sewing, sewing patterns, vintage clothing

I found them!

No sooner had I posted the last post about Cut-Ready to Sew week, then I found the five patterns the store would cut for you. These are all Pictorial Review, from 1931.

Pictorial Review 5506, pajamas ensemble of silk shantung. Sold for $7.62.
Pictorial Review 5514, sport ensemble of white shantung. Sold for $5.09.
Pictorial Review 5701, afternoon frock of printed voile. Sold for $1.01
Pictorial Review 5755, town frock of Picardy crepe. Sold for $3.46.
Pictorial Review 5391, play suit of Zephyr print. Sold for 95 cents.

I think I’d buy both the 5506 and the 5701. I love the seams in that dress, but picture myself lounging in those pajamas. Keep in mind that the prices listed included the pattern AND the fabric, and the cutting was done for free. What a deal!

sewing, sewing patterns

Cut-Ready to Sew Week

I was looking around in the newspaper archive, trying to date a Pictorial Review pattern, and came across a fun little article. The week of July 14, 1931, was Cut-Ready to Sew week.

What was this, you ask? This was the week that Pictorial Review offered five different patterns that you could purchase, and the store would cut the fabric for you. Why, you ask? Here was their reasoning:

  1. Beginning sewists could just start sewing, without the intimidation of cutting the fabric.
  2. Experienced sewists who were hesitant to cut fabric could just sew, without the fear.
  3. Expert sewists could consult with the reps to learn shortcuts and new techniques.

Both the patterns and the fabrics were pre-chosen, so the fabric definitely matched the pattern, but also limited choices. I’d love to know how this went over. Personally, I hate cutting, so perhaps it would work out ok for me. I even buy my patterns previously cut, because I hate cutting so much. I’d think that this probably didn’t allow expert sewists to adjust the pattern prior to cutting though, so perhaps it was more appreciated by beginning sewists.

Either way, it was a great marketing technique to get people to use the patterns. Window displays were created with the five dresses and fabrics, to show sewists the final product. I’d love to know what the five patterns were, wouldn’t you?

sewing

Fabulous Friday: Swimsuit or Lingerie?

Butterick 9606

I’ve been missing in action lately, I know. I caught a cold from one of the grandgirls, and it escalated into ugliness in the form of asthmatic bronchitis and ear infections. Got over it and the darned kid did it to me again! I’m just starting to get better now, so hang in there — I’ll be back to normal soon, or at least I hope so.

Meantime, look at this pretty pattern. When I first looked at it, I thought it was a super cute swimsuit, but then I read the description — it’s actually lingerie. I think that you could line it and use it as a swimsuit, and it would be a perfect look with that Beach Blanket Bingo vibe. What do you think?

Purchase here. There’s a 15% off sale going on in my shop through the weekend, so take a look at what’s new and stock up.

1950s fashion, sewing, sewing patterns

Fashionable Friday: McCall’s 9706

McCall’s 9706, 1954

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.

They really overdid themselves with this pattern illustration, yes? Now available in the shop.

Uncategorized

Spadea – Doing Things the Right Way

Spadea Catalog #28, available now in the shop.

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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1950s fashion, designers, sewing patterns

Susie Stephens – Midwest Goodness

Butterick 6879.

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.

1950s fashion, designers, sewing, sewing patterns, vintage fashion

Aurora Battilocchi

Advance Import 113, by Aurora Battilocchi

Aurora Battilocchi designed ladies’ fashion in the 1950s, and was thought by some to be the most creative Italian designer of the time. Her designs had a Parisian feel that combined with contemporary designs. Her designs worked for most women, because she did everything — empire looks as well as long torso looks with incredible details. She favored rich fabrics in brocades and satin, and her colors were equally so, in gold, flame red, sea blue and basic black.

One of her typical looks in 1955 was designed in tiers: a jacket where the hem created the first tier, and worn over a sheath dress that was cut again above the knee, creating the second tier above the final hem. Another model had a twilight themed skirt, with layers of pink, violet and blue organza. She was one of the only designers of the season to show a silk print. Ballgowns from this collection included a aquamarine silk dress with a pintucked bodice as well as a “tightly wound red and gold sheath with a huge bustle.” How I wish I could find a video of one of her shows!

