March 10, 2014 § 12 Comments
I made our little niece a vintage ’30s coat as a Hannukah gift. For the pattern I used Pictorial Review 6128, a double-breasted coat with optional back belt and pockets.
Here’s the diagram and description from the envelope back. It’s a unisex coat for small children, and was available only in sizes 1 to 6:
The recommended fabrics were flannel, camel’s hair, piqué, velveteen, cheviot, and serge. We had a length of purple Woolrich tweed that felt the right weight for a coat. (Established in 1830, Woolrich is North America’s oldest woolen mill. Today, Woolrich tweed is a wool-nylon blend for durability.) I cut some leather trim for the welt pockets from an old pair of leather gloves, and my modest button stash yielded a set of one-inch vintage Civil Defence buttons for the front and belt.
Since the pattern is the old die-cut type and needed no alterations, I tried cutting using the original tissue pieces held down with weights.
I’m new to tailoring (and coat-making), so throughout the process I referred to Paco Peralta’s tailoring tutorial and my 1970s Vogue Sewing Book on tailoring techniques. The coat collar gave me the opportunity to try out pad stitching. The pattern even gave instructions; the undercollar is to be interfaced with muslin and pad stitched, with the collar stand first worked with a running stitch:
Here are some progress photos of the pad stitched undercollar:
This is the undercollar attached to the coat body:
You could call my approach to the coat half-tailored—somewhere between the pattern’s Depression-era muslin collar interlining and modern tailoring’s padstitched hair canvas interfacing, all catch-stitched along the seam lines. As a compromise between vintage and modern methods I used a sew-in interfacing on coat facings, belt, and pocket welts. (None was called for in the pattern.) To handle the heavy tweed, I had no tailor’s clapper, so I pounded the steamed seams and edges with a small cedar block we had on hand. Paco’s tip of making a few stitches across lapel corners worked wonders for my first-ever lapels.
I bagged the lining and added handworked keyhole buttonholes—fanned at one end, with a bar tack at the other. Partway through making the coat we decided against the convertible collar, so I omitted the lapel buttonholes. (As with many vintage patterns, there were no button/buttonhole markings.) It was my first stab at handworked buttonholes on heavy fabric; I love how the hand stitches create an edge that curves out to the ridge of knots that lines the buttonhole opening.
Here are some photos of the finished coat:
I think of Civil Defence buttons as ‘Keep Calm and Carry On’ buttons since the font and crown are similar to those on the WW2 propaganda poster originally produced by Britain’s Ministry of Information. (More on the Keep Calm font here.) Some closeup views of the buttons and buttonholes:
And the little back belt:
Our loft’s walls have some mysterious industrial hardware that proved useful in showing the scale of the coat:
Cutting straight from a die-cut pattern was an interesting experience, but I still prefer printed or traced tissue for cutting and marking. An oft-cited drawback of unprinted patterns is that the notches and other markings don’t always line up. This was true of the coat pattern, but it wasn’t hard to correct.
It’s always a pleasure working with wool, and I really enjoyed the challenge of trying out tailoring with a heavy fabric. The finished coat is something our niece will grow into, especially in the shoulders. But she does love the pockets! I see more coat-making in our future…
(Cross-posted to We Sew Retro.)
January 22, 2014 § 10 Comments
Have you heard? The house of Schiaparelli, founded by the legendary Elsa Schiaparelli (1890-1973) and dormant since 1954, has been revived.
Last year Christian Lacroix presented a one-off couture collection for the house, and this week the new head designer, Marco Zanini, presented his first Schiaparelli collection at the Paris couture. (See the Spring 2014 collection on style.com, or read W’s coverage of Zanini’s appointment here.)
The high-profile revival follows the Costume Institute’s major 2012 exhibition, Schiaparelli and Prada: Impossible Conversations (see my earlier post here). And, timed to coincide with couture week, an auction of Schiaparelli’s personal collection takes place Thursday at Christie’s Paris:
Many of you will be aware of Schiaparelli’s licensed sewing patterns, since she was among the first designers of Vogue Paris Originals. There were also Schiaparelli knitting patterns. If you knit, you can download a free pattern for Schiaparelli’s 1927 Bowknot sweater, updated by Lisa Stockebrand (Ravelry page here):
Like Vionnet, Schiaparelli also saw commercial sewing patterns for her designs in the interwar period, released by companies including the McCall Pattern Company, Pictorial Review, and the Paris Pattern Company. Here is a selection of early Schiaparelli patterns.
