Category Archives: vintage Vogue patterns from the 1960s

Who is Mrs. Exeter?

And the more important question is – Can she sew?  Yes, she can – and she does!  But first, let me tell you who she is – or actually who she was.  She was a fictional character – a “woman of a certain age” – who started appearing in The Conde Nast Publications’ Vogue magazine in 1949 (as best as I can determine).  She was the focus of a regular style column, which was meant to appeal to older fashionable women –  with the emphasis most definitely  on fashionable.   She must have proved to be an appealing figure to readers, because in 1954, the front cover of the October/November issue of Vogue Pattern Book magazine announced:  Introducing Mrs. Exeter patterns.

Top billing for the new feature!

Suddenly Mrs. Exeter had discovered the joy of sewing beautiful, classic fashions for herself.  Obviously, Vogue patterns, which already had its own Couturier line of patterns, and its very popular Designer pattern series, knew that its audience included these “older” women who had the time, the talent, and the inclination to sew beautiful fashionable clothes for themselves. The copy accompanying the sketches and photos clearly played into the idea that Mrs. Exeter was very sure of her fashion sense:

Here we learn about Mrs. Exeter’s “experienced way of knowing the ‘right’ neither-too-young, nor too old fashions for herself…”

She also had color sense, knowing how to play up her features, and showing she was not afraid to branch out from neutrals and basic black.

Yes, red can definitely enhance silver hair!

She sounds like she was a fun grandmother, too, as this sketch attests:

The caption reads: “Mrs. Exeter takes her grandchildren to town for a Saturday movie treat.”

The Mrs. Exeter feature appeared sporadically  throughout the year in the issues of Vogue Pattern Book magazine,  continuing through the decade of the 1950s.  The October/November 1957 issue had this feature:

The reader was instructed to “sew jet buttons on the short, fitted jacket and flap pockets” of the gray suit on the right.

That same issue used a real model for the Mrs. Exeter section:

It seems Mrs. Exeter favored white gloves and classic handbags.

And another real model appeared in the February/March 1958 issue:

I think this Mrs. Exeter looks a bit insipid!

By the fall of 1958, Mrs. Exeter must have been very popular, as this was the cover of the magazine:

10 pages for Mrs. Exeter patterns!

The Mrs. Exeter appearing here suddenly looked a little less grandmotherly:

Now this is a lovely woman!

Again, the accompanying text was very flattering to the expertise of the older woman:

“Mrs. Exeter knows what she likes… how to look right on all occasions.”

And the texts made frequent reference to Mrs. Exeter’s civic and social obligations and interests. One two-page spread showing suits, declared:  “For Mrs. Exeter’s busy calendar of civic and social events, a suit wardrobe is almost a necessity.  Her choices, admirably combining chic, distinction, and flattery – with perhaps a shade more emphasis on flattery.”

She also apparently wore shirtwaist dresses with great aplomb, being careful “to avoid thickness at the waist.”

“For all day, every day, the shirtwaist dress is indispensable…” which could be true for 2012 as well!

The Mrs. Exeter feature continued into the early 1960s, but then succumbed to the burgeoning emphasis on youth, disappearing from the magazine by the mid-‘60s.  Indeed, in 1970, Vogue Pattern Book magazine introduced a new feature, this one called “Miss Vogue” in an obvious appeal to the younger generation.  The description of Miss Vogue?  Well, she must have been raised  by Mrs. Exeter:

“She’s the girl with the fabulously fresh smile.  She loves life.  She has fun.  She is active and her versatility knows no bounds.  …She is a sewing expert…  She loves a good challenge.  She’s got talent.  She’s got finesse…  She’s a winner!”

Although Mrs. Exeter might have been “replaced” by Miss Vogue, there were still plenty of 1970s’-era fashions and patterns, which certainly appealed to “the older woman” as well as a stylish younger one.  One of those patterns is the one I am currently using :

From Vogue’s Designer series, ca 1970.

I have completed the skirt, which incidentally is, to my thinking the perfect “pencil” skirt – as it is narrow, but very comfortable – and it has a shaped, two-part waistband. (I’m an unabashed fan of waistbands!)  I think Mrs. Exeter would approve.  I’ll show you in a future post…

6 Comments

Filed under The Conde Nast Publications, Uncategorized, Unprinted patterns from the 1950s, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s, Vogue patterns

Flights of Fashion Fancy

Having returned just a couple of days ago from a short Summer trip, I still seem to have airplanes and airports on my mind.  Although it wasn’t practical to take any sewing (hand-work, that is) along with me, that doesn’t mean I have not been thinking sewing, fabrics, patterns and fashion.  In fact, while I am still physically (and mentally) working away on my “couture dress”, another part of my brain is thinking about Fall and Winter, getting my projects listed in some sort of order.  I’ve started envisioning them all lined up on the “runway” – kind of like planes all queued up and waiting for take-off.  Some big, some small, some already late, others sneaking in before their time!  Which ones will have to return to the gate?  Which ones will be smooth flying – and which ones will hit that proverbial turbulence?

After finishing my current Summer projects, I am thinking the first one to “take off” will be an addition to a suit I made last winter.  I have enough fabric left of this lovely checked wool to make an overblouse:

Paired with the suit skirt, an overblouse in this fabric will make a variation on the “little black dress” – just in two pieces instead of one.

I recently found this pattern, view D, which I intend to use for this blouse.  I am so fond of the “Dior darts” which give a lovely silhouette to a bodice.

I’ll definitely make a muslin of this pattern to check the fit.

After that, I know I’ll be working on a dressy suit, which I need for a wedding and another event mid-Fall.  I found this wool at B and J Fabrics which I’m about to order   to use for the jacket.  I am still on the hunt for a slightly orchid-colored pink in light- weight wool or heavier silk to coordinate with it for the skirt.

This fabric, a wool/lurex blend, has a bit of sparkle to it.

I’ll be the first to admit that I love pink – and here is another one:

I have a lot of yardage of this fabric, so I have flexibility in choosing a pattern.

I’ve had this fabric for several years.  It is a wool/cotton blend with the perfect weight for a Fall dress.  However, I can’t decide on what style I should make it in:  shirtdress, sheath, tailored or not?  If I can’t decide, then it may just have to go to the back of the line.

This is a recent purchase from Britex Fabrics:

This is actually alpaca – and very, very soft!

I bought this fabric to be made up in this dress, view A, with the below-elbow length sleeves:

The length of this dress as shown on the envelope is very 1950’s. I’ll be making it in knee-length.

The back of the envelope shows the versatility of the belt, which can be included – or not.  Think of the endless possibilities with changing the belt on this dress, especially with a basic black and white herringbone weave:  it would look great with red, pink, orange, black, green, or even bright blue.  This pattern will give me more practice on the couture techniques I’ve been learning, too.

I love that the drawings include the handbags!

Finally, here is another fabric from Britex:

Another subtle windowpane, this one in navy with deep red and ivory intersecting lines.

This is a pure cashmere wool which I purchased last year in the store.  There is no way to describe how soft and luscious this fabric is.  And here is the pattern I know I am going to use for it:

This pattern is circa 1970.

Well, if all I had to do between now and December is sew clothes, I might get most of this done.  However, interspersed amongst this fashion sewing will be  several “gift” sewing projects, which are going to sneak their little wings into line, along with holidays!  No matter – among other things, sewing encourages flexibility and, like flying, can take us to places of great adventure and quiet reflection.  No wonder I – and so many, many of you –  love to sew!

4 Comments

Filed under Dior darts, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s, Vogue patterns

Parlez vous français?

Unfortunately I do not – yet.

It is undeniable that French is the universal language of fine sewing.  I have found myself often going to my copy of The Vogue Sewing Book (copyright 1970 by Vogue Patterns, New York, New York) to check translations and pronunciations of certain French fashion terms in the list at the back of the book.

A few weeks ago I picked up a paperbound copy of this Vogue Sewing Book from 1963:

Notice the price on this paperback book: $1.00!

I was intrigued by the teasers on the front, such as “High Fashion Sewing with Professional Skill”, “Profiles of Europe’s Great Designers” and especially by “How to Become America’s Best-Dressed Woman.” (I figured that was one tutorial I did not want to miss!)  What I didn’t know was that the final page of this book is a “Glossary of French Fashion and Sewing Terms.”

