1930s Children’s Coat – Pictorial Review 6128

March 10, 2014 § 12 Comments

30s coat pocket

1930s child’s coat detail — Pictorial Review 6128.

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.

1930s child's coat pattern - Pictorial Review 6128

Pictorial Review 6128 (1932) Child’s Coat.

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:

Envelope back with technical drawing of 1930s child's coat - Pictorial Review 6128. Child's coat. Snug, sturdy and comfortable is this little double-breasted coat with straight fronts and a belted back. The fronts may be worn closed to the neck or rolled to form revers. Belt and inserted pockets are optional.

Technical drawing and description, Pictorial Review 6128 (1932)

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:

1930s instruction diagrams for undercollar - Pictorial Review 6128

Instruction diagrams for undercollar – Pictorial Review 6128

Here are some progress photos of the pad stitched undercollar:

30sCoatPadstitching_a

30scoatcollar_a

This is the undercollar attached to the coat body:

30s coat collar

Pad stitched undercollar on Pictorial Review 6128

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:

30schildcoat

30schildcoat_detail

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:

30schildcoat_buttons1

30schildcoat_buttons2

And the little back belt:

30schildcoat_backdetail

Our loft’s walls have some mysterious industrial hardware that proved useful in showing the scale of the coat:

30schildcoat_side

30schildcoat+friend

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.)

30schildcoat_back

Schiaparelli Patterns, Part 1

January 22, 2014 § 10 Comments

Guinevere Van Seenus in vintage 1930s Schiaparelli, Vogue, May 2012. Photo: Steven Meisel. Image via vogue.com.

Have you heard? The house of Schiaparelli, founded by the legendary Elsa Schiaparelli (1890-1973) and dormant since 1954, has been revived.

Schiaparelli label, summer 1938 - 21 place vendôme Paris

Schiaparelli label, 1938. Image via the Metropolitan Museum of Art.

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.)

Christian Lacroix sketch for his Schiaparelli collection. Image via Fashion Loving.

The opening look in Marco Zanini’s debut collection for Schiaparelli. Model: Stella Tennant. Image via style.com.

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:

Schiaparelli Christies

Collection personnelle d’Elsa Schiaparelli. Image via Christie’s.

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):

Douglas Pollard illustration of Schiaparelli's bowknot sweater, Vogue, December 1927

Bowknot sweater by Elsa Schiaparelli, Vogue, December 15, 1927. Illustration: Douglas Pollard.

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:

1920s Schiaparelli pattern - McCall 5839

McCall 5839 by Schiaparelli in the McCall catalogue, 1930. Image via echopoint.

Here is the illustration of McCall 5839 in McCall’s magazine:

1920s Schiaparelli sewing pattern - McCall 5839

McCall 5839 by Schiaparelli. McCall’s magazine, October 1929. Illustration: Blanche Rothschild.

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:

Paris 1647

Paris Pattern 1647 by Schiaparelli (c. 1931)

McCall 6981 is a three-piece suit consisting of a jacket, cropped pussy-bow blouse, and sleeveless, bias dress:

1930s Schiaparelli sewing pattern - McCall 6981

McCall 6981 by Schiaparelli (1932)

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:

McCallBiMonthlyJulAug1932

McCall Fashion Bi-Monthly, July/August 1932. Image via carbonated on flickr.

This Benito illustration for Vogue shows a similar Schiaparelli ensemble, worn with a tomato red Sicilian cap:

Schiaparelli beige suit, blue blouse and Sicilian cap; pink jacket and brown skirt, Vogue, May 1, 1932. Illustration: Eduardo García Benito. Image via Corbis.

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:

PR 6764

Pictorial Review 6764 adapted from Schiaparelli (c. 1933) Image via Best Vintage Patterns.

Here’s the catalogue illustration for Pictorial Review 6764:

PR6764illus

Illustration of Pictorial Review 6764 (c. 1933) Image via Best Vintage Patterns.

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”:

1930s Paris Pattern by Schiaparelli

Paris Pattern 2286 by Schiaparelli. Paris and Style Patterns leaflet, June 1934.

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:

1930s Schiaparelli sewing pattern - Paris Pattern 2301

Paris Pattern 2301 by Schiaparelli (c. 1934) Image courtesy of the Vintage Pattern Lending Library.

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:

1930s Schiaparelli dinner dress pattern - McCall 9076

McCall 9076 by Schiaparelli (1936) Image via the Vintage Patterns Wiki.

The pattern is illustrated in the January 1937 issue of McCall’s magazine, which made much of the new, street-length hemline:

McCall Jan1937 Schiap

McCall’s magazine, January 1937. Image via eBay.

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.

Bonus: The Art Deco Society of California has posted instructions for Schiaparelli’s “Mad Cap” (via What Would Nancy Drew Wear?).

Next: Schiaparelli’s postwar Vogue Paris Originals.

Where Am I?

You are currently browsing entries tagged with 1930s at PatternVault.

Follow

Get every new post delivered to your Inbox.

Join 648 other followers

%d bloggers like this: