This week I’m looking at vintage patterns showing sports of the Pan Am Games. (See the first post here.) Today: a pattern for gymnastics.
Rhythmic gymnastics. This early 1930s gym and dance costume was available in misses’ and juniors’ sizes. The costume includes a long-sleeved or sleeveless blouse with elasticized lower edge and two styles of tap pant:
Like other sportswear patterns, McCall 6498 stayed in print for several years: Allison Marchant/carbonated’s copy is copyright 1934.
This year marks the 150th anniversary of Alice’s Adventures in Wonderland. Liberty London is celebrating with an Alice-inspired Spring/Summer 2015 fabric collection. At the V&A Museum of Childhood, an exhibition on Alice’s influence on fashion, The Alice Look, runs to November 1, 2015, and on Saturday the museum is also hosting a conference, Alice & Fashion. (Read the press release.) The exhibition and conference are part of curator Kiera Vaclavik’s larger research project, Addressing Alice: The Emergence of a Style Icon.
To celebrate Alice’s 150th, here’s a look at some rarely seen vintage Alice in Wonderland patterns.
This Alice in Wonderland doll pattern with flamingo, McCall 145, dates to 1933:
The costume of the McCall Alice doll seems to refer to Charlotte Henry’s Alice in Paramount’s Alice in Wonderland (1933). According to Vaclavik, the film appears to have “prompted the adoption of the Alice band as hair accessory of choice at hunt balls and wedding processions across Britain” (see her article in the Independent):
Nearly two decades later, Walt Disney’s animated Alice in Wonderland (1951) set the image of Alice as we picture her today. Disney licensed two Alice patterns with McCall’s: McCall’s 8626, a girls’ Alice ensemble, and McCall’s 1643, unisex children’s costumes for the Mad Hatter and March Hare. McCall’s 8626 includes a puff-sleeved dress, apron, coverall, and jacket with rabbit-shaped pocket:
You can see the back of the pattern envelope here.
The Alice pattern was promoted in the August 1951 issue of McCall’s Style News with additional sketches of the White Rabbit, the Cheshire Cat, and Tweedledee and Tweedledum. It’s worth quoting the original description: “Alice-in-Wonderland dress, inspired by Walt Disney’s ‘Alice in Wonderland’ motion picture. Not a fancy-dress costume, but a 4-part ensemble to wear any day of the week. Straight-from-Wonderland ruffled apron that can accompany the little puff-sleeved, full-skirted dress everywhere—to school, to church, to parties. For helping Mother around the house, a jumper-like coverall. And to complete the ensemble, a reversible jacket with the ‘White Rabbit’ in pocket form”:
This photo from McCall’s Pattern Book shows the March Hare costume and Alice outfit made up:
It’s interesting that the 1950s Alice pattern isn’t a costume pattern, but a set of pieces for everyday wear. The pattern adds ruffles to the pinafore, but is otherwise close to Disney’s animated Alice, whose style was based on Mary Blair’s concept art:
Commercial sewing patterns based on Lanvin originals were produced between the 1920s and the 1970s. Four head designers presided over the house during that period; I’ll be devoting a post to each designer.
The interwar Lanvin designs available as sewing patterns are by Jeanne Lanvin (1867-1946), who was known for her romantic, youthful dresses with couture embellishment, particularly her robe de style, a full-skirted alternative to the 1920s tubular silhouette.
From McCall’s earliest couture patterns, this robe de style with a big bow at the waist and skirt with beaded appliqués was modelled by film star Hope Hampton:
McCall 4856 is a short evening or afternoon dress with sheer overlay. The version on the right is in Lanvin blue:
(McCall’s also sold transfer patterns for beading and embroidery; the catalogue illustrations show nos. 1558 and 1388.)
This simple double-breasted coat from Pictorial Review was adapted from a Lanvin design:
Pictorial Review’s catalogue illustration shows the coat with contrast lapels and fur cuffs and collar:
Trim is an important feature of this Lanvin day dress, which is shown in my 1929 Paris Pattern leaflet (available in PDF from my Etsy shop):
McCall 7711 is a day dress with drape-necked bodice and bow-trimmed sleeves. View A, with long sleeves and contrast bodice, has topstitched sleeves and belt that are characteristic of 1930s Lanvin:
Here’s the illustration from McCall’s Advanced Paris Styles catalogue:
In late 1934, McCall and Pictorial Review both produced versions of the same Lanvin afternoon dress: a slim, full-sleeved gown with back cutouts. A reproduction of the McCall version is available from Past Patterns:
In Blanche Rothschild’s illustration for McCall’s magazine, the dress is shown with McCall 7954 by Georgette Renal:
The text for McCall 7959 reads, “Lanvin’s long skirted afternoon dress has a new feeling of formality. The back of the bodice is suspended in folds from a cross shoulder band, slit in triangles to expose the back. Raglan sleeves provide material contrast. The skirt spreads, bell shape, into a hesitation hem.”
The Vintage Pattern Lending Library has a reproduction of the Pictorial Review adaptation of the dress, Pictorial Review 7363:
Here’s an illustration of the Pictorial Review adaptation from the Winter 1934 catalogue:
McCall 8591 (previously featured in my goddess gowns post) is a glamourous evening dress with pleated shoulder draperies. This illustration is from the McCall catalogue:
Marian Blynn illustrated McCall 8591 for McCall’s magazine (the other gown is by Ardanse):
The caption reads: “Long scarfs, drifting down from the shoulders, are used by Lanvin. The scarf dress here is hers, and when you dance it is supposed to make you look as though you were floating. These scarfs are also worn wound once around the arm.”
Just for fun, here are two photos by Horst P. Horst and Albert Harlingue showing Lanvin designs from the 1930s:
To enter, leave a comment mentioning what you’d like to see more of on the blog. The giveaway closes Monday, July 14th at midnight EDT. The winner will be chosen at random and announced this Tuesday, July 15th.
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…
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.comVogue Runway, or read W’s coverage of Zanini’s appointment here.)
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.