One page – full of information…

I just assumed that this list would be the same as the one in the hardbound book I already owned.  Not so!  While there is certainly some crossover of terms (such as the common ones:  au courant, boutique, couturier and couturiere, chic, haute couture, vendeuse, volant, etc.), other terms appear on only one list, such as amincir (1963 book, meaning “to make thin, look slender”), gens du monde (1963 book, meaning “people of fashionable society”), and chemise (1970 book, meaning “blouse or style with manshirt details”).  At least one term is two variations on the same meaning – and very much in our vocabulary today:  confectionne (1963 book, meaning “ready-to-wear”) and prêt a porter (1970 book, meaning “ready to wear”, but with this addition: “more current than ‘confection’”).

I like to think that I began my “French lessons” last summer, when I purchased this silk neck scarf from a vendor at The Vintage Fashion and Textile Show in Sturbridge, Massachusetts.  (I blogged about this fun day with my daughter back in January):

French for beginners!

Of course, this scarf has its own share of fashion and sewing terms featured on it:

It’s quite appropriate that the needle and the hand are side by side.

A stylish green dress.

A diamond and a fan to complete your outfit!

I guess I must be attracted to alphabet-related textiles –  like this one, which I purchased online from Britex last Fall:

A lustrous crepe de chine.

The tell-tale selvedge edge.

A design by the house (“chez” in French!) of Marcel Guillemin, Paris, it very subtly spells out that name in the letters.  I have two yards of this beautiful fabric, and I keep seeing it as the lining in a Chanel-type jacket…

It is plans like this and some of those beautiful French fashion/sewing terms that help to inspire me to become a better dressmaker.  Something else, too, is inspiring me to dare to think of myself as being my own “couturiere”: my enrollment and active participation in The Couture Dress, on online Craftsy course taught by Susan Khalje.   I am currently working on my muslin (also known as “toile”) for my version of the class-suggested “fourreau” (fitted or semi-fitted, sheath-like dress).   I may not be thinking in French yet, but I am definitely dreaming in it!

2 Comments

Filed under Scarves, sewing in silk, Uncategorized, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s

Decisions, Decisions.

For several years my mother-in-law had a sign on her refrigerator stating “So many men… So little time”.  As a wife and a mother of three sons, I guess she was either telling the truth – or maybe doing a little daydreaming.  I don’t post things on my fridge, but if I did, it might read, “So many patterns… So many decisions”.  And that, too, would be a combination – of the truth – and quite a bit of daydreaming!

Usually as I am working on an item, I am already thinking about the next one – and I often know what pattern I’ll be using next.  However, I finished my silk tunic not quite decided yet.  I figured I was ready to tackle something a little more complicated, after the easy construction of the tunic (and a few days off doing other things!)  So what was it going to be?  I had it narrowed down to these five patterns/projects:

1) View B of this dress (for summer), made up in a Moygashel linen, with a contrasting belt.  This pattern has persistently been popping in my pattern box ever since I purchased it on Etsy  in early January.

The length of this dress as shown on the envelope is very 195os. I’ll be making it in knee-length.

2) No, this pattern is NOT vintage.  I signed up for The Couture Dress class taught by Susan Khalje on Craftsy, and this is the dress pattern which is sent with class enrollment.  Actually, views A and C both have a 1960’s feel to them – classic and chic!

So – what will it be? Sleeveless or short sleeves? It will definitely be the straight-skirt version. And I love the square neckline.

3) Ah, Molyneux!  Another short-sleeved dress to be made in linen.  The seaming detail is so lovely on this design.  I will have to practice my “pouty” look, however, if I hope to look an inch as good as the model on the envelope.

The kimono sleeves have gussets, which will make this dress comfortable to wear.

4) After missing out on several Diane von Furstenberg-designed patterns on eBay, I was very excited to find this one in my size on Etsy in mid-May.  What is it about D von F’s dresses that makes them so timeless?

I owned this pattern in the ’70s, when I bought it for $1.50 at my local fabric store. Sadly I didn’t save it or the dress I made from it, so I had to buy it again! I originally made it up with short sleeves, but now I prefer the sleeveless version.

5) I featured this pattern in a post shortly after I started my blog.  Whether you call this a “swing” coat or a “clutch” coat –  it’s 1950’s style has been in my mind for months!

I love this coat with the sleeves pushed up, as shown in blue.

The truth of the matter is that I will eventually be making dresses or a coat from all these patterns, but as I usually work on only one project at a time, I had to choose just one.  Which one?  It is underway as the thread- and scrap-covered floor of my sewing room will attest!  I made my decision . . . but I have many stitches to go – and many stitches to go – before I can post it.

