For your viewing pleasure: Simplicity 1466, from 1934, for floor length women’s slips. Slips are a thing of the past for most ladies, and it’s a shame. I could identify a vintage slip by feel, because the nylon of those days is so much nicer than the icky stuff of today. Make it in silk and it’s the thing that dreams are made of. And look at that wide lace hem! ::sigh::
This pattern would work well as a slip of course, but it’s not too far of a reach for it to become a nightgown or even an evening gown slip dress, especially when paired with the right lace shawl. It’d be gorgeous in the peach color of the day, over a candlelit steak dinner. Am I right?
I came across this pattern, soon to be listed in the shop, and was intrigued by the fact that they call it an “Answer Dress.” What now would be known as a Little Black Dress was known as the Answer Dress in the late 50s.
The term Answer Dress was used for a few patterns in 1957-1959. Simplicity used it as a marketing term for “an ensemble that fills every dawn to dark need in a woman’s wardrobe.” They also marketed Answer Dresses for girls as well. These styles could be worn at work or for shopping, but could also be dressed up for cocktail parties. Some could be used as jumpers as well, which increased options even more.
How could you use this today? It’s perfect for someone who travels a lot, especially if you have to travel for work and need a dress that will take you from work to a more formal function. Add to it that these patterns are listed as “simple to make” and it’s a great idea for expanding your wardrobe easily. (Disclaimer: “simple to make” in the 50s is not necessarily the same as an easy pattern nowadays.)
These dresses have simple lines and can be dressed up or down according to your needs. They are a perfect idea for a capsule wardrobe, for those of you working on simplifying life. And yes, dresses can simplify your life! You can totally change these looks with accessories or shoes, or if you wear it as a jumper or not. Need more information on making a capsule wardrobe? Check out Project 333, by one of my favorite bloggers, Courtney Carver. She teaches you how to create a capsule wardrobe from only 33 items that you change up quarterly. I love this idea, especially since for the past year, I’ve probably only worn about a dozen different garments, because we are securely entrenched in quarantine. Post quarantine, perhaps it’ll be something more stylish than sweats and leggings, but there’s more time for that later on, post COVID.
Meantime, check out these patterns for cute Answer Dresses, and consider adding them to your wardrobe.
I LOVE this one! There are so many options to choose from here. Plus, of course I’m always drawn to red, so that may help to explain why I am nuts for this one.
Which one would you make? Do you know of another pattern that would work for an Answer Dress but wasn’t marketed as such? Drop it in the comments and let me know.
Have a great day,
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When my daughter was in grad school, she suggested that for Christmas, we draw names for gift giving because she was poor. She was living in Florida at the time, so we did a Skype Christmas with her. She had drawn her brother’s name, so she sent the gift home for him to open.
Come Christmas Day, he opens a box that contains at least twenty copies of the movie Bring It On, on VHS. Apparently, when Blockbuster was closing, daughter and her husband went in to see what VHS they could pick up. They ended up buying, among other things, a couple of dozen copies of Bring It On, then proceeded to use them for her brother’s presents. Each one was wrapped individually, and while some only contained the video, others had gift cards or small gifts in them. This meant that he had to open every single one of them, lest he miss a real gift. It was hilarious, and interesting to see what she could get to fit into an empty VHS case.
Those videos have shown up for every Christmas since. Sometimes it’s a bunch. Sometimes it’s one — like last year when my oldest once again nailed his brother with it, packing a single tape into a huge box that was nested with about a dozen other boxes, till he got to the video. No gift. Just the video. Sometimes it’s a bunch of them, again with some containing gifts, some not. At this point, everyone in the family has at least one copy of Bring It On in their home, just waiting for the next holiday season to hit. So I guess it’s not surprising that while my daughter was helping me organize for The Next Big Thing (more on that in a month or so), we came across eight copies. My mother even has one in her shelves of movies — and she doesn’t even know the joke. She’s also never seen the movie.
So if you have holiday traditions or not, just know that our Christmas involves a random cheerleading movie on VHS, proving that you can create new holiday traditions out of anything, and at any point in life.
