Tag Archives: vintage Vogue patterns

Wearing Dots

From this …


To this…


How did that happen?

After my purchase of that pattern a couple of years ago, I definitely had second thoughts.  While I loved it when it was first available back in the 1970s – and at that time I was of the age when I probably could have actually worn it – I immediately realized it would not be appropriate for a 60-something-year-old! I tucked it away in my pattern file where I knew I would come across it occasionally and indulge a long-ago dream.  Little did I know it would play a major roll in the realization of this polka-dotted dress.

It took almost eight years for me to come up with a plan for this polka dot silk fabric.  I kept envisioning a waisted, sleeveless dress with a “flowy” skirt, but I could not find a pattern I liked, either vintage or new.  I wanted to avoid darts as much as possible (that’s a story in itself for someday), which meant I needed a princess style bodice.  Many princess line bodices have side seams, but I wanted one without side seams, and with princess line seaming on the bodice back as well.  Pondering all this, I again came across my Belinda Bellville pattern above and thought maybe it would work, with a few changes. But then I noticed that the bodice was supposed to be cut on the bias. 

This pattern detailing from the instruction sheet shows the thee bodice pieces at the top of the picture. The bias is clearly marked.

After not having any success in finding any other suitable pattern, I gave it another look.  Why not cut it on the straight of goods?  It was at least worth a try in muslin, so that’s what I did.  The changes I made to it included; 1) lowering the bust line, 2) eliminating the short-waisted front of the dress and restoring it to waist level, 3) placing the front center part of the bodice on the fold, eliminating the center seam, 4) lowering the neckline just a little, 5) making the waist larger, and 6) adding some ease across the back and shoulders.  With all those changes, I had a bodice I really liked.

But then I needed to make a skirt to complement the bodice.  When I looked at the skirt pattern, I knew I needed to divide it in thirds (for one half of the width of the skirt) and match the seam lines to the seams in the bodice.  Here is what I came up with:

On the left is the one-piece tissue pattern for the skirt. Using the dart lines on that pattern helped me determine the angles I needed for my skirt.

It was about this time I got the idea to make this dress in a longer skirt rather than knee-length, which is where I usually wear my dresses.  The only question I had was – did I have enough fabric to do this?  My silk was 45” wide, and I only had two yards.  I spent at least an hour laying out and eyeballing my muslin pieces on the silk, on the floor, just to see if I could possibly accomplish this task.  I found one combination that would allow this, and took a photo so I could remember how to do it!

It literally took an entire week to work out the pattern and perfect the muslin, but then the sewing began!

As soon as I completed the construction of the bodice, including its silk organza underlining, its catch-stitched raw seam edges, with the seam allowances around the neckline and armholes appropriately tacked in place, I knew I had a bodice which was just what I had envisioned.

Somehow the skirt seams all matched up perfectly with the bodice seams and the center front inverted box pleat, which I added, looked wonderful, I thought.  I made the lining out of navy blue crepe de chine, purchased from Emma One Sock Fabrics.

When it came to under-stitching the neckline and armholes, I decided to do it in white.  It mimics the white polka dots in the fashion fabric and also was much easier to see while doing all that handwork.

Instead of a box pleat in the lining, I did two side pleats to reduce bulk in that critical tummy region!

Fortunately, for the belt, I had silk taffeta left over from two previous projects, which turned out to be a perfect match.  I did not want the belt to take away visually from the rest of the dress, so I made it a modest 1.5 inches wide.  I think it is enough to complete the look, but not overpower it. And OF COURSE I wanted to finish it off with a tailored bow.  (I am planning a post on making this tailored bow belt, so I will not go into the details of it right now.)

 

An oyster-colored clutch helps to complete the look.

This is a very comfortable dress to wear!

No attempt was made to match any dots, as the pattern was completely random. This is the hand-picked zipper. I love the fact that the navy thread shows up on the white and coral dots.

And should I need a dress coat, this one matches the belt!

While this dress was firmly in my queue for summer sewing, at the time I did my planning I was not making it for any special occasion.  However, as good fortune would have it, two unforeseen occasions are now approaching in late summer for which this dress will be perfect.  I am definitely looking forward to wearing these dots!

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Filed under Bows as design feature, Cocktail dresses, couture construction, Linings, Mid-Century style, Polka dots, sewing in silk, silk, Silk taffeta, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1970s

Seeing Dots

Who doesn’t love a polka dotted motif?  The term “polka dot,” dating from 1880-85, is of American derivation, and of course it immediately conjures up a mental picture of a field of spots forming a pattern on a textile.

Here is what Christian Dior had to say about Dots in his Little Dictionary of Fashion, first published in 1954:  “I would say the same about dots as about checks.  They are lovely, elegant, easy, and always in fashion.  I never get tired of dots…  Dots are lovely for holiday clothes … and for accessories.  According to their color, so they can be versatile…  Black and white for elegance; soft pinks and blues for prettiness; emerald, scarlet, and yellow for gaiety; beige and gray for dignity.”  (The Little Dictionary of Fashion, by Christian Dior; Abrams, New York, New York, 2007, page 34.)

“Lovely, elegant, easy and always in fashion.”  That is quite an endorsement, and one with which I completely agree.  I also have to agree with these quotes, the first one  from Marc Jacobs: “There is never a wrong time for a polka dot,”  and this one from the American actress, Anna Kendrick, “You can’t have a bad day in polka dots.”

While images of polka-dotted dresses, blouses, ensembles, and sportswear are in abundant supply from many sources, it’s always inspiring to look at a few select examples, many from the 1950s.  The following two images were part of a feature in the February/March 1955 Vogue Pattern Book Magazine.  Although pictured in black and white the first example is described as “Tiny white polka dots on red crepe. A soft day-long dress.”

The next image is titled Gigantic Dots:  “Bold black dots on hot pink surah.  A dramatic sheathed bodice dress.”

Can you imagine how beautiful this dress was in hot pink with black dots?

The June/July 1957 VPB Magazine featured “the most romantic dress of the season – a pouf of black-and-white silk polka dots.”

Less than a year later, in the April/May 1958 VPB Magazine, an entire feature was on Polka Dots and Patent Leather:  “Exciting goings-on in polka dots: fresh new arrangements – at their most polished in black and white silk surah, spruced with gleaming black patent leather.”

Below is the dress of this description: “Dots blown up to impressive sizes – a look for relaxed but festive evenings.”

This two-piece dress could easily be worn today and look very current.

And here is the image for “Classic polka dots – square cut blouse [with] reverse-dot cummerbund:”

One of my favorite outfits from the show Mad Men was this white linen dress with a built-in silk polka dot sash. The two-color sash makes this dress a standout:

Image from The Fashion File; Advice, Tips, and Inspiration from the Costume Designer of MAD MEN, by Janie Bryant with Monica Corcoran Harel; Grand Central Life & Style, New York, New York, 2010, page 8.

This famous – and stunning – 1958 dress and coat ensemble by Arnold Scaasi, an American couturier, was featured prominently in the retrospective of his work at the Museum of Fine Arts in Boston, September 25, 2010 – June 19, 2011:

Now this is an exhibit I wish I had seen.

And finally, this is a Carolina Herrera ad which I plucked out of some magazine a while ago. The ad is for the handbag, but the polka-dotted dress, with its bright red sash steals the show:

So why all my focus on polka dots?  They have been much on my mind lately, as I have finally begun the many-step process of making a couture dress, using this vibrant silk, purchased seven or eight years ago:

This is a crepe de chine which I purchased from Britex Fabrics in San Francisco. Smaller irregular dots are woven into the design.

The background color is navy blue.

Now my hope is that one cannot have a bad sewing day when working with polka dots.

 

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Filed under Cocktail dresses, Day dresses, Fashion Exhibits, Fashion history, Mid-Century style, Polka dots, The Conde Nast Publications, Uncategorized, vintage Vogue patterns from the 1950s

The Essential Coat

How many coats do you own? (Not enough?) How many do you need? (More than you know!) Putting need aside, how many should you have? (Plenty!) In your sewing and in planning your wardrobe, do you give as much thought to your coats as you do to your dresses or pants or blouses? My guess is that you do not.

