Tag Archives: vintage fashion

Linen for Fall

Although Fall is undoubtedly my favorite season, I find it the most difficult one for which to dress. Bright Summer colors look out of place, it’s not chilly enough for wool yet, and the days can be very variable. And although linen is usually thought of as a Summer fabric, I believe there are some linens which lend themselves beautifully to this time of year. These are, of course, not lightweight, or handkerchief linens. These are linens with some heft to them, which can be cool to the skin if needed and add some warmth as the sun goes down (sweaters help, too!).

I was fortunate to find a length of Moygashel linen on eBay several years ago, which seemed to fit this bill, especially in its color combination. What could be more Fall-ish than burnt orange, chestnut brown and deep navy, all set on an ecru background?

Moygashel dress linen was produced in a few different weights. The pink dress I made in early Summer was fairly lightweight; this linen is heavier, but still dress-weight.   It was 35” wide, which tells me it was produced not any later than about 1962 or 1963. (About that time, Moygashel seems to have switched to wider looms, thereafter producing 45” wide yard goods.) That “daisy” design also is a clue to its age of production, although it certainly does not scream 1960s. I had 2¼ yards so I had to find a pattern that would accommodate narrow fabric width and limited yardage. That pretty much eliminated the idea of sleeves! However, knowing how warm some of these Fall days can be, I was fine with a sleeveless dress. And I am an avid cardigan sweater-wearer, so I knew this fabric would lend itself to a pairing with a deep navy sweater.

With that in mind, I went searching through my pattern collection for a sheath dress with something more to it – and here is the winner:

This pattern is also from the early 1960s.

I really liked the half-belt, and the seaming detail of the bodice.

So I was off and running after making quite a few adjustments to the pattern for fit. I prefer to work with a 32” bust/34” hip pattern, but this was what I had. (I think if I make this pattern again, I will take it in just a bit more, especially in the bust.)

I considered adding some self-piping to the front seaming detail and around the perimeter of the belt, but I decided against it as I felt that would add too much bulk. So instead, I decided to top-stitch those areas.

Here is the front center seam detail. I used a light brown thread for the top-stitching.

I had this one lovely pearl button which seemed perfect for the belt with its concentric circle design.  I did a bound buttonhole, just what the pattern instructions called for!

The belt follow the lines of the front bodice.

I did a lapped, hand-picked zipper, and I also lowered the neckline just a bit in the front.

And note those neat shoulder darts. Why don’t new patterns have such necessary details?

I lined the dress with a very lightweight linen/cotton blend. I eliminated the facings and brought the lining up to the neck and armscye edges, as in customary couture sewing. Although I did not underline this dress (I have found that linen usually does not benefit from underlining in silk organza. Also, machine washing is easier without an underlining), it is still possible to tack the lining around those areas to insure the edges stay put!

I know I am always going on and on about Moygashel linen (which is no longer being produced), but it really is such a delight to sew – and to wear!

Nice with a sweater…

So there you have it – my first dress made specifically for Fall! However the story does not end here. With any luck this dress will have a starring role in a more complete outfit, which is going to have to wait until next Fall before I can get to it. Do you have any idea what I might be planning?

 

43 Comments

Filed under bound buttonholes, Buttons - choosing the right ones, couture construction, hand-sewn zippers, Linen, Linings, Mid-Century style, Moygashel linen, Uncategorized, vintage buttons, Vintage fabric, vintage Vogue patterns from the 1960s

A Sewing Mystery

Sewing with vintage patterns is such an interesting activity. Beyond the finesse of the designs, the intricacies of construction, the attention to small details, and the fabulous pattern art lay some sophisticated and mysterious references to the history of fashion sewing.

For example, I am in wishful awe at some of the fabric suggestions on the pattern envelopes: one pattern for a coat and dress with a copyright of 1957 suggests, among other more common fabrics: Barathea, Shantung, Surah, Matelasse. Another coat pattern suggests Camel’s hair and Worsted, while Madras is suggested on two dress patterns. This is just a small sampling, but you can surmise from this that the sewing audience for these patterns knew their fabrics – and the pattern companies expected them to.

But it is in the short descriptive entries on the back of the envelopes where I have come across a mystery of terminology. One of the first vintage patterns I purchased was this coat pattern:

This pattern is dated 1957.

On the back of the envelope, to quote:

9232 Coat “easy to make” Flared back coat in regulation [my emphasis] and shorter length. High front and back belt, optional. Tapering kimono sleeves may be worn pushed up. [Don’t you love that styling advice?]

So, I thought, “What is regulation length?” I could not find a reference to this term anywhere – not in Fairchild’s Dictionary of Fashion, not in any of the vintage sewing books I own, nor in any of the vintage Vogue Pattern Book Magazines which I have in my collection.  I figured I would just keep an eye out for other references to this term, and it did not take long for me to come across another one.

Isn’t this just so chic? No date on this pattern, but it clearly is about 1961.

This one was in reference to pants:

Again, to quote:

5234 Coat, blouse, slacks and cummerbund Knee length coat with standing band collar has full length novelty or buttoned closing. Opening in side seams. Below elbow length kimono sleeves. Over-blouse may be worn tucked in. [More of that styling advice!] Below elbow length sleeves and sleeveless. Regulation slacks. [Again, my emphasis] Shirred cummerbund fastens at underarm.

Then my search for other examples went dry – until a couple of months ago when I found this pattern on eBay:

(I have a difficult time resisting Asian-inspired dresses.) When the pattern arrived, I was delighted to read its description:

5571 One piece dress and pants   Sheath dress [here’s another mystery – why did they call this a sheath dress and not a cheongsam?] in three lengths, has opening in side seams. Optional waist-line darts. Diagonal right side frog closing below standing band collar. Below elbow length sleeves rolled up for cuffs, short sleeves and sleeveless. Regulation pants. [My emphasis]

With two examples of pants/slacks (notice that one is called pants and one is called slacks, just to compound the confusion), I thought I might be onto something. So back to Fairchild’s I went to look at the entry for pants. I found this excellent diagram about pant lengths, but no reference to “Regulation” length.

The Fairchild Dictionary of Fashion, Third Edition, by Charlotte Mankey Calasibetta and Phyllis Tortora, Fairchild Publications, Inc., New York, New York, 2003, p. 354. Click on the picture for a better view. It was difficult to avoid the distortion on the spine side of the book.

Some further sleuthing led me to some of the descriptive terms used for military attire, and yes, there are references to regulation requirements, but nothing that could be transferred to fashion sewing in the early 1960s. I suspect there could be a carry-over from those pants/slacks that women wore in war plants during World War II. But that doesn’t help explain the coat length. And here, look at this pattern from approximately the same time period as the coat at the beginning of this post: it is virtually identical, but there is no reference to “regulation” anywhere.

This pattern is dated 1957.

I am stumped! I am certainly not losing sleep over this (that I save for my sewing projects), but I do find it intriguing. Do any of you, my readers, know why the term “regulation” is used regarding the length of some coats and pants? Has anyone else come across this term?  Can you solve this sewing mystery?

40 Comments

Filed under Coats, Mid-Century style, Uncategorized, vintage Vogue patterns from the 1950s, vintage Vogue patterns from the 1960s

A Lesson from Lilly

Have you ever purchased a piece of fabric on a whim – and then regretted it? That’s exactly what happened to me, here in the midst of July. I saw this piece of Lilly Pulitzer silk fabric offered on eBay, and without giving it too much thought, I bought two yards.

I have always loved most of the Lilly prints and color combinations, and something about this silk just looked fresh and summery to me. I have long wanted to make the pattern pictured below again, and with its Asian flare, I thought the multi-colored, abstract printed Lilly silk would pair well with it.

The date on this pattern is 1958. I made the blouse/tunic a few years ago and still enjoy wearing it. I would like to make view B sometime…

I had several scraps of solid green silk, one of which I thought would be good as a contrast fabric for the button details on the front of the blouse. (The pattern calls it a tunic, but it looks more like a blouse to me.) As it turned out, I used a scrap of green silk out of which I had made a blouse to go with a purchased Lilly skirt way back in the 1970s! I still have the skirt, but not the blouse…

Anyway, I am digressing. When the fabric arrived – in an itsy-bitsy package that weighed about an ounce – I knew I had made a mistake. Yes, it was silk, but it was so flimsy and slippery I wasn’t very sure it could be sewn with any sort of finesse. (Now I know that assessment was correct.) I contemplated saving it for a lining for something sometime, although truly, it would make a flopsy lining.  Deep down, I knew if I didn’t make it right now, I would never, ever use it. And that would be a waste of money for sure.

Well, now I am going to digress. I find that if I purchase a piece of fabric of impeccable quality, I can hold onto to it for months or even years without ever fearing it will never be used. In fact, the better quality the fabric is, sometimes the longer I wait to use it. That allows me time to think about and search for the perfect pattern, time to explore possible dressmaker details for it, and time to savor its beauty. When it comes to silk in particular, I have found that high quality, fine silk, even very lightweight silk, has a substance to it and a hand to it that makes sewing with it a pleasure.

Let me tell you, this was not a pleasure. I slipped and slid the whole way through the construction of this tunic/blouse. My pins would not stay in place, falling out willy-nilly. Clipping and trimming was a nightmare, as the fabric kept sliding in the way of my scissors. I contemplated spraying the entire thing with hairspray to stabilize it! Then, once I had enough of the tunic/blouse sewn that I was able to visualize my green silk accent strips on it, I realized that the green buttons I had planned to use were going to look – awful.

The green of this button is too deep for the colors of this fabric.

Happily, my luck changed just a bit. I went to my button box and found this card of four buttons.

One button was missing, but that was okay, as I only needed four.

They had been a “bonus” addition in an order of buttons from an Etsy shop, and I really thought I would never have any use for them. But guess what? They were just right for this tunic/blouse. At least this one thing was easy!

The blue of the button seems to work well with the solid green.

As you can see, I persevered and finished this monster.

I made an Obi-style sash to wear with it, which I think improves its appearance.

The back of this blouse has a center seam, which allows for some really nice shaping. I haven’t had a chance to get any self-modeled photos made yet, for which I apologize.

Here it is without the sash. In order to keep the slippery sleeves folded up, I had to add a snap on the inside seam of each sleeve.

I haven’t worn it anywhere yet. We shall see if I get any favorable comments; if I do, then perhaps I will eventually enjoy wearing it. At the least, it will stand as a lesson to me – never, ever again to buy any fabric on a whim.

30 Comments

Filed under Asian-inspired dress designs, Blouse patterns from the 1950's, Blouses, Buttons - choosing the right ones, sewing in silk, Uncategorized, vintage Vogue patterns from the 1950s

Do You Do Pink?

Apparently, pink is a controversial color. Or maybe “was a controversial color” is a better statement. A recent article by Nancy MacDonnell in the Off Duty section of The Wall Street Journal (“Making Peace with Pink” February 11-12, 2017) makes a case for the appropriateness – and timeliness – of pink even for those who think they don’t like it. While I am one who thinks pink is always in fashion, it turns out that this Spring, it really is in fashion! According to Ms. MacDonnell, “On this season’s runways, pink predominated.” The different fashion houses showed varying interpretations of pink: Michael Kors was “brisk, All-American, [and] cheery.” J. Crew was “equally upbeat,” while Valentino showed pink that was “lush and romantic, with intricate appliqués and historical references…”   The list goes on and on. The unifying thread (pardon the pun), as claimed by the designers, was the lack of traditional “sweetness” associated with pink, with emphasis on the feminine power inherent in the color.

Looming large on page 58 from the November 2016 WSJ Magazine is a Valentino coat, quite traditional in design, but made very special by its stunning appliquéd pink wool.

According to Dr. Valerie Steele, the Museum Director at the Fashion Institute of Technology in New York, who was quoted frequently in Ms. MacDonnell’s article, the idea of pink as a feminine color did not take hold until the 1950s. Back in 1954 when Christian Dior wrote The Little Dictionary of Fashion, his entry on “pink” stated: “The sweetest of all the colors. Every woman should have something pink in her wardrobe. It is the color of happiness and of femininity.”   He even used pink throughout his book for illustrations, chapter headings and the title page. He recommended pink “for blouses and scarves; … for a young girl’s frock; it can be charming for suits and coats; and it is wonderful for evening frocks.” Who can argue with that, be it 1954 or 2017?

The title page of Dior’s smart little dictionary. (Harry N. Abrams, Inc., NY, NY, copyright 2007)

This page from the June/July 2013 issue of Town and Country Magazine gives an interesting timeline of the color pink, “how the color of little girls and baby dolls came of age”:

Click on the image to read it.

I particularly like this statement from Laura Vinroot Poole, the founder of boutique Capitol in Charlotte, N. C., quoted in The Wall Street Journal article: “To wear pink, you have to be an interesting and smart person… You have to have things to say. In pink, you can’t hide.”   Nor would you want to.

Personally, pink is my favorite color. I am always drawn to it, regardless of its hue. And its hue covers a huge range from palest pink to deepest fuchsia, from bubblegum pink to raspberry red. In thinking about pink for this post, I gathered this stack of pink fabrics from my collection. Just looking at it makes me happy!

From top to bottom:
1) vintage Moygashel linen, purchased on eBay
2) silk charmeuse, purchased from Britex Fabrics
3) vintage Moygashel linen, purchased by me in the 1970s
4) linen, possibly Moygashel, purchased on etsy
5) silk jacquard purchased from Britex Fabrics
6) silk charmeuse, purchased from Mendel Goldberg Fabrics
7 & 8) coordinating silks, purchased from Mendel Goldberg Fabrics

The only controversy I have with pink is deciding which hue of it I like best.

19 Comments

Filed under Fashion commentary, Moygashel linen, silk, Uncategorized, Vintage fabric

Coming and Going: a Split Personality Dress

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

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

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

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

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

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

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

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

Some pictures of my muslin.

Some pictures of my muslin.

Coming and Going

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

Coming and going

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

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

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

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

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

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

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

The back of the dress during construction.

The back of the dress during construction.

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

coming-and-going-thumbnail-sketch

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

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

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

Coming and going

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

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

Coming and going

Coming and Going

Coming and going

 

Coming and going

Coming and going

Coming and going

Coming and Going

Coming and going

coming and going

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

41 Comments

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

A Good Start

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

38 Comments

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

“Mrs. Scimpy”

Two years ago I made this dress:

The Year of Magical Sewing

From this pattern:

Perfect Blue - Mattli pattern

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

Taffeta coat - swatch

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

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

Taffeta coat - Mattli pattern

The thumbnail diagrams on the back of the pattern envelope.

The thumbnail diagrams on the back of the pattern envelope.

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

Front and back pattern pieces

Front and back pattern pieces

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

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

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

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

Taffeta coat - 2nd Mattli pattern

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

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

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

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

Taffeta coat - pencil notes

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

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

8 Comments

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