Tag Archives: 1960s Vogue patterns

A Summer Dress

Summer is quickly slipping away, but before it does, I will share one quintessentially summer dress which I made back in July.  It ticks off a number of features which make it “Summer Seasonal”:  it is sleeveless, it is a bright color, and it is linen.  

I found this vintage piece of Moygashel linen a few years ago on eBay. Always a pushover for vintage Moygashel, I purchased it, not quite knowing what shade of green it would be. I was expecting a lime green, but when it arrived it was “lime green meets mint,” a color reminiscent of the early 1960s.  Actually, not just reminiscent – an actual survivor from that period of time.  The width of the fabric was only 35” which was a dead giveaway that this fabric is from the early part of that decade.  Shortly thereafter, Moygashel began to be woven in 45” widths.  Fortunately I had three yards, which compensated for the dearth of width.   

To keep with the early ‘60’s vibe, I decided to line it in pink.  Although I usually line linen with a cotton batiste or cotton/linen lightweight blend, I decided to treat this dress a little bit differently.  I do not often use Bemberg for lining, usually preferring silk, but this lovely, time-tested 100% rayon lining just seemed to be the right choice. (Why?  I knew the seam allowances of the bright green  linen would not show through the tightly woven Bemberg lining, AND it would be a comfortable, lightweight and slinky fabric with which to line a summer dress.)  I ordered what I thought would be a medium pink, but when it arrived, it was more of a very deep rose.  What to do?  I hemmed and hawed, I thought about ordering a different hue of pink, I even thought about abandoning the pink idea and just using a white crepe de chine I had on hand.  Why I was agonizing so much over the color of the lining had to do with my thought if the dress turned out well, I would enter it in the County Fair. I knew not everyone would “understand” such a deeply contrasted lining.  But not wanting to waste money and fabric – and time! – I finally decided just to go with the dark pink, shown a few pictures below.  

I used this sheath dress pattern again, as I am so fond of the double shaping darts in the bodice front and the real kick-pleat.  

The sheath dress pattern I like is the one on the right, underneath its matching plaid coat.
Not just a slit, but a real kick-pleat!
Here is the kick-pleat on the inside of the dress.

I underlined the dress in silk organza so that I could eliminate facings and have an invisible application of the lining.  (The silk organza underlining gives one a base upon which to tack and secure stitches which do not show on the fashion fabric.)

The neck and armhole edges are stay stitched by machine close to the seam line, then clipped and tacked in place by hand to the silk organza underlining.
Here is one of the side seams, clipped and then also tacked in place by catch-stitches.
A beautiful lining hides all those interior stitches and seams.

I surprisingly found a zipper which was almost a perfect match to the green linen, and I did a hand-picked lapped application.  

Once I had the lining fell-stitched in place around the neckline and the armholes, I under-stitched those areas in waxed and ironed white thread.  (I used white to quiet down the deep pink!) Using this technique keeps the lining in place.  The under-stitching is attached to the silk organza underlining only, not the fashion fabric, as explained above.

I used Hug Snug rayon tape to construct the strap holders.

To complete the early 1960s’ essence of this dress, I can pair it with a vintage ‘60s’ Guillemin scarf, also found on eBay.  The pink in the scarf doesn’t match the pink lining, but since the lining does not show, it only matters to me (and now all of you also know this little fact!)  

So how did I do with this dress as an entry in the County Fair?  It was awarded a Red Ribbon in the Adult Division, which was lovely.  The day was “saved” however, when dresses I made for my granddaughters each won Blue Ribbons (and one of them won Best of Division).

(Those of you who follow me on Instagram @fiftydresses have seen this picture already…)

Good Summer memories, all of them.    

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Filed under couture construction, Linen, Linings, Mid-Century style, Moygashel linen, Scarves, Sheath dresses, Uncategorized, underlinings, Vintage fabric, vintage Vogue patterns from the 1960s

A Pink Wool Dress

There seems to be a recurring theme in my acquisition of fabric.  I either have more than enough – or – just barely enough.  In the case of this vintage pink Linton wool, I had plenty for its original use.  

Sometimes when I have lots of fabric left over, I just move on and don’t try to put the remaining yardage to any purpose.  But then there are times when I think it would be a travesty not to use it.  And so – this pink princess A-line dress was born. 

I had purchased this vintage Vogue pattern last year. 

 I particularly liked the cut-in armholes, and the princess lines which also incorporate a small Dior dart.  (I have traditionally thought a princess-line dress or coat generally gets it shaping simply from the seam lines, not from darts. Fairchild’s Dictionary gives this description:  “ Fitted dress with flared skirt, frequently made like a coat-dress, styled without a waistline seam and cut in panels fitted from shoulders to hem.” Page 376. No mention of darts, so maybe it doesn’t matter!) I wasn’t so sure about that long center shaping dart in the front of the dress.  However, I knew a muslin/toile would determine its fate as far as I was concerned.  (I also like the jacket included in the pattern.  It has lovely lines and I really need to make it sometime.) 

The line drawings on the back of the envelope show the lovely seaming details on the jacket.

As I suspected, I was able to eliminate the long center dart, which seemed to add more emphasis to the bust than I cared to have.  When I make this pattern again, I think I will make a dead dart where the shaping dart is supposed to be, which should take in a little bit of excess bagginess. Or, if that doesn’t work, then I will take the front side seams in a little bit. I only noticed the bagginess after I had taken a few photos.  Always tweaking – it never seems to end!  

A little baggy….

One of the pleasures of sewing with a plaid – in this case the plaid is strictly in the weave – is the preciseness with which dress parts can be joined.   I underlined all with white silk organza, which gave this loose weave just the body it needed.  Then to make sure I had everything lined up, I hand basted every seam before sewing by machine.  

A close-up of the Dior dart, and the front side seam.

I eliminated the facings and used the couture method of lining to the edge, using back stitching to secure the lining to the underlining around the neck and armholes.  Then I used a hand-sewn lapped application for the zipper.  

I enjoyed making this dress, and I will use this pattern again – I am already envisioning a dress and jacket ensemble, featuring the jacket included with the dress.  And I know just the fabric I will use.  But I am getting ahead of myself – first here a few pictures of this dress and jacket duo.

Dress and jacket together…
I have said this before, but it bears repeating – I love a center-placed lapped zipper.
The weave in this wool is just so pleasing.

And how much of the Linton fabric did I have remaining after making this dress?  Well, enough to make a coat for an American Girl Doll which my oldest granddaughter is getting for Christmas.  Doesn’t every doll need a Linton Tweeds coat?  

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Filed under couture construction, Dior darts, Sheath dresses, Uncategorized, vintage Vogue patterns from the 1960s, woolens

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

A Preoccupation with Emilio Pucci

In the world of designer fashion, there are certain names which are synonymous with specific looks.  Obvious examples are Coco Chanel with her little black dress and classic cardigan jacket, Christian Dior with his figure-enhancing full skirts and feminine décolleté necklines, and Emilio Pucci with his distinctive colorful prints,  smart sportswear and flowing at-home-wear.

Lately I’ve been thinking about Emilio Pucci (1914-1992) a lot.   It all started a couple of years ago on one of my West Coast visits to Britex Fabrics in San Francisco. I had already decided upon several lengths of fabric, when I saw a silk charmeuse, which clearly spoke to me of Pucci.  The design was so amazing, the colors so vibrant, and the silk so luscious, that, with a little encouragement from my husband, I added it to my pile.  At 60” wide, I thought 2 yards would suffice for a blouse, not really knowing what I would make.

Pucci

DSC_1183

The silk I purchased seemed to have all the bells and whistles of a classic Pucci print.  (Pucci’s daughter, Laudomia took over the business after her father’s death, and has continued her father’s signature style.)  He only used the finest, luscious fabrics with a color palette “straight from the Aegean horizon” according to the entry on him in The St. James Fashion Encyclopedia  ( Visible Ink Press, Detroit, MI, 1997, pages 325-326):  “turquoise and ultramarine set against sea green and lime, or hot fuchsia and sunflower yellow”.  These colors are arranged in “optical fantasies of geometric shapes” which eschew repetitiveness. And, finally, every authentic Pucci fabric carries his discreet “Emilio” signature.  (The Vintage Traveler blog has an excellent post on Pucci and his sporty prints, which shows another example of his signature and his diverse designs.)

The small "Emilio" signature is at the lower part of the pink section.

The small “Emilio” signature is at the lower part of the pink section.

The signature is spread thinly across the expanse of the fabric.

The signature is spread thinly across the expanse of the fabric.

And here is a signature printed vertically rather than horizontally.

And here is a signature printed vertically rather than horizontally.

Shortly after this fabric purchase, I began to get a greater and new appreciation for Pucci’s diversity as a fashion designer as I acquired a few of his Vogue Designer patterns.  Instead of featuring styles dependent upon his bright and unusual fabric designs, they showed feminine dresses and jackets, with clean lines and a surprising touch of demureness.   Here are the three patterns I purchased:

Happy New Sewing Year - Pucci pattern

Pucci - pattern envelope

Wrap dress - 5 (Pucci)

Some other of his designs for Vogue patterns were featured in Vogue Pattern Book Magazine:

The caption in this June/July 1972 article says:  "Emilio Pucci adds glamour to your life with an off-white silk crepe pantsuit..." while the lower picture shows his "signature colors on a silk jersey  lounge gown."

The caption in this June/July 1972 article says: “Emilio Pucci adds glamour to your life with an off-white silk crepe pantsuit…” while the lower picture shows his “signature colors on a silk jersey lounge gown.”

This lovely Pucci gown was shown in the April/May 1970 issue of VPB Magazine.

This lovely Pucci gown was shown in the April/May 1970 issue of VPB Magazine.

Both the fabric and the patterns sat in hibernation in one of the closets in my sewing room until an idea began to take hold in my mind.  I decided I’d like to use one of my Pucci patterns for my authentic Pucci fabric. It just seemed totally logical to me. I measured my fabric again and found I had closer to 2¼ yards.  I was envisioning pattern # 1418, with the dress in the silk print, paired with the jacket in black, lined in the same silk.  With this plan in mind, I found a lightweight, soft and silky wool/cotton waffle weave in black at Britex Fabrics in early February while I was on the West Coast for Susan Khalje’s Couture Sewing School Class – perfect for the jacket.

Hopefully the "waffle" weave shows up enough in this picture.

Hopefully the “waffle” weave shows up enough in this picture.

With pattern, fabrics, and a vision, I was ready to go on my next big project.  There was only one gnawing question – would I have enough yardage of the Pucci silk to make that sheath-style dress and line the jacket?

The answer to that question  – deserves its own Fifty Dresses post!

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