In our very casual world, coats seem to have taken on the essence of “practical” or “function over form.”   To me, this is such a shame, as I believe coats have an aura to them unmatched by any other garment. They are, after all, so often a significant part of the first impression you make when arriving at an event or party – or anything for that matter. A fantastic coat can also leave a lasting impression when departing such an event.

In her iconic book, What Should I Wear, Claire McCardell devotes an entire chapter to coats. Here is just a small snippet of her thoughts on the impression that your coat can make: “…Remember that a first impression often comes when you are wearing a coat. When you are interviewed for a job, you keep your coat on. Your future employer’s first impression of you may be based on the coat you are wearing.

When you walk down the aisle of a theatre, you are wearing a coat … your audience has already judged you and the most beautiful dress in the world cannot alter that first impression. Coats ride buses and subways and taxicabs…. A coat is not something to be dismissed lightly.”   (The Rookery Press, New York, New York, 2012, pages 61- 62.)

In The Little Pink Book of Elegance: The Modern Girl’s Guide to Living with Style, by Jodi Kahn, she writes: “Many an elegant look is spoiled by throwing on a coat or a wrap that is anything but . . . [I]f you think about the most elegant women you know, or those in the pubic eye, you’ll probably realize they have fabulous outerwear. In the ‘60s, Jacqueline Kennedy asked her designer of the day, Oleg Cassini, to pay special attention to what she wore over her clothes since she was always being photographed coming and going. Even if you don’t have to worry about getting your picture snapped around every corner, a few great coats will transform almost any [look.]” (Peter Pauper Press, Inc., White Plains, New York, c2005, pages 29-30.)

A beautiful coat can also hint at what is beneath it. One of the most elegant looks one can wear (and make for herself) is a matching coat and dress ensemble, where the two pieces are intended only to ever be worn with each other. Such a coat and dress often share similar style lines.   This Vogue Couturier Design by Mattli of London is an example of this:

Another example of a coat and dress with complementary style lines is this Vogue pattern:

And although the style lines of the dress and the coat in this Vogue Paris Original by Madame Gres are not matching, clearly the coat and dress featured in blue on the pattern envelope are intended as such an ensemble:

Here is an example of a formal dress and matching coat, sharing seaming details and clearly designed to go together. Would this dress be anywhere as exciting without its matching coat?

This evening coat makes my heart skip a beat!

Not every coat needs to match a dress, however. Here is a small sampling of coats, both dressy “dressmaker” coats and classy, more tailored coats, the prototypes of which have their rightful place in your coat wardrobe:

This is my original pattern from which I made the featured coat when I was in my mid-twenties. I loved this coat and only wish I still had it!

I am very anxious to make a coat from this pattern.

This is a beautiful example of a dressmaker coat.

Another dressmaker coat.

A coat better suited for everyday wear, but still beautiful.

One of the many catalogs we receive here at our home is the catalog from the J. Peterman Company. It is so creatively conceived and presented, with each entry reading like a mini story, and often evocative of other times and places. The “Owner’s Manual” (as the company’s catalogs are called) arriving during this past holiday season was no exception. Imagine my delight when turning the page to this entry for a “French Coat with timeless Parisian style.”

Click on the image to read its story.

But what really caught my eye was the caption at the top of the page: “I want to know the woman in that coat.” In a nutshell, that sums up the power of a beautiful coat. What fun to know that, as ones who can make our coats, we can also be the woman who made that coat!

And now, in deference to some of my readers who want progress reports on my Number Four Classic French Jacket, here are a few photos – and a short quiz for those of you who have never made one of these jackets, but hope to one day.

Here is the neckline, ready to be stitched.

I call this the “vest” stage. This is the front of the jacket . . .

And this is the back of the jacket.

It is always fun to pin the sleeves on quickly just to see a jacket taking form!

As you can see, all the machine quilting is complete. I’ve finished the interior seams as much as I can at this point. The next step is to insert the sleeves. Then I can complete the finishing work on the interior seams and the hems and get to work on the trim and the pockets.

QUIZ: How much more will I be using my sewing machine to do this work?

  1. a) only for the insertion of the sleeves
  2. b) only to make the pockets
  3. c) both for the insertion of the sleeves and to make the pockets
  4. d) not for anything

Back to Coats:  Are you ready to make one after reading this post? I hope so!