9 Comments

Filed under Coats, kimono sleeves, Linen, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s, Vogue patterns

My very stylish pants.

For several months I was watching a piece of Moygashel linen for sale by Revival Fabrics.  When I first saw this offering, I had the eerie feeling of déjà vu – I was sure I remembered seeing this patterned fabric in the late ‘60s or early ‘70s when I was a steady admirer and occasional purchaser of this brand of linen I love so much.  The piece that was being offered was three yards long, 44″ wide and included a Moygashel label.  The description accompanying it suggested making patio furniture pillows or tote bags with it, neither of which much appealed to me.  And actually, this suggestion threw me off a bit ; I wondered if it was drapery-weight linen, not dress-weight.  But the more I looked at it online (clicking close-ups of the images), the more convinced I became that it was dress-weight.  I finally decided to buy it, not really knowing what I was going to make out of it (maybe a sheath dress…?)

When the package arrived and I finally saw this linen in person, I was – so excited! It was gorgeous – and my suspicions were correct – it was definitely dress-weight.

Here is a lengthwise view of the linen.

Here is closer view of this amazing pattern.

My first thought after my initial euphoria was:  This would make up into fabulous ankle-length pants (worn with a black, yellow or khaki top – and of course my black and yellow Bakelite bracelet).  And yes, I was sure I would have the nerve to wear them!

I laid out the fabric with a black cotton knit top and my Bakelite bracelet just to see how it would look.

And here is the label which came with the fabric.

With my plan in place, I decided this would be my next project after I finished the one I was on.  Then something really amazing happened.  A fashion article in the May 3, 2012 edition of The Wall Street Journal caught my eye.   Christina Binkley, one of the newspaper’s fashion reporters, headlined her weekly column “On Style”  with The Pantsuit Takes a Walk on the Wild Side.

I don’t like any of these fabric designs as much as I like my Moygashel linen!

I’ve never been a fan of pantsuits, but some of the fabrics featured had that same ‘60s’ feel as my new vintage linen.  The reporter rightly questioned how well these head to toe outfits would “play on the streets”, but then she added:

“…at least one mainstream retailer will highlight the idea that the pantsuit can be worn as separates…  There will be more busy pants than busy jackets.  ‘There may be women who wear it head-to-toe – very daring,’ says Sak’s Ms. Sherin.  ‘But for us, it’s probably about the patterned pant’.”

Then, Ms. Binkley suggested:  “The key to wearing this trend is not straying too far from your safety zone.  Stick to colors and patterns you will still love in five years.  And let the bold pattern do the talking – go with a conservative fit if you’d rather not be the center of attention.”

Further:  “It’s probably not a coincidence that wild pantsuits are appearing just as ‘Mad Men,’ the style-influencing television show, is entering the psychedelic phase of the ‘60s.”

Well, my linen fabric is far from psychedelic, but it is bold – and reading this article certainly did validate my plans for making pants.   I also already knew the pattern I wanted to use, one quite appropriately from the early to mid ‘60s!

I really like all the styles featured on this pattern – the coat, the two blouse variations, the cummerbund –and the “conservative” pants.Classic looks – all of them!

Okay – I was ready to start this project.  First I washed the linen in cool water, delicate cycle, and dried it on medium heat.  This way I know my pants are totally machine washabIe.  Next I made a muslin of the pants pattern to check for fit.  I should have done a little more measuring first, as the crotch was too deep and had to be redrawn.  Also, although I like slim-ankled pants, these were just a bit too slim, so that was another adjustment.  I ended up making muslin #2, which was much closer to the final version from which I cut my pants.  However, I had made so many adjustments, that I decided to copy the final pattern onto freezer paper. (Freezer paper is my secret sewing friend – the dull side provides a wonderful surface upon which to draw in pencil and the shiny side can be ironed to fabric to cut out appliqués or anything, really, and then easily removed.  And the long continuous roll of paper is perfect for long pattern pieces like pants, coats, etc.)  The good news is that now I have a pants pattern that fits really well with the slim, but not too slim, legs that I like.

During construction, I tried on these pants about a ga-zillion times.  This fabric was just too dear to make any mistakes, and the more I tried them on, the more I liked them.  Here they are, all finished.

I’d say these are definitely bold!

Here is my outfit, complete with Bakelite bracelet.  (I think the camera angle makes the legs look different lengths??)

A close-up of same, with the earrings I’ll also wear with this outfit. (Click on the image).

Here is a view of the waistband and zipper.

And here is the final touch – the label attached to the inside back of the waistband!

How neat is it to sew something up in vintage fabric, using a vintage pattern – and be totally stylish in 2012? And – I still have enough of this fabric left over to make a skirt.  Hopefully that will be very stylish, too, whenever I get around to making it!

12 Comments

Filed under Bakelite buttons and/or jewelry, Coats, Linen, Uncategorized, vintage Vogue patterns from the 1960s, Vogue patterns

A modern American translation: vintage Irish linen and 1966 French design

I’m never completely sure where pattern/fabric-pairing inspiration and decision- making comes from.  I kind of imagine all kinds of synapses going on in my brain, pulling information both stored and recently learned, which enable me to visualize a particular pattern made up in a particular fabric.  Somehow, most of us who sew  know what works – or doesn’t work – and then we can proceed, or not!  Well, my brain was telling me that this ca. 1965 Moygashel linen would look great made up in this 1966 Jacques Heim-designed dress:

Congratulations to those of you who picked this fabric in my Quiz #2!

I promise this will be the last time I show this pattern evelope!

Before I actually began work on the dress, I looked up Jacques Heim in one of my favorite reference books, The St. James Fashion Encyclopedia: A Survey of Style from 1945 to the Present. “Mr. Heim’s fashion house designed and made clothes of a modest style…” (p. 186) It appears he was not a great innovator, although he was interested in many styles, and his loyalty to a ladylike interpretation of those styles gave him staying power over his 45-year career.

Vogue Patterns started featuring his designs in the early ‘50s as part of their designer series.  It was interesting to go through some of my Vogue Pattern Book magazines and see the progression of his fashions.

In chronological order, here are four examples of his work:

This dress was featured in the June/July 1957 Vogue Pattern Book magazine.

This ladylike suit was pictured in the August/September 1958 issue of the Vogue Pattern Book magazine.

Here is a Jacques Heim evening coat from the August/September 1962 Vogue pattern Book magazine.

This ensemble was one of Mr. Heim’s February/March 1963 designs. The waist on the dress has a set-in chevron-peaked belt detail. Very lovely!

The pattern I chose was actually featured in one of the free “flyers” which were available in fine fabric stores in the ‘60s.  It is dated Fall 1966.  I just happened to find this copy on eBay – no one bid against me, so I guess I was meant to have it!

I felt very lucky to find this item on eBay!  Note the hair-do.

Mr. Heim died in early January 1967, so this particular pattern must have been one of the last ones which he designed or which was designed under his name before his death.  His fashion house then only lasted for 2 more years, closing operation in 1969 .

So – now on to construction of my dress.  I made a muslin of the bodice yoke  so I could check on the neckline and shoulder line, both of which seem to be an ongoing challenge for me with these vintage patterns.  Although the neck seemed to be okay, the shoulder line appeared to me to extend a little too far out over the shoulders.   So I re-cut the pattern piece, which meant that the facing had to be re-cut as well.

I had to extend the length of the armhole facing to accommodate my changes to the shoulder line.

The pattern called for the dress to be interlined, for which I chose a lightweight linen/cotton blend.  I basted all the pieces together by hand, kind of in a grid before machine basting them together just inside the seam lines.  I also basted all the dart lines, as indicated on the pattern instructions.

Here are the “bodice/yoke” pieces shown with their underlinings.

This shows my basting stitches on the dart lines.

As I got near to the end of the construction, I was very happy that I had re-cut the shoulders, but I began to sense that the neck was going to be a problem.  After I had the facings in the armholes, I tried the dress on, and yes, the neck was tighter than I wanted it to be.  I cut off the 5/8” seam allowance on the neckline and the matching part of the facing, which made it perfect!

Here is the finished dress.

Here is the back view.

A close-up of the top of the dress. I used vintage silk thread to do the topstitching. It’s very subtle, but effective, I think, particularly in person…

I had just enough of this yellow vintage seam tape to do the neck. It makes a nice flat finish. I sometimes do the understitching on the facings by hand. If you click on the photo, you can probably see this detail. It’s time-consuming, but makes a nice finish!

Finally, for anyone who’s interested, here’s the inside story!

I really like this dress – it’s cheery, comfortable and casually dressy – what more could one ask for?

8 Comments

Filed under Linen, Polka dots, Uncategorized, vintage Vogue patterns from the 1960s, Vogue patterns

Quiz #2: Match the fabric to the pattern

Of all my sewing projects, which are either in the works or in the planning stages, two of them will be completed shortly. (At least I hope they will be.  Everything always seems to take longer than I anticipate…  Does anyone else find that to be true?)   However, I’m just not ready to report on either of these “almost-finished” endeavors yet.  . . . So I thought I would take this opportunity to expand a bit on my infatuation with Moygashel linen – and give you, my readers, some more beautiful vintage fabrics to see – and to allow you to imagine them all dressed up and ready to wear.

In the Vogue Pattern Book from Summer of 1957, one of the articles implores the reader to “consider the crispness of LINEN”.

This June/July issue is perfect to feature linen - it is a great fabric for Summer - cool, crisp, washable, and the perfect weight for dresses and suits.

Articles like this, and ads for linen fabrics, showcase the popularity of sewing with linen in the 1950s, ‘60s, and ‘70s.  I shared a few Moygashel linen ads with you recently, and here are three more, which illustrate the range of designs and colors available to the mid-century home sewer.

This almost whimsical illustration depicts four designs of Moygashel linen. It appeared in the February/March 1958 issue of Vogue Pattern Book magazine.

This ad states: "Your precious handiwork can convert this Vogue Pattern into an heirloom, because you know that Moygashel Linen defies wear." Those words were certainly presentient! It appeared in the April/May 1953 Vogue Pattern Book magazine.

Here are four more Moygashel linens, featured in the February/March 1957 Vogue Pattern Book magazine.

I certainly decided to “consider” linen when I purchased this 1965 Vogue pattern a few months ago:

This pattern is for a paring of coat and dress, but the dress stands alone beautifully.

My intention was to make the dress only – a lovely sheath with some distinctive seaming and top-stitching.  So I went to my fabric closet to see what linens I could “consider” for a crisp Spring/Summer dress.  Here are the four that I decided to choose from:

#1 - Bright and sunny, this design is a subtle play on the polka dot theme.

#2 - The colors in this design are very 2012-current-and- fashionable!

#3 - Decorative topstitching on this solid pink linen would be quite attractive.

#4 - This geometric print is probably from the late '60s, so it would make up beautifully in a pattern from the '60s!

Which fabric would you choose for this dress pattern?  Which one do you think I chose to make into this dress?

6 Comments

Filed under Linen, Polka dots, Uncategorized, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s, Vogue patterns

Shopping in my (cedar) closet.

In the 1940s, ‘50s, ‘60s and ‘70s, most well appointed ladies’ closets contained at least one dress or suit made from Moygashel linen.  The cachet around this product of Ireland was legendary:  it was touted as crease resistant, made so by  a special process in its manufacture which used soft rainwater from the streams in the Mourne Mountains of northern Ireland.    It has many virtues, including:

1)   it was available in many beautiful solid colors…

2)   and in amazing prints, which by themselves are like mini works of art….

3)   and in embroidered designs, which are still today instantly recognizable as Moygashel.

4)   It is machine washable.

5)   It does not wrinkle, truly!!

6)   It lasts and lasts.

It’s no wonder that designers and high-end ready-to-wear garment manufacturers used Moygashel linen and proudly displayed the name of Moygashel along with, and in addition to, their own labels.

Luckily for the home sewer and dressmaker, Moygashel linen was also available in yardage at the finest fabric stores and departments.  Obviously home sewers took to it readily.  Artful, full-page ads for Moygashel linen in sewing and pattern magazines were commonplace.  Here are a few that were given up-front placement in issues of the Vogue Pattern Book magazine from various dates in the ‘60s:

This ad was featured in the February/March 1961 issue of Vogue Pattern Book magazine. The dress illustrated is a Vogue pattern from the designer series. I love that this ad shows 5 different linens available for purchase.

This ad appeared in the February/March 1963 issue of Vogue pattern Book. It has such a sophisticated look to it, which was a hallmark of Moygashel ads.

Occasionally Moygashel ads would feature a real model, such as this one from the April/May 1963 issue of Vogue pattern Book.

As I am a big fan of the color pink, I'm particularly fond of the linens featured in this ad from the February/March 1964 Vogue Pattern Book.

As I began to do more and more serious sewing for myself in the late ‘60s, I, too, took notice of Moygashel linen, which started my long love-affair with it.  I was even fortunate enough to purchase a few select pieces in the 70’s: I made dresses and suits and skirts, most of which I no longer have.  However, my current renewed interest in sewing and mid-century fashion and patterns led me to my cedar closet with a fresh eye.  So what did I find in that fragrant repository of out-of-season, out-of-date, and too-sentimental-to-give-away clothing ?  In reverse chronological order, here are three Moygashel treasures:

1)   Carefully packed away in a box I found an almost-completed jacket and unfinished skirt, complete with pattern and pins and thread.  Here is the pattern, which is from 1981:

The jacket of this pattern looks just as stylish today as it did in 1981. I'm not sure why I never finished it three decades ago.

Last Spring I (finally) completed the jacket, with buttons and a few stitches here and there,  and it is now a valued member of my Spring and Summer wardrobe.  I’ll probably recycle the skirt fabric into something else, still to be determined.

I am also a big fan of the color red, so I couldn't be more pleased that I chose this red for this jacket so many years ago.

Here is a close-up of my 1981 jacket. I hope you can see the beautiful quality of the linen.

2)  My mother-in-law was a lady of great taste in clothes, and although she did not sew, she would occasionally have her “dear little German dressmaker” make something special for her.  I told her about the wonderful fabrics available at Stapler’s on Walnut Street in Philadelphia, and I believe she made some fabric purchases in combination with one of her many day trips with friends to the city and to the Forrest Theatre.   One of her purchases (circa 1975) was a colorful piece of Moygashel linen, from which she had a long “hostess” skirt made.  I eventually ended up with this skirt, which I took apart and remade two years ago into this shorter version:

The colors and design in this fabric are so eye-catching.

Here is a close-up of the skirt fabric, which is quintessential '70s!

Here is the back of my re-made skirt.

3)   In 1973, I made my own purchase of Moygashel linen at Stapler’s, this one for a dress to accompany me on my honeymoon:

This simple A-line dress, with raglan sleeves, was made from a Vogue pattern, long gone. Ankle-length dresses like this were very fashionable in 1973.

Here is a back view of the dress. The zipper is metal (that really dates me!) which I inserted by hand.

A few years later I made a belt to wear with it, to “update” it a bit, but since then it has hung in my cedar closet, a sweet reminder of years past.

This photo shows the dress belted. The bright, bold print of this linen makes a statement.

Somehow what fit me in my twenties just doesn’t look the same in my early sixties.  Imagine that!   So this dress, made from one of Moygashel’s classically timeless linens, is in that category of “too-sentimental-to-give-away”.  But now I wonder.  Should I remake it into something I can wear and use?  Would I have the nerve to cut it apart?  Should I be practical or nostalgic?  Whoever knew that the contents of a cedar closet could pose such existential questions to ponder? What should I do?

5 Comments

Filed under Linen, Uncategorized, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s, Vogue patterns

Can you zip me up, please?

This is a completely unscientific observation, but it seems to me that the zipper has made a fairly substantial migration over the years – from the side of the dress – to the back of the dress.  If that sounds confusing, let me explain a bit more, by showing you some of my dress patterns which date from the 1950s.  All of these dresses feature a side zipper, placed a few inches under the left arm and extending a few inches below the waist (or, in other words, these zippers open within a garment seam.).

I love the clean lines of this dress from 1957, with the "yoke" effect which extends into the kimono sleeves. The back of the envelope shows more detail.

You can see from this back view that, although the top back yoke buttons, a side zipper is still necessary to get the dress on!

The front on this dress only opens to the waist, so a side zipper enables one to step into it. This pattern is dated 1957.

The back detail on this evening gown from 1958 would have been interrupted by a center back zipper, but a side zipper preserves the designer's intent.

I love this dress design from 1957, which simply would not work using a center back zipper.

Patterns from the last half of the 1960s start to feature more and more zippers which are placed in the center back of the dress, and by the 1970s, it seems, almost all zippers were center back ones.

This design from the early '60s would work with either a side or center back zipper, but the pattern calls for a center back one, thus showing the start of the transition.

The dress on this pattern is actually my next project! It is a design by Jacques Heim from the 1970s. I'll be inserting a 22" neckline zipper in the back of this dress.