I thought I had a cheerleading pattern to show you today, but it sold, so I’m going for ice skating realness instead. Have a great Monday.
When you reach into your stash, looking for something to list, and randomly pull out this. Wow. That top is amazing. I sell a repro pattern similar to this in the shop, but this one includes the shorts and skirt too? It’s almost too much to handle that early in the morning. That lime green is pretty eye catching too, and although as a fair redhead, I couldn’t handle that color, it’s perfect for almost everyone else.
If you’ve never seen a vintage Spadea pattern, then you have missed out on a treat. Spadea patterns are fabulous. I came across a 1965 article about them recently and learned more about the company.
I already knew some things from reading this blog post years ago by Lizzie, of The Vintage Traveller. She was fortunate enough to correspond with and interview the Spadea’s daughter, who acted as a fit model for them. It truly was a family owned business. According to the article I read, the Spadeas had over 80 international designers under contract. They travelled the fashion shows, looking for garments they wanted to replicate into their designer pattern lines. Once they had a sketch, they draped a muslin on a size 12 dress form until they got the line-by-line duplicate they needed. If it wasn’t exact, they couldn’t put the designers name on it. Once the draping was done and it all matched the original, the pattern makers went to work making the pattern pieces,grading it to other sizes, writing the instructions and figuring out the cutting chart. This was all done by hand and then checked for accuracy by a second person.
The really mind blowing thing is how the pattern pieces were cut. Unlike other pattern companies, Spadea cut their pieces by hand. They laid the brown paper pieces on top of 100 tissue paper pieces, then cut it all by hand with a knife. The perforations were marked by hand, or sometimes with a hand operated machine, and then they were sent by folding. Folding was also done by hand. Considering the thousands of patterns they sold over the years, this is really fascinating to me. I would love to see the particular knife they used to cut with. Was it more of an X-acto knife like my dad used for crafts, or more of a box cutter shape? (I’m a little caught up in the idea of knives right now, because I bought hubby some Wusthof knives for Christmas, and am sure we will end up in the ER, given his propensity for kitchen accidents, but I digress.) But cutting 100 pieces at a time with a knife is really something of awe. It’s a far cry from this 2016 video – a VERY quick view at how a McCall’s pattern piece is cut and folded by machine.
Mr Spadea stood by his process, however, stating that in the fifteen years his company had been in business, they had had fewer than five times that they had had to admit that they made a mistake, and refunded a sewist for a ruined project. His employees said that mistakes were because “women just don’t read the instructions.” I’d take his advice, even though I’m a beginner and pore over the instructions anyway. Given the fact that Spadea patterns are for designer garments, paying special attention to the instructions is a must, in order to end up with the high quality fashion you are looking for.
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I listed this cute pattern in the shop this morning. It’s Butterick 6879 and it’s adorable. I love View A, but can’t imagine doing all that bias tape trim. It’d be worth the work, but wow. This pattern is part of the “Susie Stephens” line from Butterick.
Susie Stephens, in case you didn’t know, is a line of sewing patterns designed by students at Stephens College, in Columbia, Missouri. (Fun fact: I grew up not far from there, and always thought of it as a rich kids school. But I digress.) At Stephens, they had a yearly fashion show done by the students. It was called “Susie Stephens.” It commonly had a theme, such as in 1952, where the them was “Campus Classics from the Classics,” and featured garments and millinery inspired by books such as Little Women, David Copperfield and Wuthering Heights. These garments were shown in fashion shows around the Midwest.
A 1947 article notes that the designs were fresh and adaptable, with rompers that had skirts to go over them, coats with enough volume to carry books underneath during the rainy season, and much more. On the day of the show, it was surmised that the garment district of St Louis must’ve emptied out and headed to Columbia, along with designer staff from Kansas City and New York. Budding designers were hired straight from these shows. The next day, the show was done again for the people of Columbia, where customers could choose the garment or the patterns, to take to their dressmaker for adaptations.
