Pintucks

1988: Spring & Summer Dresses

2012-02-01T05:03:00.000-08:00

1961: Jerry Silverman Suit

2012-01-31T05:02:00.000-08:00

This wool suit for Fall 1961, was designed by Shannon Rodgers for Jerry Silverman. The top has a deep "V" sailor style collar with self bow typical of the early 1960's. A peek of the silk blouse worn under it is seen in the contrast neckline. A matching six gored skirt completes the suit. It probably had a bit of an "A" line silhouette. This light weight wool outfit was sold in "San Marco gold, Doge Red, and Lido Green" for $90 at such stores as Bergdorf Goodman (New York), Blum's-Vogue (Chicago), and Neiman-Marcus (Dallas).

This illustration style was drawn on a smooth paper, with an even stroke. The casual fill strokes may be oil pastel or chalk that was put on the paper first, before the ink lines were drawn.

1972: Prom and Party Styles

2012-01-30T05:30:00.000-08:00

The two Simplicity patterns shown here date from Spring, 1972 and include textile swatches suggested for each pattern style.

Simplicity 9725 was part of a young looking group called "Young Contemporary Fashion". It included styles that seemed to be currently selling in the market for juniors. Fabric suggestions include 50% polyester/50% rayon blend wovens in a sheer leno stripe weave. The midriff waistline with flutter sleeves was influenced by the vintage 1930's styles popular at that time.

Simplicity 9709 is a bit more mature, from the "Designer Fashion" collection (no name mentioned in this promotional group). It was suggested for patio parties and proms. The black bodice shows up often during this era, worn over bright abstract or floral patterns. The fabrics shown here are 75% acetate/25% nylon in a textured 'terry cloth' texture on a velour knit. Bright solids are paired with very graphic prints inspired by Pucci and patchwork quilts.

Fashion Illustration by Eric, C. 1940's

2012-01-29T11:17:00.000-08:00

Another great fashion illustration by "Eric" (Carl Erickson) who was a strong graphic influence from the 1930's through 1950's for the American "Vogue" magazine. There is a mention of Carl Erickson this month in "Vogue" along with a small glimpse of him in a fashion photo of Gertrude Stein by Horst (see February, 2012, page 112).

Color: Turquoise collections

2012-01-11T05:17:00.000-08:00

Turquoise collections seem to be popping up alot lately.

All three color groups here include my bright turquoise mid-1950's dress with other artifacts of the same hue.

There are several combinations of turquoise and red/pink, a color set that is both new and classic at the same time.

This is the fun dress that was included in all of the color treasuries above. It is a princess seam line style cut from a heavy, crisp taffeta faille. There is a fitted empire waistline, bound armholes and a little tab in front with a golden bow pin. It is currently available online HERE.

Top color treasury: "Vintage Turquoise", by Saturdays Market HERE

Middle color treasury: "Color Lab 1: Turquoise" by Make Haste Design HERE

Lower color treasury: "Tell Me the Truth" by Simply A Circle HERE

Asian Inspired: Bonnie Cashin Coat, June 1950

2012-01-10T05:31:00.000-08:00

This Asian inspired coat is a very early example of the direction that Bonnie Cashin would explore in the decades to come: simple "T" shaped coat with narrow mandarin collar. Here she uses linen and embellishes it with frog closures in a design for Adler and Adler. Later those frogs would become her signature brass twist locks.

description from "Vogue", June, 1950:
"Sawed-off Chinese coolie coat--new length: white Irish linen, frog closings: three-quarter length sleeves. A summer coat with more than one life to share. First and foremost, a life with a bathing suit; then, perhaps, over a slender skirt in town, slacks at home. Coat by Bonnie Cashin, $30, At Lord & Taylor; Garfinckel's; Neiman-Marcus."

This photo of Bonnie Cashin shows her wearing the same coat, worn casually with pushed up sleeves (a style she favored).

The second image shown here is from the UCLA Special Collections website on Bonnie Cashin

Late 1930's Fashion Illustration by Eric: Carl Erickson

2012-01-09T10:02:00.000-08:00

Eric was an American fashion illustrator during the 1930's through mid-1950's. His full name was Carl Erickson (1891 - 1958). He is best known for his full color "Vogue" editorials, that he created during the more than 35 years that he contributed to the magazine.