A casual look at vintage clothes from this time period also seems to support this observation (with the occasional exception to the rule, of course.  I actually saw a side-zippered dress at J.Crew one day this week, but it’s not the same, really, as the dress is sleeveless and the zipper parts at the top, under the arm.)

To try to understand some of the dynamics of this zipper conundrum, I went to my 101 Things I Learned in Fashion School book (by Alfredo Cabrera with Matthew Frederick) to see if I could find any entry on zippers.  Here is what I found on page 64:

“Center back zippers are like fine crystal:  best reserved for special occasions.  When a student designs an interesting garment and is asked how the wearer gets into it, the common answer is, ‘center back zipper.’  This solution is favored by inexperienced designers because it doesn’t require an invasive change to a garment.  But a back closure is rarely a satisfactory solution; it’s a fussy, frustrating concern when one has only fifteen minutes to dress for work.

“Back closures are a remnant from an era when women wore corsets and hoopskirts and had maids to truss them up in back.  Today they are more appropriate in association with major events.  On her wedding day or Oscar night, after a woman has spent a lot of time and money on her hair and makeup, she is more likely to want to step into her dress than pull it over her head.  A center back zipper implies a fitting sense of occasion.” [my emphasis]

Side-placed zippers are different from center-back zippers both in name and detail:  side zippers are called “dress” zippers and have bottom and top “stops”, while zippers for the center back (or skirts, pants, shorts) are called “neckline” or “skirt” zippers and, of course, open at the top with a stop just at the bottom.  (Skirt and neck zippers can easily be made into dress zippers by putting a few tacking stitches to anchor the two sides together right above the pull.)  Back in their hay-day, dress zippers were available in lengths from 10” to 14”. Skirt and neckline zippers are still available in lengths ranging from 6” to 24”, but they are now called “all-purpose” zippers.

So why, since the ‘70s, have most side dress zippers been replaced by neckline zippers placed center back?  I guess there are several potential answers to that question, including:

1) a lot of us would rather step into our dresses than pull them over our heads even if we are not dressing for a special occasion.

2) laziness or ignorance  (both kind of strong words, for which I apologize to anyone offended!) or practicality on the part of designers.

3) it’s just become the accepted way of closing a dress.

4) the invisible zipper made application of the zipper easier and the finished look more streamlined.

5) Huh? What’s a side zipper?

I’m sure there are lots of other explanations but my favorite one is a bit more romantic…   James H. Boren put it succinctly thus:  “A dress that zips up the back will bring a husband and wife together.”   I’d say that is a “fitting sense of occasion”!

3 Comments

Filed under kimono sleeves, side-placed zippers, Uncategorized, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s, Vogue patterns

Quiz: Match the fabric to the pattern

If you follow this blog, you’ll know that I have promised a “next” post on a suit which I’ve been working on.  Another project (non-sewing) has taken me away from it for a few days, so it’s not quite finished yet.  However, to keep my promise, I’m offering a teaser:  can you pick the pattern which I am using to make my suit?

Here is the fabric, a lovely, finely woven and incredibly soft, windowpane check wool from France, which I purchased at Britex last summer in San Francisco:

The repeat on this fabric is 7", so it's a fairly bold check in soft black and beige

Here is another shot of the fabric, with my tomato pin cushion on it to help you determine its scale.

And here are four patterns.  Which one do you think I selected to make in this fabric?  (Click on the photos to see the patterns in more detail.)

Choice # 1: This pattern is copyright 1958. I featured it in an earlier post.

Choice # 2: Here is another pattern which I have already featured in an earlier post. It is copyright 1959. This pattern includes the blouse pattern, too.

Choice # 3: This pattern is also copyright 1958. It has kimono sleeves rather than set-in sleeves, and the skirt has no darts; rather the seams are curved to fit the hips and waist.

Choice #4: There is no copyright on this pattern, but I judge it to be from about 1962 (the hairdos and the increased pattern price are good clues!) This pattern also includes the blouse pattern.

Keep in mind that this fabric presents significant “plaid matching” challenges, which I had to consider when I decided on the pattern.  The more seams in a pattern, the higher the challenge (usually).  So – was I safe and cautious, or gutsy and daring?

5 Comments

Filed under The Conde Nast Publications, Uncategorized, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s