This McCall pattern is the earliest Schiaparelli pattern I’ve seen. Dating to the autumn of 1929, it’s a pattern for a blouse, skirt, and coat with angled pockets. It was still shown in a 1930 catalogue:
Here is the illustration of McCall 5839 in McCall’s magazine:
This Schiaparelli pattern from the Paris Pattern Company has some unusual details. The wrap skirt buttons diagonally across the hips and has two slits through which the blouse’s attached scarf can pass, for a suspender effect:
McCall 6981 is a three-piece suit consisting of a jacket, cropped pussy-bow blouse, and sleeveless, bias dress:
Here’s an illustration of this design (centre, no. 14) in the summer 1932 issue of McCall Fashion Bi-Monthly. Elsewhere it calls McCall 6981 a “trick” ensemble, since the blouse and jacket disguise a dress suitable for tennis:
This Benito illustration for Vogue shows a similar Schiaparelli ensemble, worn with a tomato red Sicilian cap:
This Pictorial Review Schiaparelli adaptation dates to late 1933. The dress has interesting details like shoulder flanges, diagonal waist darts, and inverted darts radiating from the neckline:
Here’s the catalogue illustration for Pictorial Review 6764:
Paris Pattern 2286, illustrated in my 1934 Paris and Style Patterns booklet, is a jaunty ensemble consisting of a coat, skirt, and jacket blouse. The description reads, “A superb town and country suit. Just the thing for that week end vacation. Top coat can be worn over any dress. The skirt and jacket blouse make an ideal spectator costume”:
Also in this leaflet is the Schiaparelli dress and capelet ensemble available as a reproduction from the Vintage Pattern Lending Library. The dress has shoulder yokes, puffed sleeves, and a skirt with pointed set-in panels and pair of buttons at the waist; the matching capelet is trimmed with pleating and buttons to the skirt front. Thanks to owner Deirdre Duggan for providing a scan of the envelope:
Finally, from McCall’s, this Schiaparelli dinner dress in two lengths dates to winter 1936-37. The bodice back extends into sleeves that are gathered into a heart-shaped bodice:
The pattern is illustrated in the January 1937 issue of McCall’s magazine, which made much of the new, street-length hemline:
Schiaparelli patterns from between the wars tend to lack the surrealist touches we associate with the designer, since many of these were based on couture embellishment, accessories, or notions. (Cricket buttons, anyone?) I remember reading a contemporary 1930s article that said Schiaparelli pieces were so simple, they were too easy to copy. Today one might say it’s her brand of dynamic severity that makes her clothes seem so modern.
June 21, 2013 § Leave a comment
On the cover of the McCall Style News for July 1939:
(The illustration shows McCall 3319, a set of boleros.)
December 13, 2012 § 17 Comments
The reputation of Madeleine Vionnet (1876-1975), the brilliant innovator in draping and the bias cut, has only increased with time. The label she founded in 1912 was recently revived, and Betty Kirke’s book is back in print for the house’s 100th anniversary. You can see Vionnet pieces online at the V&A and the Costume Institute. There’s even an animated video on Vimeo demonstrating the construction of one Vionnet dress. (For more on Vionnet, see Lisa’s Coletterie post; Betty Kirke’s 1989 Threads article; and Sandra Ericson’s revised 2010 Threads article, in pdf here.)
In recent years, those who wished to reproduce a Vionnet design could trace their pattern from a book. Janet Arnold’s Patterns of Fashion 2: Englishwomen’s Dresses and their Construction, c. 1860-1940 (Macmillan, 1982) includes five Vionnet patterns, and the Japanese companion volume to Kirke’s book (Bunka Fashion College, 2002; available on amazon.co.jp) contains tested, traceable versions of twenty-eight of Kirke’s Vionnet patterns. Costumer Koshka has made the 1919 Vionnet dress in Patterns of Fashion, while the Vionnet Identique project saw all the designs in Kirke’s book made up in half-scale for an exhibition and book (for photos see this Threads post and the book preview).
In the 1920s and 1930s, dressmakers could sew Vionnet designs using commercial patterns. McCall’s released patterns based on Vionnet originals, while companies like Pictorial Review sold adaptations of Vionnet designs. Here is a selection of Vionnet patterns.