By 1950, Butterick had taken notice, and started their “Susie Stephens” line. This line was specifically created from the Stephens College students’ designs, and was advertised for teenagers. By 1952, they had printed 30 designs in the Susie Stephens line, but it seems to have waned in popularity after 1953, and disappeared completely after 1954. It’s worth taking a look at this cute line of patterns.
I saw this meme over the holidays and had to laugh. It’s said that it’s a white-girl thing that every time someone admires a dress, the girl responds in kind “thanks, it’s got pockets.” Now I don’t know that it’s purely a white-girl thing, but women do love themselves a good garment with pockets. And do you know who you can thank for that?
Ms. McCardell was known as the one who invented American sportswear, and for good reason. She was tall and athletic herself, the only sister in a family with three boys, and she wanted comfortable clothes she could move in. She ended up as a founding board member of Sports Illustrated. I doubt that a fashion designer has ever had that privilege since. She really did push sportswear to a whole new level (and I’m not talking about polyester gym suits and tennis dresses here).
Claire McCardell liked simple clothes that you could move in, in fabrics like jersey that draped well and moved with you. She loved cottons too, especially in plaids. Indeed, she made plaid ok to wear for evening wear. She pushed the notion of wearing tights and flats on the streets, instead of spike heels. She made jumpsuits and their shorter version, the playsuit, ok to wear outside of the Rosie the Riveter factory jobs. She put details on clothing that hadn’t been seen before or were seen only on jeans, like topstitching and yes, pockets. Those pockets that we love so much now.
Claire McCardell made it ok to wear separates, like shorts and blouses, capris, and the like. I’ve had two Claire McCardell patterns over the years: a Spadea (that sold for over $200 at auction) and a rarely found McCall’s pattern that probably sold for much less than it should have (I can’t remember). The Spadea was for one of her iconic dresses. The McCall’s was for sportswear separates. They aren’t easy to find, but the two patterns showed the full spectrum of what McCardell did.
I’m pretty sure that this Spadea 1130 is the one I had (it’s been a while). Simple lines and pockets.
Here’s the McCall’s one I had. It’s a great representation of her love for sportswear separates and sadly, is from 1958, the year Claire McCardell died a very untimely death from cancer.
If you are interested in Claire McCardell’s philosophy of dress, take a look at What Shall I Wear?, a book she authored that includes all kinds of advice on how to dress. I have a copy, and I love it. If you want to see more of her designs, grab Claire McCardell Redefining Modernism. It’s a coffee table book that has all the history of her designs, along with beautiful full color photos. Set aside some time for this one. You’ll want to give it its due, because it really is a wonderful book.
Until next time, Lisa
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If you’ve read previous posts, you know I have a particular love for Pictorial Review patterns, because of their connection with my grandmother, so when I saw this dress, it made me smile. It’s Pictorial Review 4232, from 1928, which was shortly after my grandmother had my dad. She likely had only recently left Pictorial Review, so again, this may be a pattern she had a hand in choosing. Oh, my heart.
In researching this pattern, I found that it was advertised as “The Marion Nixon Dress,” because it was designed specifically for the actress of that name. She worked at Universal Pictures, and was quite beautiful. Gorgeous, in fact.
Ms. Nixon had quite the career, mostly playing wholesome roles. She was one of the minority of actresses who was able to successfully transform from silent movies to talkies. She retired from acting at the age of 32. She died in Cedars-Sinai Hospital on February 13, 1983, from complications following open heart surgery. Her age went unreported at the time, as different references gave different ages, and she always referred to herself as being 31-plus.
I find it particularly interesting that she had a dress named for her in 1928, because this means that Pictorial Review was doing what Hollywood Pattern Company would do later: associating patterns with a movie star. And for good reason, because Ms. Nixon was not only a popular actress, but also was president of the Beauty Arts Institute, which did merchandising of beauty products nationwide, and who set the standards for beauty professions of the time. Talented and smart — the greatest combination. Add her beauty and it displays a picture of a woman who I’d love to have a long dinner conversation with.