Eric's style included a sensitive line often created with black brush strokes or charcoal made on rough paper. His portraits of famous clients included Gertrude Stein, Queen Elizabeth and President Roosevelt. He worked from live models, rather than photos. Most of this time he lived in Paris, the fashion center during those decades.

This illustration was cropped and removed from the original magazine issue, so the date is general: about 1938.

Victorian Styled Hats from the late 1930's

2012-01-07T05:04:00.000-08:00

These adorable illustrations come from the late 1930's, artist unknown. There is such a sweet Victorian revival style to the look. Victorian influences were wildly popular during the late 1930's and into the 1940's. The classic 1939 movie "The Women" with designs by Gilbert Adrian is a great way to see these quirky little hats in action.

RBW: Count Rene Bouet-Willaumez, Fashion Illustrations: June 1950

2012-01-06T05:06:00.000-08:00

The three fashion illustrations here are editorial drawings from the June 1950 issue of "Vogue" magazine painted by Count Rene Bouet-Willaumez (RBW). He was a top fashion illustrator from the pre-WWII era, along with Carl Erickson, better known as "Eric", Christian Berard and Rene Bouche. Having built a strong reputation during the 1930's, RBW would continue to provide drawings for Vogue and Bazaar into the early 1950's.

His loose, Asian inspired brush work illustation style was part of the "Expressionist" movement. He was proficient in creating a dynamic illustration using black india ink on rough cotton paper. The 1950's would mark the end of fashion illustration editorials in glossy fashion magazines. Photography moved quickly into the dominant editorial position.

Drawing from a live model wearing the dress, his technique can be seen in the use of a wet paper to flow on the gray shaded areas. When that had dried, he painted the illustration, probably using a tapered asian paint brush or similar shaped water color brush dipped in deep black india ink. The textured areas are 'dry brush' painted with a brush that has had the ink pressed out, so the brush is damp. This style had a sensitive line that was popular through out the magazine and newspaper industry during this era.

Gres, Fall Collection, 1961

2012-01-05T17:50:00.000-08:00

Paris Collections, Fall 1961
Designer, Gres
"L'Officiel" Magaine
Dress: Orange silk with scarf tied in front

Spring 1972: 40 Years Ago, Sportswear Patterns and Fabric

2012-01-04T05:19:00.000-08:00

Forty years ago, Simplicity pattern company produced a guide to Spring 1972 teen fashions along with textiles suitable for each pattern. This first pattern (Simplicity 9650) features a safari outfit, with shorts or flare leg pants. Style suggestions include adding a 'rugged leather belt', neck scarf or hat.

Colorful denim is advised for sewing this outfit. These swatches are 50% Kodel polyester / 50% cotton in 44-45" widths. Popular colors are simple primaries: red, light blue and classic denim blue. Naturals in brown with a coordinate stripe offer an alternative to the brights.

These illustrations were produced for Spring 1972 in a large format portfolio of pattern pages opposite the swatch pages. The portfolio is titled "Teen Fashion Environment" and was produced by the W.T. Grant company, a discount chain store that carried fabric and sewing patterns in small towns across the U.S.

1938 Surrealistic Fashion Illustration by Wilena

2012-01-03T08:23:00.000-08:00

Surrealistic fashion illustration, from about 1938, signed by Wilena.

2012 Vintage Inspired Calendars

2012-01-02T10:06:00.001-08:00

This journal page was written on New Year's day, 1879 by my great-great grandmother from her farm near Melpine, Iowa. She recounts the day's events, including meeting with her sewing society.

What are you doing this year to record your own schedule of events? It's not too late to find a vintage fashion inspired calendar in your local bookstore. For me, the weekly layout works best, but I do love a colorful wall calendar too. It's nice to have something to glance at during the month to remind me what is on my agenda each week.

Here are a few of the fun vintage fashion calendars available this year to get you started on your hunt for the perfect calendar (before they all sell out!).

Desk top weekly: "Fashion of the 20th Century", this one is by Taschen and sports an ad from magazines each week. It does feature the entire century, which is fun. This weekly will keep my appointments on time (at least I'm hoping!).

Wall calendar, monthly: "Handbags", by Image Connection, This calendar features 12 fun handbags for 2012.