These two patterns for a negligee and day dress date to 1926. The negligee is reversible:
Vionnet was known for her robes à mouchoirs, or handkerchief dresses, like this evening dress:
This formal dress is another handkerchief dress. Note the triangular sleeve insets:
Here’s a magazine illustration of McCall 5635 from the following year. The accompanying text reads, “A Vionnet gown characteristic of the graceful new formal frocks is simply made to fall in points at the center front and at the sides and back”:
Both McCall’s and Pictorial Review released patterns for this circa 1931 ensemble:
McCall’s magazine showed two illustrations for this design (McCall 6451); the text on the first page reads, “A masterpiece in simplicity that only Vionnet could have created. The chic contrasting bodice top is sleeveless and joins the skirt in a coat-dress closing”:
The ensemble was also illustrated on the cover of McCall Style News shown at the top of this post. Here’s the full illustration:
This 1932 Pictorial Review design for an asymmetrical day dress was adapted from Vionnet. The skirt and applied front are cut on the bias:
Here’s the corresponding illustration in Pictorial Review magazine. The accompanying text reads, “Yes, it’s a Vionnet, we knew you would recognize it in the characteristic handling of the diagonal seaming, in the clever use of button trimming, and in its absolute simplicity. Make it in a sheer linen with contrasting button accents”:
Finally, a three-piece suit pattern from the same year, consisting of a short-sleeved blouse, high-waisted suspender skirt, and jacket that criss-crosses in the front:
This illustration for McCall 6999 accompanies a trend report on suits:
Madeleine Vionnet is said to have considered herself a “geometrician”; the brilliance of her technique reveals itself in her garments’ construction. Have you tried making any Vionnet designs?
September 3, 2012 § 13 Comments
In honour of Labour Day, here is an advertising comic strip about sewing and a young woman’s job search. From my copy of the October 1939 McCall Style News, it’s another comic strip promoting J.C. Penney’s sewing department (click to enlarge):
I love how Ginger’s transformation involves not only a freshly sewn dress in a cute diagonal print, but also a new hat and a good hair day. Our heroine wins over her new, male boss with help from a girlfriend wise in the ways of properly un-dowdy femininity. Ginger’s new hat also points to how department stores like J.C. Penney’s could expect further sales connected to purchases from their sewing departments—accessories to match the customer’s soon-to-be-made new outfit.
A high resolution PDF copy of the October 1939 McCall Style News is now available in the shop:
I’m also giving away a copy of the PDF to one lucky reader. To enter the giveaway, just leave a comment below by midnight (EDT) on Saturday, September 8th. The winner will be chosen at random and announced this Sunday, September 9th.
March 9, 2012 § 1 Comment
Watching this year’s Oscars red carpet pre-show, I was struck by the Deco details on Louise Roe’s custom Black Halo dress, with its geometric, layered peplum and rhinestone buckle. (Details on the dress here.)
Spring’s Deco trend is gathering force. In September, many of the Spring ready-to-wear collections contained references to the Twenties and Thirties. There was flapper fringe at Marchesa and geometric dévoré at Alberta Ferretti. Veronica Etro found inspiration in two avant-garde art movements of the early twentieth century: Futurism and Constructivism. (See the collection statement here.) And Marc Jacobs resurrected the Twenties drop waist:
Two of the most sustained interpretations of the Deco influence were made by Gucci and Ralph Lauren. At Gucci, Frida Giannini was inspired by New York skyscrapers. In this campaign image, one of the collection’s fringed and beaded dresses is paired with a very Deco minaudière:
Patrick Demarchelier’s recent Vogue Italia editorial, “The Outstanding MCB,” casts Mariacarla Boscono as a Gucci-clad flapper:
(The Artist’s Bérénice Bejo was photographed in a similar Gucci dress for Vanity Fair’s March issue—in the Contents section, not the Hollywood portfolio, where she wears Ralph Lauren.)
Ralph Lauren presented a Gatsby-themed collection for Spring 2012, full of delicate beading, bias gowns, and three-piece suits in pastels and pinstripes. Cloches, boas, and long scarves or strands of beads completed the looks. (See the collection on style.com here, or view the Vogue UK trend slideshow, “Gatsby Glamour.”)
The Ralph Lauren collection is well-represented on the cover of Vanity Fair’s March Hollywood issue (click image to enlarge):
Rooney Mara, Mia Wasikowska, and Shailene Woodley wear dresses and boas by Ralph Lauren, and Elisabeth Olsen and Lily Collins’ shoes (as well as Ms. Wasikowska’s) are also Ralph Lauren Collection. The cover photo was taken at a New York set inspired by the work of English interior designer Syrie Maugham.
This was a return to the Jazz Age idiom for Ralph Lauren: early in his career he was responsible for the menswear in the last film adaptation of The Great Gatsby (1974). As Nicole Phelps points out in her style.com review of Lauren’s collection, the designer got a jump start on the Twenties fever expected to follow the opening of Baz Luhrmann’s 3-D version of F. Scott Fitzgerald’s novel this Christmas.
The bias evening dresses in Ralph Lauren’s Spring collection show the reach of the current Deco trend, beyond the Twenties into the Thirties and the glamour of Old Hollywood. Clothes on Film’s Chris Laverty has credited the current revival of classic Old Hollywood style to Keira Knightley’s green dress in Atonement (2007). HBO’s Boardwalk Empire and The Artist can’t help but give added momentum to a Deco revival.