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Filed under Chanel-type jackets, Coats, Dressmaker coats, Mid-Century style, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s, vintage Vogue patterns from the 1970s

The Champagne Dress

It is a fact of sewing life that the construction of some dresses is just more difficult and time-consuming than other ones. This was a difficult dress to make and at times I really wondered just how long it would take to finish.

Before I go into the making of this dress, I want to put its pattern into historical context. This pattern is one of Vogue Patterns’ “Paris Originals.”

A former owner of this pattern made the notation about the bust enlargement.

As is obvious from the envelope cover, the dress was designed by Guy Laroche (1923-1989; pronounced Ghee Lah-rush); it is copyright 1960. According to the St. James Fashion Encyclopedia, Laroche was a French couture and ready-to-wear designer who worked for Jean Desses from 1950-57. Desses was known for his intricately draped dresses, asymmetry in his designs and ornament derived from the “architecture” of the garment, according to his profile in The St. James Fashion Encyclopedia by Richard Martin, Visible Ink Press, Detroit, MI, c1997, page 100. Bingo! It appears that Laroche learned well from his time with Desses and incorporated some of the same details into his couture designs once he opened his own fashion house in 1961.

I find it interesting that this pattern is dated 1960, one year before Laroche opened his couture house. Perhaps this statement in the Vogue Sewing Book from 1963 helps to explain how Vogue Patterns managed to obtain a Guy Laroche design before he had his own eponymous line:

Please click on the image to enlarge the print.

In any event, the appeal of this pattern, for me at least, was the asymmetrical draped bodice back and the tailored bow which anchors the drape on the right shoulder of the dress. It was also these details – and others – which made it a time-consuming project.

I made some alterations to the pattern before I even got started, as I wanted to eliminate some of the blousing above the waist of the dress. I do not have enough height to carry off too much excess around the mid-section, so I pulled most of the blousing into darts. Doing this made me rethink the instructions for the lining, the waistline of which was supposed to be sewn to the waistline of the dress itself. I assume the joining of these two elements was to insure that the blousing of the dress remained at the proper “elevation.”

The series of dots around the waistline indicate the sewing line to anchor the dress to the lining.

Having removed most of the blousing, I did not need to anchor the dress to its lining, so I left the lining loose.

This photo shows the loose lining and also the back neckline. Ordinarily, in couture sewing, facings are eliminated. However, in this case, knowing that the weight of the drape would be added to the back neck, I chose to use the facing to add more stability. I finished its edge with Hug Snug tape.

As you can see from the diagram of the lining (above), the back neckline is asymmetrical, to accommodate the attached drape on the bodice. I’m not sure why, but I found this rather confusing, resulting in sewing the lining together, first correctly, then thinking I had done it wrong, redoing it in what I thought was correct – and then realizing I had it right the first time. Fortunately it was easy to remove the stitching from the crepe de chine lining silk, but really? Three times? And then guess what this is?

Yes, this is a backwards back bodice!  Apparently I had flipped (or marked incorrectly) my silk organza underlining/pattern when I placed it on the fashion fabric, cut it out incorrectly and even had the underlining and the fashion fabric all carefully basted together.  When I discovered my mistake,  you can imagine my panic until I realized I had enough of the charmeuse left to cut it out again, this time correctly. Of course, then I had to baste it to the organza underlining for a second time. Tick tock, tick tock!

Things then went along fine until I got to the front neckline, which presented a quandary to me. From the instruction sheet, it seemed there was to be no interior finishing of it. It appeared to be a draped version of a bateau neckline. When I tried the dress on, it was uncomfortable as it pulled too tightly from the shoulders (which did not show up in my muslin).  It also did not look good. I decided the only way out of this predicament was to reshape it. I carefully basted and clipped and trimmed and clipped and trimmed some more (no photos of this, I am sorry to say. I was too intent on the task at hand to even think about photos!) But it all worked out. The front neckline certainly isn’t as draped as was intended, but I love the way it fits and looks.

The lining is not supposed to be attached to the dress at the front neck, according to the instruction sheet. In order to finish the neckline without adding any bulk (which would surely show up on that wide bias expanse), I stay-stitched and then catch-stitched the raw edge to the organza underlining. Not as finished a look as I would like, but it works well.