Wall calendar, monthly: "365 Days of Shoes" by Workman Publishing. Styled with a shoe for every day, this is a fun concept full of amazing images. We hang up a version of this calendar every year in the design studio so we know what's scheduled for the future.

50's PinUp Vintage for New Years!

2012-01-01T04:50:00.000-08:00

This group of 1950's looks inspire a Pin-up look. The styles come from Etsy sellers, and are featured on the website HERE. Our very own blue plaid drop waist dress with a cute back bow is part of this group, HERE.

This treasury is by lolipopsdesigns on etsy.

Animal Print Crazy: 1980's Vintage New Year

2011-12-31T05:42:00.000-08:00

Two fabulous dresses from the 80's that went through the shop and on to a party!

Have a HAPPY NEW YEAR to come that is filled with adventure & good times.

1970's for New Years

2011-12-30T05:25:00.000-08:00

Fashion illustrations from 1970's patterns:
Two figures: a Butterick pattern (torn number)
Two figures with red dress: McCall's 3206
Green Dress: Simplicity 8025

Sheath Cocktail Dresses from 1958: Fit to Impress

2011-12-29T09:01:00.000-08:00

1958 fashion illustrations from "Modes Royale" a pattern magazine of European designs for the home seamstress.

Sequins 1930's Style: Vintage New Year

2011-12-28T08:18:00.000-08:00

1937 Costume design by Edith Head for "Turn Off the Moon"

1958: Vintage New Year Cocktail Dresses

2011-12-27T05:38:00.000-08:00

Fashion Illustrations: 1958 from "Modes Royale"
This was a pattern magazine that showcased European fashion designs when cocktail dresses were at their height for creative drape and silhouette.

WINTER SALE this Week

2011-12-26T08:38:00.000-08:00

20% to 50% OFF
on Selected Winter Items
now through New Year's Day
at PINTUCK STYLE.

Have fun!

"Sabrina" Costume Illustration: New Year's Inspiration

2011-12-26T08:02:00.000-08:00

Edith Head illustration for Audrey Hepburn as "Sabrina"

This look is so classic and as perfect for this New Year's as it was in the 1950's.
You can whip up your own version with vintage sewing pattern: Simplicity 3002. Wouldn't that be fun!

Simplicity 3002, is currently available on Etsy.com: HERE

Christmas GREETINGS!

2011-12-25T05:23:00.000-08:00

...and a Very MERRY MERRY to YOU!

Christmas Cheer in Vintage

2011-12-24T07:56:00.000-08:00

Have a Lovely Holiday and stay warm whether you are wrapped in Vintage or Polar Fleece!

fashion illustration from a 1930's fashion scrapbook

Vintage New Year: Evening Jacket

2011-12-23T06:45:00.000-08:00

magazine photo from a 1930's fashion scrapbook

A Vintage New Year: Dream Dress

2011-12-22T18:40:00.000-08:00

1930's fashion illustration from a scrapbook

1958 Back Views: Cocktail Dresses for New Years

2011-12-22T08:53:00.000-08:00

1958 fashion illustrations from "Modes Royale", a pattern magazine of European designs for the skilled seamstress.

What to Wear: STYLES for a VINTAGE New Year

2011-12-21T18:34:00.000-08:00

from a 1930's fashion scrapbook

Janet Klein and her Parlor Boys: Music for a Vintage Lifestyle

2011-12-08T20:46:00.000-08:00

If you love vintage fashion from the 1920's and 30's, then Janet Klein and her Parlor Boys should be the musical score for your life.

Janet has found a way to capture all of the fun and jive of that era's music, singing and playing her ukulele with a back-up band of marvelous musicians. But there's more! She's also a gifted graphic artist, as well as a spell binding performer. She has designed a vintage style web site that will make you want to put on a pot of tea and settle in for awhile, to cruise the many pages that relate to her work, musician friends and related topics. You can find that, HERE.

Living in Sin is especially fun, so maybe you should start with that CD from her collection, HERE.

Once you get to know Janet, you will notice the unmistakable ukulele that she plays. She demonstrates how to play that instrument in this charming video tutorial:

Then, if you would like to spread out your picnic blanket on the park grass, you can join Janet and her Parlor Boys for a tune or two:

Preview: 1950's dresses

2011-11-22T06:24:00.000-08:00

Here is a preview of a few "fresh vintage" dresses that will debut at the pop-up shop for Pintuck Style this coming Saturday, Nov.26.