The recent interpretations of Art Deco took varied approaches to their vintage inspiration. Collections like Gucci’s or Etro’s, which emphasized geometric prints and embellishment, are drawing on motifs from architecture and the old artistic avant-garde. When it comes to sewing patterns, Deco fashions tend to achieve their geometric look through contrast, trim, and seaming detail:
Marc Jacobs’ drop waists, often with blousing and soft detailing at the hipline, were most faithful to Twenties silhouettes, like this repro design from the Vintage Pattern Lending Library:
Despite the strong Twenties flavour to the daywear in Ralph Lauren’s Spring collection, for evening he reached for those mainstays of Thirties glamour, bias gowns and boas:
Even the masculine tailoring that punctuated the Daisy Buchanan girliness has a Thirties precedent, as shown by this pattern for a three-piece suit consisting of a waistcoat, double-breasted jacket, and cuffed trousers:
It’s funny how ‘Gatsby’ functions as shorthand for what we like about Twenties fashion. The Great Gatsby is set in the summer of 1922, but recent reinterpretations seem to favour mid-to-later ’20s styles. Here is a sample of 1922 eveningwear:
It’s been years since Vogue Patterns reissued any Deco-era eveningwear patterns. Vogue 2241 was released in 1998, Vogue 2609 in 2001, and Vogue V2859 in 2005. More Twenties and Thirties, please, Vintage Vogue!
December 31, 2011 § 5 Comments
This Christmas, while browsing my mother’s back issues of Vogue Patterns magazine, I was interested to see how the Vintage Vogue pattern line has evolved since its launch in 1998. Two repro patterns that were made up more than once for the magazine’s editorials are especially revealing of Vogue Patterns’ choices in promoting its vintage line. A look at the magazine’s different versions of these patterns seems the perfect opportunity for end-of-year reflection on different approaches to sewing—and wearing—vintage.
Vogue 2241, an early 1930s evening gown pattern, has been made up twice for the magazine. (See the pattern on flickr here.) This pattern is one of the earliest Vintage Vogues: it was released soon after the initial batch, which was photographed in black and white for the September/October 1998 issue.
The 1998 holiday issue’s “Vintage Vogue: Past Perfect” feature shows two evening designs, one Fifties, one Thirties, with an old-fashioned dressing screen. The headline promotes the ‘romance’ and timelessness of vintage, and the accompanying copy relates both designs to the “spare, romantic elegance of modern eveningwear,” but the shoot’s dress-up concept makes the garments look static and costumey. Here’s the first Vintage Vogue 2241, in washed silk charmeuse:
Six years later, the same design was remade for another holiday editorial, this one called “Vintage Nights.” This shoot features lush ‘vintage’ set design, with the model conveying a glamorous hauteur. The emphasis is more on dramatic style and interpretation: the headline reads, “Relive the glamour of a bygone era. Dressing for evening takes a cue from the past in Vintage Vogue.” Here’s the second Vogue 2241, this time in sueded silk charmeuse:
The second Vintage Vogue pattern, Vogue 2787, a Forties reproduction, is still in print. For its initial release in spring 2004, Vogue 2787 was made up in two versions, a printed and a solid silk charmeuse, each paired with a retro hat and gloves. The pattern was released with another Forties design, and the editorial gives a fairly direct rendition of Forties glamour; as the headline says, “Forties and still fabulous—take it from us, classic couture gets better with age.” Here are the first two versions of Vogue 2787:
A few years later, Vogue 2787 reappeared in a garden party-themed editorial of Forties and Fifties designs called “Well Cultivated Vintage Vogue.” (The cover shows a Fifties top from the same shoot.) The headline promotes the designs’ freshness and timelessness: “Firmly rooted in the elegance of the past, these perennial beauties make a perfect pick for today.” Vogue 2787’s next incarnation was made up in silk crepe de chine in a pink-dotted print:
And just this fall, Vogue 2787 opened a feature called “Beyond Vintage,” in which Vogue Patterns’ staff adapted and modernized their reissued patterns. Creative Director Jelena Bogavac updated the Forties dress by raising the hemline and altering both sleeves for an asymmetrical bodice. Here it is in iridescent green and pink velvet:
Has our thinking about vintage changed since the ’90s? When the two reissued patterns first came out, their straight period styling was appealing enough for me to get them both. Today I prefer the interpretation of the “Vintage Nights” shoot, and the updating and play of the fall vintage feature.
If you sew vintage, do you make it straight up, or with a twist? Do you adapt your style to accommodate vintage pieces, or make vintage adapt to you?
All the best for 2012!