She didn’t have much of a lifespan in American fashion though, as she disappeared from the scene here after 1961, and I can’t find anything about her from that point on. Perhaps she passed away, but she left a beautiful legacy. As was said about her in 1952, she was “renowned for her refined taste and understatement of the dramatic that is in itself dramatic.” Coco Chanel would approve.

designers, sewing, sewing patterns

Alexander McQueen Genius

Photo: Vogue
Jacket: Alexander McQueen
Model: Anok Yai
Photographer: Ronan McKenzie

I came across this photo of an Alexander McQueen jacket (designed by Sarah Burton) in the November issue of Vogue, and it stopped me in my tracks. My husband thought I’d lost my mind as I showed him the seams and tried to figure out what was going on. The seam coming from under the arm was driving me crazy. Was it a dart? Was it a side seam? I couldn’t figure it out.

The bodice and waist are obviously two different pieces. If it was a seam, then I’d like to see how it was cut, because it makes no sense to me. It couldn’t be joining front to back because it ends at the top of the pocket. But I’ve also never seen a dart starting under the arm like that either. It does look like there is a side seam behind it, but that one doesn’t appear to be coming from under the arm.

I pretty much obsessed over figuring this out, then put it out on my Facebook page, to have my sewing friends weigh in. They agreed that it’s a dart, even though the placement isn’t like anything I’ve seen before — but I haven’t seen a lot of true couture garments up close, either. But then my friend and guru of all things sewing patterns (and sewing) weighed in. She said it’s a princess seam, or perhaps just a curved tailoring seam. It’s a seam, not a dart. She also said it’s a true pocket (some thought it was just a flap). And then she drew me out what the front would look like in the pattern. It’s in three pieces:

Drawing by Julie Kempf

It makes a lot more sense to me now. The tailoring on this jacket is amazing, and the results are beautiful. I’m going to have to study more designs and marvel at the patternmaking. It seems to be an Alexander McQueen year for me, because I’ve basically watched all of his shows on YouTube during lockdown, and I really want to get his book, Savage Beauty (buy it here). Also, if you get a chance to watch the documentary about him, McQueen, on Amazon Prime, do it. His death was such a loss to the fashion community. I’d have loved to see what he would have done today.

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1950s fashion, sewing patterns, sexual abuse

Birdcage Waist

Butterick 8227, ©1957

I listed this pattern in the shop the other day, and found the waistline interesting. They call it a “birdcage” waistline. It’s a cummerbund waistline that included large tabs — like belt loops for a cummerbund.

I’m not sure how I feel about this. I love cummerbund waistlines. I think they give a wonderful silhouette, whether they are on a party dress or a sheath, but belt loop looking things? Hmm. That being said, View A is pretty fabulous, so I could be convinced. I want to see this in person.

In looking around, it appears that Mollie Parnis did a “birdcage jacket” in 1956 that was a short jacket that stopped above the waistline. Her collection of that season had a lot of high waisted dresses, so I’m sure that looked nice, and have seen patterns with that effect. Here’s a photo:

© Photo: Courier-Post, Camden, NJ

Pauline Trigere did a “bird cage” jacket in that same year, but it sounds confusing to me: “…for girls so reed-thin that there is no risk of a pregnant look. The bird cage’s big pouf is caught in just below the knees. She uses it in everything — coats, dresses, even headdresses made of veiling tied at the top and around the shoulders with velvet ribbon.” The jacket was hipbone length. I can’t envision what the look was.

Dallas Dickey designed a birdcage jacket in 1957 that was just one inch bands of linen, spaced an inche apart, and sewn only at the shoulder and hip, over a fitted sheath dress. The effect was to look like you were wearing a blouson jacket, but then up close “the sheath shape under the spaced bands is as visible as a parakeet.” These were done in different color versions, with the designer’s favorite being a gold jacket over a red, white or black sheath. This sounds interesting, and I’d love to see a real life version.

I did find a version of this particular dress, described in a New Jersey newspaper, and done by Mr. Sidney. These were full skirted dresses though, worn with more than one petticoat and striped around the waist in contrast to the vertically striped skirts.

I’m not sure what the inspiration was in the mid-50s for all these birdcage looks. If you have any ideas, drop it in the comments.