More info on this sale: HERE. Drop by/ say hi!

Black & White Party Theme in Vintage

2011-11-13T17:37:00.000-08:00

Our jazzy Black and White Party Dress from the 80's with an Art Deco flare is featured front and center in an Etsy treasury collection of vintage called "Rock the Night with Black and White". You can see more of this fun set HERE.

Book Review: The Scrapbook of Frankie Pratt

2011-11-12T16:41:00.000-08:00

My grandmother was a college flapper during the 1920's and kept a big black scrapbook of cards, tickets, and other paper ephemera she collected. It is still a wonderful book to look through with a cup of tea and a sister to share the pages. Naturally I was drawn to the recent book by Caroline Preston, "The Scrapbook of Frankie Pratt". Like my grandmother's book, it gathers up a visual collage of period items, but in this case, there is a narrative story to keep the pages turning.

It's that time of year when gift giving can become a burden, especially when trying to find a sweet surprise for your best friend, cousin or sister. "The Scrapbook of Frankie Pratt" fills the bill for one of the best gift books of the season.

This colorful book is especially perfect for people who love vintage. Some of the best pages are shown in full color HERE. These pages ring true like a real scrap book, filled with the little things of a bygone day when young women exchanged notes and young men sent letters. When you locate a copy, you may want to pick up one for your own bedside reading too.

One more thing, there is a lovely video to promote the book. It will make you want to see it even more, HERE!

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published by HarperCollins
Harcover: 228 pages

Veteran's Day

2011-11-11T09:23:00.000-08:00

This "Los Angeles Times" photo was taken on Nov. 11, 1918, 93 years ago today. As we love vintage fashion, events and eras from the past are an important part of the story. It is with those handed down memories that I post this reminder that vintage fashion is also about people and the times they lived in.

1970's Vintage Sewing Patterns & California Fashion Designers

2011-11-06T16:56:00.001-08:00

Collecting and selling vintage sewing patterns has heightened my awareness of “designer” brands from past decades. I have often wondered about some of the late 1970’s patterns. Why were there so many pattern designers from Los Angeles then? Like “Made in California”, there seemed to be more interest in west coast fashion back then than today. I did some digging around and came up with part of the story:

By 1979, the home sewing business was around $3.4 billion per year. About 125 million patterns were sold annually. The four major pattern companies at that time were: Vogue, Butterick, McCall’s and Simplicity. About 35 to 40 million home sewers were located in Southern California, the largest regional group in the US. The huge demand for home sewing patterns in California prompted the home sewing industry to release designs by popular local fashion designers. It was also hoped that the allure of the west coast life style would spread a demand for these young, unique and less European fashion designs throughout the country.

At that time it cost $25,000 to produce and issue one original designer pattern for the home sewing market. Featuring a designer meant that companies expected a good sell out to support their investment. Seeking life style branding, along with a middle class interest in a fashion that was more accessible, the designer patterns where hoped to be top selling designs not only on the west coast, but nationally as well.

In that year, eleven fashion designers from Los Angeles and two from San Francisco had sewing patterns featuring their labels. Seven of these designers were published by McCall’s. By May, 1979 that company featured designer patterns by Bob Mackie, Norma Fink’s “Theodore” label, Carol Little’s “St. Tropez West” label, “Singer and Spicer” and the “Strauss” label by Bonnie Strauss. In June, 1979 the “Ma Chemise” label by Dennis Goldsmith and Nancy Heller’s “Tea Shirts” designs would be added to the roster of California design talent at McCall’s.

In 1978, Simplicity patterns, the largest pattern company at that time, sought out a strong California identity. Their west coast design roster featured Holly Harp, Harriet Selwyn’s label “Fragments” and “Gunne Sax” by Jessica McClintock. Jessica McClintock would prove to be a profitable pattern label that continues to be part of the Simplicity pattern company designer roster.

The Vogue pattern company had always featured well known American fashion designers and is credited with being first to feature California labels (that’s debatable). In 1976 they started including local talent with Edith Head’s designs. As a movie costumer who didn’t design or manufacture, she was a legend of Hollywood glamour.