Another section of the pattern which did not present a proper interior finish for this very particular dressmaker, was the drape. It is partially gathered as you can see from the instruction sheet.

#7 shows the gathering of the interior drape.

As I did not care for a raw edge to be hiding under the drape, I decided to bind the edge with Hug Snug tape. This worked out so well and looks nice and tidy!

Besides these time-consuming corrections and additions, there were the hours of work involved in making the bow, attaching it to the dress, and making the belt. Then when I thought I was just about finished, I remembered I needed to add lingerie keepers, due to the wide stance of the shoulders. Okay, I thought. What else??

I have decided the belt is a little loose, so I need to reset the fasteners… What else, indeed!

What a good feeling of accomplishment to finish this dress and like it!

Here is a detail of the bow. I do love a tailored bow!

I haven’t worn it yet for any occasion, but when I do, I hope there is champagne involved, as I am going to toast myself for successfully finishing this one!

 

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Filed under Bows as design feature, Cocktail dresses, couture construction, Linings, Messages from past owners of vintage patterns, Mid-Century style, sewing in silk, side-placed zippers, The Conde Nast Publications, Uncategorized, underlinings, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

A Rosy Sewing Year

It seems that every new sewing year – at least for me – does not start right on time, as I am always finishing up a project from the month of December. Such is the case in this early January of 2018. However, that does not keep me from planning and dreaming about the coats and jackets, dresses and blouses to come. I can’t help but think of the new year at hand as a “rosy sewing year,” because the fabrics that are in my queue right now share a common theme – so many are predominantly red or pink or peach or floral, a bouquet of colors and textures.

First up is this red and black “hounds tooth” boucle which I found at Mendel Goldberg. Yes, it will be a Classic French jacket, with a sheath dress to match.

I am planning some variations in detail and trim for this jacket and dress, about which I am excited. It is a big project, so I hope January gives me lots of sewing time! No doubt this will spill over into February…

As I mentioned in one of my December posts, I hope to make a coat from this vintage purple boucle I am so fortunate to own.

A few years ago I found this silk charmeuse (also at Mendel Goldberg) which I intend to use for a coordinating dress with the coat.

Other silks I would love to concentrate on this year are purchases made several years ago from Britex Fabrics in San Francisco:

This is a French crepe de chine.

This silk helps satisfy my penchant for polka dots.

Then there are two linens I never got to in 2017, one a geometric red and the other a ecru and black floral. I assume they are waiting patiently for me. Add to all this my determination to sew for my two little granddaughters and – there’s the year! (And can I possibly finish another classic French jacket next Fall?  We will see.)

But let me complete 2017 first. Whatever made me think I should start (and could possibly finish) another dress for myself in December I will never know. But that’s exactly what went through my head. I had plans to make taffeta “Cinderella” dresses for my granddaughters for Christmas presents, but thought I would sneak in some personal sewing time before I started on that project. Perhaps it was the pattern that made me do it? Or was it the fabric?

When I purchased this pattern at the end of last summer, I really had no idea when I would be using it; I just did not want to miss the opportunity to own it, knowing that I would surely use it someday. Little did I know that someday would be just a couple of months later.

Now it just so happened that I had draped this fabric, below, over my dress form so I could admire it while I worked on other things. I purchased this silk charmeuse from Mendel Goldberg fabrics in 2016 as an end cut, three yards in length.

I knew with three yards I would be able to use a dress pattern which called for more than normal yardage, and I had found a pattern in my collection which I thought I would use:

My idea was to lengthen the sleeves to three-quarter length.

But something just did not seem right. I could not get excited about that pattern in that fabric, even with three-quarter sleeves. Well, I had one of those proverbial light bulb moments when it occurred to me to use the Guy Larouche pattern for the champagne-colored, floral silk. It seems to be a perfect match. The bodice of the pattern is cut on the diagonal, and the meandering flower and vine motif in the fabric lends itself to both straight of grain and diagonal placement. I made my muslin (with quite a few alterations) and was really quite excited about the draped back, shown here in muslin:

And here is the front, minus one sleeve. The front neckline is a bit unusual and I think it will be flattering.

