February 11, 2015 § 5 Comments
The first Winter Olympics in 1924 contributed to the growing popularity of skiing, which had been around since the late nineteenth century. I have not yet seen any 1920s skiwear patterns, but contemporary magazine covers attest to the sport’s fashionability. Helen Dryden illustrated this ski-themed cover for Delineator magazine:
The following winter, Jean Pagès illustrated a ski scene for the cover of Vogue’s holiday issue:
This McCall skiwear pattern for ski jacket, pants, and separate hood dates to winter 1932-33. The catalogue text reads, “The hood fits cozily about the throat. The jacket gains freedom through two pleats in the back”:
McCall 7195 was also illustrated on the cover of the McCall Style News for January 1933:
The 1936 Winter Games were the first to include Alpine skiing, and we see an increase in skiwear patterns from the mid-1930s. (Before 1936, Olympic ski events were limited to Nordic, or cross-country, skiing and ski jumping.) A page in the December 1936 issue of Butterick Fashion News shows women’s and children’s patterns for winter sports, complete with fabric recommendations—wool, suede cloth, snow cloth, and corduroy. The patterns are Butterick 7033, 5927, and 7062 (click to enlarge):
The cover of Butterick Fashion News for February 1940 shows an alpine chalet scene featuring a ski suit pattern, Butterick 8793. The text inside reads, “Snow fun in a ski suit… When you zip off the reversible jacket, your monogrammed suspenders will be muchly admired.” (More scans at witness2fashion.) The pattern calls for snow cloth with poplin lining:
A copy of Butterick 8793 is found in the Commercial Pattern Archive, where it is dated to 1939. The pattern includes the cap:
Postwar skiwear retained the slimmer silhouette that had been prompted by wartime fabric rationing. From 1946, Butterick 3985 is a ski suit with jaunty cropped jacket and detachable hood:
From the later 1950s, Vogue 9332 is a ski suit consisting of hooded overblouse and slim stirrup pants, for flannel, worsted, gabardine, alpaca, and poplin. I plan to make this one up for après-ski purposes:
McCall’s 4788 is a ski jacket with drawstring hem, stirrup pants, and separate hood. Recommended fabrics are corduroy, poplin, serge, jersey, and twill:
Unfortunately, no-one seems to have licensed Emilio Pucci skiwear patterns. This British Vogue cover features a Pucci ski ensemble:
The only 1960s skiwear pattern I’ve seen is Vogue 6044, a hooded parka and slim stirrup pants for stretch fabrics. The envelope back notes that, for the view A parka, allowance has been made for quilting narrow fabrics. The fur cloth version is a fun alternative:
From Daniel Hechter, Butterick 4370 is a designer ski suit consisting of straight leg pants and a belted jacket with drawstring hood. The fabric recommendations range from pinwale corduroy and double knits to synthetic leather and suede:
Butterick also had two his and hers skiwear patterns, Butterick 5110/5111, a jacket or sleeveless jacket and jumpsuit (really overalls) for water repellent, quilted fabrics. The jacket and overalls have elasticized snow guards at the wrists and ankles and contrast yokes and front bands in poplin or ciré:
From 1980, Simplicity 9785 includes overalls in full or knicker length, a ski jacket with detachable sleeves, and legwarmers—all for quilted, double-faced, water-resistant fabrics:
I’ll close with this mid-1980s, ski-themed Vogue Knitting cover:
December 3, 2012 § 11 Comments
Since Naomi was going as Daenerys Targaryen, this Halloween I went as Quaithe from George R.R. Martin’s series A Song of Ice and Fire. Quaithe is a minor character from shadowy Asshai who meets Daenerys near Qarth; she makes repeated appearances to deliver cryptic prophecies.
In the books Quaithe is hardly described at all apart from her red lacquered mask, so I had a lot of freedom. Asshai, in the fantasy world’s mysterious east, is known for its worship of R’hllor, a fire religion with Zoroastrian echoes. After doing some research into ancient Persian costume, which showed periodic Greek influences, I opted to use my Very Easy late ’70s Givenchy evening dress pattern, Vogue 2014:
The design may be from the Spring 1978 collection, judging from the similar halter neckline in this campaign image:
For fabric, I used black Qiana from a deadstock bolt found on Etsy. Qiana is a vintage nylon, a synthetic silk with a little stretch. It’s even in keeping with the ‘exotic’ Qs of the fantasy series.
As a Very Easy Vogue pattern, Vogue 2014 has very simple construction, but also lots of hand-finishing. The hem and slits at top and bottom front are slipstitched, the top edge is blindstitched to the inside bodice, and the back facings and extension are slipstitched over the hooks and eyes that fasten the halter.
I made the size 12 with no alterations, and it worked out just fine. The lines of gather stitching at the ends of the halter fastening are visible, as I discovered, so if I made the dress again I would mark them rather than doing my usual winging it.
Instead of using the 18-inch tassel the pattern calls for, I strung together some mesh beads from Arton Beads on Queen Street West. With stainless steel spacer beads the strand is fairly heavy, but I like the effect when it’s fastened to the back extension.
Naomi found me a shimmery red mask at Malabar, and within a day or so I had a costume:
Here are some detail shots of the bodice and back:
Many thanks to our fabulous photographer, Rachel O’Neill, for a fantastic beach shoot in mid-November!
(Cross-posted to We Sew Retro.)
August 21, 2012 § 7 Comments
It’s been a busy summer, and if you’re anything like me, you’re finishing up your summer sewing and preparing for fall. I’ll be posting some summer projects as soon as I have photos. In the meantime, I thought you might enjoy this 1959 ad from Acrilan’s “For an Active Life!” campaign: