure a better outcome. 2) Steam newly sewn seams flat to set your stitches before spreading the seam open for its second pressing. 3) Contours can be set beautifully with steam, especially when using a pressing ham and/or a seam roll, or draping your work-in-progress on a dress form.

Te Vogue Dressmaking Book has an entire section on pressing, with guidelines still appropriate almost 60 years later. Click on the image to read the page.

The Vogue Dressmaking Book has an entire section on pressing, with guidelines still appropriate almost 60 years later. Click on the image to read the page.

And then, S + S  is for Sewing Sense, which is what every successful Dressmaker must develop. This subject is so vast it warrants its own blog post sometime in the future!

So now I am halfway through the ABCs of D-R-E-S-S-M-A-K-I-N-G. Part II is yet to come…

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Filed under couture construction, Dressmaker forms, The Conde Nast Publications, Uncategorized, Vogue patterns

A Collection of Coats

When the weather turns wintry, warm coats become a wardrobe staple. One or two “practical – wear everywhere” coats are a must. (I just added years to the life of a 2+ decades-old cashmere, classic, double-breasted coat by having the tattered lining replaced by a local tailor – and I will continue to wear this coat often!) But how delightful to have a collection of coats – and how much better if they are not only warm, but also stylish. If you were sewing in the 1950s and 1960s you were fortunate to have many, many coat styles and patterns available to you – and if you are sewing now, you are also fortunate to have access to many of these same patterns through the internet – and they are just as stylish now as they were 50+ years ago. I am, of course, speaking of “dressmaker coats.”

Quoting from Fairchild’s Dictionary of Fashion, (Third Edition, by Charlotte Mankey Calasibetta and Phyllis Tortora; Fairchild Publications, Inc, New York, New York, copyright 2003) a dressmaker coat is: “A woman’s coat designed with softer lines and more details than the average coat. May have a waistline and unusual details, e.g., tucks or pleats.” Such coats are so-called because they are styled more like a dress.

It doesn’t take very long to find examples of such coats in the Vogue Pattern Book Magazines from those two decades. The sheer numbers of patterns for such coats – and coat and dress ensembles – make me believe that home dressmakers from that period of time did not shy away from such sewing challenges. And why should we when so many gorgeous coats are waiting to be sewn?

Here are a few examples to tempt you:

“The Rectangle Coat: New Fashion Geometry” was a feature in the December 1958/January 1959 Vogue Pattern Book Magazine.

Dressmaker coats - rectangle #1

Both of these coats feature fur collars “added by your furrier.” The one on the left has a “slight oval to the back” – and a half belt.

Suggestions for suitable fabrics are given for each of these designs.

Suggestions for suitable fabrics are given for each of these designs.

Continuing with the theme of “New Fashion Geometry,” the following pages of the same Vogue Pattern Book Magazine show examples of “the triangle coat.” Other terminology for this style of coat is the A-line coat. First introduced in 1955 by Christian Dior, this coat was “made close and narrow at the shoulders, flaring gently from under the arms to hem; shaped like letter A, made in single-or double-breasted style with or without a collar,” according to Fairchild’s Dictionary of Fashion, page 85.

Dressmaker coats - triamgle coat #1

The coat on the right has unusual princess seaming.

The coat on the right has unusual princess seaming.

A few years later, the December 1962/January 1963 issue of Vogue Pattern Book Magazine featured “7 new ways to keep warm and look wonderful.”

Dressmaker coats - 7 coats 1

Several of the coats in this section feature "fullness" in the body of the coat.

Several of the designs in this section feature “fullness” in the body of the coat.

For me, however, it is the “ensembles” that make the ultimate fashion statement when speaking of coats. Christian Dior succinctly sums up their allure in The Little Dictionary of Fashion (Abrams, New York, New York, copyright 2007), page 40: “A very elegant way of dressing is to have a coat and dress matching together, making an ensemble… The frock should be fairly simple and the coat can be either fitted or loose, according to your taste. It can also be either long or short.” Vogue Patterns had no shortage of offerings for such ensembles. Here are four wonderful Vogue patterns – which are part of my pattern collection – and which are “ensembles.”

Note the "fullness" in this coat as well.

Note the “fullness” in this coat as well.

The princess seaming on this coat is similar to the red one mentioned above.

The princess seaming on this coat is similar to the red one mentioned above.

Somehow, this Guy Laroche pattern shows better in this photograph than in its drawing.

Another view of this  Guy Laroche pattern; it seems to show better in a photograph than in its pattern illustration.

This pattern was featured in that same VPB Magazine issue from December 1962/January 1963.

This pattern was featured in that same VPB Magazine issue from December 1962/January 1963.

And here it is in black and white in that issue. Stunning, isn't it?

And here it is in black and white in that issue. Stunning, isn’t it?

I love the knee length coat, although I may substitute another pattern for the coordinating dress.

The neckline on this coat is lovely and perfectly suited for a coordinating dress.

I actually have fabric for three of these patterns – with plans to sew them of course.  (Can you guess which one is the fabric-less orphan?)   However, all of them will remain part of my sewing dreams until after the holiday season – which “officially” begins this week with our American Thanksgiving celebration. I have festive attire and a few homemade gifts to fill my sewing days through December. Building my collection of coats will just have to wait.

Happy, Happy Thanksgiving to all my American readers – and my heartfelt thanks to my loyal readers worldwide in this season of gratitude.