Butterick’s first California designer label was for Jane Tise in 1975 under the “Young Designer” title for her label “Sweet Baby Jane”. If a count were made, she would probably be one of the top designers creating sewing patterns during that decade. The California free spirit and inspiration buyers sought after were featured in Jane Tise designs. Lesser known Nancy Stolkin’s simple to sew yet fashionable designs were added in April, 1979.

What seems like a spontaneous display of interest in California fashion designers was brought about by two occurrences: an alarming downturn in pattern sales that began in 1976, and the realization that most home sewers thought high fashion designer labels were too complicated and difficult to sew. The companies hoped that these new California labels would seem inspiring without being intimidating. They also hoped the new looks would bring back a customer who was wearing more pants, fewer dresses and sewing for herself less often. Like Jessica McClintock, a few designer labels would be long term sellers, keeping some of the departing sewing masses in the fold.

Most information for this article came from an April 16, 1979 news article “Pattern Makers Heading West for Designs for Middle America” written by west coast fashion journalist, Marylou Luther, who wrote for the “Los Angeles Times”.

Below is an incomplete inventory of the California designer patterns, starting in the 1970’s. Most are currently available for sale online. If you have more pattern numbers to add to the lists, please feel free to leave them in the comment’s section, thanks!

McCalls:
Norma Fink “Theodore”: McCall’s: 6770
Bob Mackie: McCall’s: 6840 (1979)
Nancy Heller: McCall’s:, 8783, 9040 (80s), 9055 (1984)
Singer and Spicer: McCalls: 6756
Carol Little “Saint-Tropez West”: McCall’s: 6725, 6726, 7983(1982), 8816 (1983)

Simplicity:
Harriet Selwyn “Fragments”: Simplicity: 8648 (1978), 8905 (1979)
Dennis Goldsmith: Simplicity: 8589(1988), 9193 (1989), 9856 (1990), 9885 (1990, girl’s)
Holly’s Harp: Simplicity: 8645, 8646 (1978), 9177 (1979)
Nancy Heller: Simplicity: 8607
Jessica McClintock, “Gunne Sax”: Simplicity: 6270, 6271 (1983), 9350 (1979), 8907, 8947, 8223 (1987), 8224 (1987), 7563 (1991), 8985 (1989, girls), 8671, 9558, 9100, 6883, 6361 (1983)

Butterick:
Nancy Stolkin: Butterick: 6579, 6581
Jane Tise “Sweet Baby Jane”: Butterick: 4096, 4098, 4099, 4100, 4391, 4642, 5049, 5050, 5051, 5283, 5990, 5991, 5992, 5993, 6330, 6331, 6332, 6412, 6681, 6682, 6683, 6684

Vogue:
Edith Head: Vogue, American Designers: 1560, 1803, 1895, 1896, 2041, 2221, 2335, 2560, 2561, 2831, 2832, 2923

Vintage Details: Rudi Gernreich: 2 Kabuki Dresses, Autumn 1963

2011-10-26T18:00:00.000-07:00

It's not often that we get a chance to see two vintage dresses that are from the same collection: similar in design, but different in fabrication.

Rudi Gernreich produced a wide range of innovative designs during his career, but the Kabuki dress remains one of the most recognizable. Designed in 1963 for his Autumn collection, it is a wool double knit with body drape. What made it so unique was the eye popping textile colors and the innovative bodice 'obi' belting across the bustline.

As early as 1954, when in his early 30’s, Gernreich was noted for his colorful, geometric, and unique styling. His styles are highly influenced by the flapper silhouette of the 1920’s, which was a departure from the hourglass look being designed in Paris by Dior. In 1951 he began working for Walter Bass, a California manufacturer. There he became well known for contemporary clothing design.

He created boxy jackets and tight pants and other clothing styles that would become more commonplace in the early 1960’s but were considered bold, sophisticated, and shocking 10 years earlier.

Like Claire McCardell and Bonnie Cashin, he was influenced by Asian garment styles. As a designer he felt that he was a practicing artist, where aesthetics were important. He also believed that a good design need not be discarded after only one season.