I got as far as transferring the markings onto the silk organza underlining, cutting out the fashion fabric, and basting the two layers together, all ready to start sewing. Then reality hit like a sledgehammer! I had to get those dresses for my granddaughters finished in time for Christmas (which I did, after some frantic sewing – and they love them, which made it all worthwhile!)

Just in case anyone would like to see these dresses, here they are. Big bows in back, and the sleeves are adorned with little bows. Very girly!

So that’s how I am now at this point, finishing up 2017, with the hope of starting the new sewing year one of these days – with my Guy Laroche dress perched in my closet, awaiting its debut. May the New Year be rosy and kind to all of us, and may it end with many sewing dreams fulfilled!

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Filed under Boucle for French style jackets, Chanel-type jackets, Coats, Linen, Moygashel linen, Polka dots, Sewing for children, silk, Uncategorized, vintage Vogue patterns from the 1960s

A Three-Piece Outfit for the Holidays: Part One, The Blouse

“Today blouses are not worn quite as much as they used to be and I think it is a pity.” So said Christian Dior in 1954. With that in mind, hopefully he would have approved of this Vogue blouse pattern from 1958:

You have already seen my toile of this blouse, where I worked out all the “kinks.” I liked it made up in muslin and now I am quite thrilled with it made up in silk dupioni, purchased from Britex Fabrics.

The iridescent quality of silk dupioni woven with two contrasting colors, such as this one, makes it an excellent fabric to use for “fancy” attire. The only reservation I had was whether it would be too stiff for use in a blouse. It is by nature rather “papery” in composition. I was a little concerned it might not have enough drapeability for this blouse, where a major focus is on the softly pleated sleeves. I did a little research, and of course, the first guideline I found was an admonishment not to wash dupioni! Doing so would diminish that papery nature. Well, that was exactly what I wanted to do – soften it a bit. Further research led me to an article in Threads Magazine from a few years back, where, indeed, a reader had successfully washed dupioni in her quest to make it suppler. Off to my washing machine I went with a large swatch for a (successful) trial run. Soon the entire two yards were gently swashing around in cold water on the delicate cycle. It took quite a bit of heavy steam to wrestle out the wrinkles, but I was left with a soft, drapeable fabric for my blouse.

Quite apparent in this image are the two contrasting threads, one fuchsia and the other bright yellow, which, woven together made a shimmery apricot color.

Buttons for a blouse such as this one are an important element. I knew they needed to be special, and what could be more special than vintage glass buttons from France? I found these listed in an Etsy store (YumYum Objects).

These glass buttons have silver accents, adding just a bit more depth to their appearance.

The listing was for a set of 6, and I needed 8 for this blouse. The French cuffs required two buttons each. These buttons were too perfect to pass up, however, so I decided I could use two buttons of another style for the rear-facing part of the cuff. I found a set of little, clear glass, ball buttons in my button box, which seemed appropriate and a good compromise!

The ball button on the back.

For some reason I always like to make sleeves first, so that is what I did. The French cuffs, by their very nature, of course, call for two buttonholes with two buttons looped together to thread through those openings, one on each side. However, I placed a buttonhole on the front part of the cuff only. I then sewed the two buttons together, back to back through the back part of the cuff, with the fancy button meant to thread through that single buttonhole and the other button to be stationary. I liked the idea that this method would hold the two sides of the cuff more tightly together.

The fancy glass button on the front.

This view shows the three pleats in the sleeve. In addition, there is a small amount of gathering which adds to the blouson effect of the lower sleeve.

Being a pattern from 1958, the instructions called for bound buttonholes, of course. However, due to the nature of the fabric, I decided machine buttonholes would make a nicer finish, so that is what I did (with a little hand-finishing on each one…)

The rest of the blouse was quite straightforward.

I took this picture with the sun streaming in one of my sewing room windows. It really shows the luminosity of the fabric.

I am so happy I decided to keep the released darts at the waistline. I think they will work beautifully with the skirt I have planned.

I gave my usual attention to hand-finishing the hem and facings (it just looks nicer!) and marveled again at the finesse added to this notched shawl collar by that small dart in the collar crease. Hopefully you can see this detail here:

That dart makes the collar turn beautifully.

Next up is a guipure lace skirt! I wonder what Christian Dior would have to say about that?

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

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