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Filed under Coats, Dressmaker coats, Mid-Century style, The Conde Nast Publications, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s

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

Sometimes It’s All About the Shoes

Well, maybe it’s not entirely about the shoes, although they do promise to share a starring role with my just-completed yellow and blue linen dress.

All about the shoes

I first spied these lovelies on the Simply Soles website last winter, as part of the offerings for Spring/Summer shoes. Although I loved everything about them (the combination of colors, the fabric, the asymmetrical bow, the kitten heel, the brand – knowing from experience that Butter shoes are extremely comfortable), I decided not to purchase them. At that point in time, I had not yet bought the bittersweet yellow linen, so I had no reason to buy shoes with such a limited color palette. By the time I had a good reason to buy them, they were no longer available in my size.

All about the shoes However, the Simply Soles website allows one to request an email advice should the correctly sized shoe become available. Weeks went by, Summer arrived, and by then I had paired the recently purchased deep yellow linen with the pottery blue linen. Goodness, I could not stop thinking about those shoes and how perfect they would be with my envisioned dress. And then – they were suddenly available – in my size – and on sale!

All about the shoes

By this time I was already immersed in making my second linen dress of the Summer, so I planned for the blue and yellow linen to be number “3”. In the meantime, I happened upon more documentation of Moygashel linen, this one for the “yellow” piece. Those of you who follow this blog know how much I love to make these connections!

"... pure enchantment for sun places ... a forsythia linen dress ..."  and the source information in the back of this Vogue Pattern Book Magazine from February/March, 1968 credits Moygashel as the brand of linen.

“… pure enchantment for sun places … a forsythia linen dress …” and the source information in the back of this Vogue Pattern Book Magazine from February/March, 1968 credits Moygashel as the brand of linen.

Seeing an entire dress made out of the forsythia linen helped me to feel confident about having such a bright color as the bodice part of my planned dress.  As I stated in my last post, I decided to use the bodice from this early ‘60s’ Vogue pattern, pairing it with a slim skirt and a belt.

The neckline dips down to a slightly curved V, with a center seam.

The neckline dips down to a slightly curved V, with a center seam.

As this would be a dressier type of frock, and because I know how foolproof couture construction is (with silk organza underlining and crepe de chine lining), I proceeded using those techniques. The facings on the V-shape of the bodice front and back were cut as part of the pattern, instead of being separate pieces. I followed the instructions to reinforce the edges of the fold with ¼” twill tape.

I basted the twill tape just to the outside of the fold line on the "all-in-one" facing.

I basted the twill tape just to the outside of the fold line on the “all-in-one” facing.  This is the back bodice.

And this is the front bodice, showing the deep V and the center seam.

And this is the front bodice, showing the deep V and the center seam.

Normally, couture construction does not use facings, but in this application, they were indispensible. Then the rest of the dress proceeded without a hitch.

Here is the dress turned inside out.  I used a forsythia-yellow zipper as i thought it more important to match the bodice than the skirt of the dress.

Here is the dress turned inside out. I used a forsythia-yellow zipper as I thought it more important to match the bodice than the skirt of the dress.

Here is the shoulder with the crepe de chine fell-stitched and understitched in place around the shouilder.  Note the lingerie stay made with a folded piece of Hug Snug Rayon woven tape.

Here is an inside look at the crepe de chine fell-stitched and understitched in place around the shouilder. Note the lingerie stay made with a folded piece of Hug Snug rayon woven tape.

About halfway through the construction of the dress, I got the idea to have decorative buttons made – to compliment the front V of the neckline.

I sent scraps of my fabric off to Pat Mahoney in California to have these buttons made.  Sadly, Pat is retiring from her business at the end of August...

I sent scraps of my fabric off to Pat Mahoney in California to have these buttons made. Sadly, Pat is retiring from her business at the end of August…

I actually was not sure I was going to use them until I had finished the dress, but I think they add just the right amount of detail.

Here is the dress without the buttons . . .

Here is the dress without the buttons . . .

. . . and here is the dress with the buttons.  What do you think?  With or without?

. . . and here is the dress with the buttons. What do you think? With or without?

Another detail I was happy to add was the Moygashel linen label which had been attached to the forsythia yellow linen yardgoods.

I attached the label inside the back neckline.

I attached the label inside the back neckline.

The belt is also a Pat Mahoney product, made from a silk dupioni.

The belt is also a Pat Mahoney product, made from a silk dupioni.

All about the shoes

All about the shoes

I like the V-ed back!

I like the V-ed back!

Love those shoes!

Love those shoes!

To me, this dress is reminiscent of a 1950s’ “wiggle dress” – although I added a back slit so that I can walk easily, which I guess would have been “cheating” in the 1950s! I was delighted to make another 1950s’ connection when I saw this pair of Roger Vivier shoes for Christian Dior on Pinterest:

All about the shoes - Pinterest pin

The similarities with my shoes are remarkable! Now that I have one dress perfectly suited for my Christian Dior-inspired shoes, I will be looking for other “perfect pairings”. Who knows what fabric treasures will present themselves next Spring or Summer for just such an undertaking?

 

 

 

 

 

 

 

 

 

 

 

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Filed under Buttons - choosing the right ones, couture construction, hand-sewn zippers, Linen, Moygashel linen, Shoes to make an outfit complete, The Conde Nast Publications, Uncategorized, underlinings, Vintage fabric, vintage Vogue patterns from the 1960s