Wool knit textiles were produced by Harmon knitwear. In the early 1960's his color sense and ability to manipulate textile graphics were becoming popular. The bold colors and patterns here predict the trend in fashion that would become mainstream by the late 1960's and early 1970's.

And finally, a quick look at the inside construction. The obi section is backed by cotton broadcloth to prevent it from stretching out of shape.

(click on the photos so see enlargements)
Please contact me if you wish to use these photos, thank you

Fall is Sweater Time: Pringle Cashmere

2011-10-23T09:56:00.001-07:00

Cashmere and Pringle sweaters are a great combination that is getting harder to find. The weight and texture has made them a favorite knit and it's become impossible to pass up a vintage cashmere while cruising a good estate sale.

Recently I came across a great video for a recent exhibition, "From Hawick to Hollywood: the Women who wore Pringle". This looks at mid-century Pringle knits and is exhibited in Hawick, Scotland where Pringle is made. Wallace Shaw, who designed for Pringle between 1972 and 1978 shares his impressions about Pringle during that time. The gorgeous sweaters shown here are all from that video.

The Pringle webpage and video are ”HERE”.

Don't these gorgeous cashmere knits make you want seek out Pringles? I know I do!
Also, I have to credit Lizzie at ”The Vintage Traveler” for sending me on this little journey into Scottish textiles. I have enjoyed every minute, and will share more with you later.

Vintage Details: Glibert Adrian: Suit Jacket c. 1947: part 2

2011-10-12T06:45:00.000-07:00

Seeing how a vintage jacket was designed to be worn can help to understand its style and silhouette. This original photo of Adrian’s black wool jacket from 1947 shows the model wearing dark gloves. At that time, hair and hats were often small and fit close to the head for a more modern look, although long hair was still seen, especially on a younger customer.

This jacket was selected by the regional fashion magazine "California Stylist" along with only three other styles to represent Adrian’s designs for 1947. The design must have been an influential and popular model from his collection that year (Calif. Stylist, 1950).

The ‘tubular suit’ as shown in "Vogue" magazine, April 1947, was usually seen with a straight and narrow skirt that is below the knee in length.

In a study of the garment structure, the shoulders are structured with ¾ inch thick shoulder pads. Although this seems extreme for 1947, the shoulder width does not extend dramatically from the natural shoulder width. It is evident from close examination from the outside, that the upper torso is heavily hand tailored. The lower front of the body, sleeve hems and peplum are left soft and un-reinforced with heavy interfacing.

Hand sewing is evident in the bound buttonholes, and patch pocket applications. The faille lining is hand sewn to the facings. Overall, the methods used are traditional for women’s tailoring. This suit would have been produced in a downtown Los Angeles factory, rather than custom made at his Beverly Hills salon.

(click on the photos to see them enlarged)
Please contact me if you would like to use these photos, thank you.

Vintage Details: Gilbert Adrian: Suit Jacket c. 1947: Part 1

2011-10-11T06:08:00.000-07:00

This jacket was designed by Gilbert Adrian and was shown in his 1947 line. It was shown with a longer length straight skirt to create a very slender silhouette "Vogue" would call the 'tubular look' in the April 1947 edition.

The jacket is made from black wool with such a high thread count that a magnifying loop had to be used to see the fine herringbone twill weave. This high thread count creates an extremely smooth surface and a lightweight but very firm fabric that is brushed for a kid finish.

Heavy gold coins one inch in diameter are used. Three buttons in the front and two on the back belt are the only texture contrast to the smooth black fabric in the jacket.

Details seen here are the whimsical pockets that are set at angles. With the light absorbing textile, they are nearly unseen until the viewer moves in closer. The back view has a semi-circle peplum skirt with narrow belt and two big coin buttons to accent that look.

(This is the first part of several posts on this jacket)

click on the photos to see them enlarged.
Please contact me if you would like to use the photos from this article, thank you.

Breakfast at Tiffany's: 50th anniversary

2011-10-10T22:21:00.000-07:00

Fifty years ago Breakfast at Tiffany's captured an era and a generation, distilling glamour and charm into one amazing film.

It's never to late to join in the fun, especially with a bright orange coat, so Holly
Golightly! You can have your own from our Pintuck Style shop: HERE.

Mad about PLAID

2011-10-08T10:15:00.001-07:00

Fall is a great time to re-discover how fun plaids and checks can be. These vintage fabrics have the kind of color that will make up into the perfect sewing project. Add a vintage pattern from the 1970's and you have a fun way to spend the weekend.

This Chanel style houndstooth check would be elegant and striking in this two-piece set. While the sewing pattern is vintage, this bold fabric would make a more current trend style outfit.

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Find these at Pintuck Sew on Etsy
(see right side icons for a direct link)

History of California's Fashion Industry: Part 1

2011-10-02T11:04:00.000-07:00

The 1920’s is a good place to begin a brief look into the California apparel industry. The decade began with a new but strong apparel business in Southern California so that by 1921, "The Associated Apparel Manufactures of Los Angeles" was organized. It would offer a bureau of information for area manufacturers. The organization also provided a buyer’s office for out of town buyers who would arrive by train from the east coast and other points in the country, to see fashions during market week. There was also an employment bureau to help provide the labor needed to produce the goods within the region.

Included with the "Associated Apparel" group was smaller organization called the “California Fashion Creators”. They were known to stage fashion shows at movie star's homes, providing an early link to the movie industry. The synergy between fashion and Hollywood continued to develop and grow during this decade.

In 1926, an industry organization called the "Affiliated Fashionists" was organized by six women who owned design firms. They would promote their fashions by hosting many social events and fashion shows. The original members were Irene Bury, Viola Dimmitt, Peggy Hunt***, Violet Tatum*, Pat Perkins*, Marjorie Montgomery**, and later Addie Masters**, Louella Ballernio, Agnes Barrett, and Mabs Barnes. All of these names and labels were important to the growing reputation for fashion that Los Angeles would market throughout the U.S.

San Fransicso in the 1920’s also had a fashion industry group, with such members as Dolly Meyers and Harvey Rothschild. In 1951 this group was still strong, producing fashion shows in Union Square.

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* retired early
**still in business in 1962
***businesses pre-1962, 25 years or more

Resources:
The information in this series comes from my thesis.
Most primary references are from "California Stylist" and the "Los Angeles Times".

This is original material and may not be reproduced without my permission.
Please contact me here at PintuckStyle if you would like to quote all or part for your own use, thank you.

A note on the image used in this post:
This is a commercial photo.
My father has written a note about it based on his own years in L.A.:
"Looking north on Broadway. This was the main intersection in L.A."

Vintage Fall Color Trends

2011-09-20T08:56:00.000-07:00

It seems that everyone is wanting to wear fall color right now after a summer of brights and lights. In vintage fashion this is easy to do, since these styles tend to lean in the direction of traditional colors and textiles. Here is a peek at a few of the fall colors currently hanging on the racks at Pintuck Style.

Our vintage fashions this season are highlighted by this gorgeous late 1940's or early 1950's New Look style wool suit with tons of character and design details. The two cotton shirt dresses are just waiting to take their turn under a cute cardigan.

The color trend shown here comes from the trend service Design Options. This group of tones for Fall is called "Modern Flair". It has the classic range of warm browns through chocolates that we look forward to wearing each Autumn.

Find the vintage styles at Pintuck Style on Etsy
1950's SUIT; HERE
Dark Brown Shirt DRESS: HERE
Light Brown Shirt DRESS: HERE

Find Design Options HERE

Vintage Detail: Chinese Silk Brocade Robe

2011-09-14T05:32:00.000-07:00

Silk brocade tourist robes like this have been produced for a long time. The labor involved in free hand stitching the mock-trapunto yoke, cuffs and pocket is considerable. Serpentine-shaped single needle stitching adds body to the robe, while the satin surface of the brocade reflects the stitching texture in a wonderful way.

click on the photos to see them enlarged

Advance 5479: 1950's Suit with Scalloped Edges

2011-09-08T22:30:00.000-07:00

Vintage Detail: c. 1913 Silk Chiffon Tabard

2011-09-07T05:10:00.000-07:00

This silk chiffon tabard dates from the early 'teens when high waistlines and narrow hems were the silhouette. Designed to be worn over a tunic or gown, this very simple sheer shell has bursts of beading on the bodice front, back and skirt hem. The sheer chiffon is bound in black velvet trim around the neckline and along the sides.

The design of this garment is very simple. The bodice front and back are sewn only on the right shoulder, the left shoulder has snaps (seen here with my own pearl head pins to hold it closed). The garment is hooked at each side waistline (see my pins here too). The skirt panels fall without side seams, so they open when walking. I show this tabard over a longer black slip and a white one (both modern) so that the details are be more visible.

The fragile nature of this garment is evident and is typical of gowns from this decade.

click on the images to see them enlarged

LABOR DAY Sale: 20% off

2011-09-04T10:02:00.000-07:00

20% OFF SALE - LABOR DAY ONLY

both shops
PINTUCK SEW &
PINTUCK STYLE

Labor Day: Monday Sept. 5
Drop by for great deals on summer stock and new items!

The 18th Century (is) Back in Fashion

2011-09-01T07:57:00.000-07:00

VERSAILLE has an exhibition up right now that shows the influence of 18th century fashion on current design. Titled "The 18th Century Back in Fashion" (I find this awkward translation adorable) there is a colorful website devoted to the show that has several great resources. I love the exhibition BROCHURE which has gorgeous photos and designer information. And don't miss the FRENCH VOGUE website with its videos. Even though I can't understand a word of French, the visuals are still stunning!

Vintage Detail: Red Silk Dress c. 1960

2011-08-31T07:00:00.000-07:00

This dress is fully lined. The hem appears to have been shortened. All beaded has been sewn by hand around the neckline and wrists of the long sleeves. The waistline has piping to match. Small hooks and thread loops are sewn at the neckline and waist of the center back metal zipper.

click on the photos to enlarge themr

Featuring a 1970's Dress, "Jerry Silverman" label

2011-08-26T07:49:00.000-07:00

JERRY SILVERMAN by SAULINO

The designer label "Jerry Silverman" showcased wrap dresses during the 1970's that were trimmed with UltraSuede. This deep peacock blue matte jersey wrap dress has UltraSuede used in the yoke, at the hip, shoulders and collar. The drapey matte jersey is shown in a Halston-style bodice. This dress has a distinctive look that is higher in quality than most of the 1970 jerseys we see today.

Style details:
Ultra Suede
scluptured hip yoke with mock buckle
banded wrap front and collar
rounded shoulder yoke
rounded wrist cuffs with hook closure

matte jersey
gathers around the shoulder yoke
gathers around the hip yoke (skirt is nearly a half circle)
- dress is unlined, and is meant to have a draped bodice

About Jerry Silverman

It's interesting to note that Jerry Silverman began his career as a Harvard trained New York lawyer in 1933. He made a career switch to fashion in 1938, working for "Martini Designer" and becoming an owner before joining the military in WWII. After the war in 1946 he met his future business partner, Shannon Rodgers, a former Hollywood costume designer. Together they formed "Jerry Silverman" in 1959. Rodgers was the designer for this new venture of high end women's fashion. A dynamic team, they attended the couture shows in Paris to keep on up with current trends. Their dresses were popular with first ladies of the day, along with countless New York wives. The "Jerry Silverman" label was later bought by Warnaco, yet Silverman continued to be still involved. Silverman and Rodgers were active in promoting American design and supported fashion education, donating their huge historical fashion collection to Kent State.

Ultrasuede, early 1970’s

Probably the most important fashion textile development of the 1970’s was Ultrasuede, by Dr. Okamoto at Toray in 1970. This was the first mircrofiber, an ultra fine fiber that would continue in development as it produced softer fabrics. Ultrasuede was an expensive washable alternative to suede, and became popular in higher priced fashion during the decade of the 1970's. Designers such as Halston would make this a fashionable textile, using it in his shirt dresses and jackets.

Find more information on this designing duo HERE.

Find this lovely dress HERE.

Asher Fabrics: Couture Fashion, 1958

2011-08-21T09:40:00.000-07:00

Ascher, London has posted five couture fashion portfolios from 1958. These scrapbooks with photos showcase designs using the original textiles by Zika Ascher, including mohair fabrics that Ascher was developing. It is wonderful to look through each collection. They captures the couture look from that year so well.

Also on this site is a gorgeous gallery of Ascher Scarves from the mid-1940's that were designed by known artists of the day.

Ascher Fabric Couture Collections, 1958

Haute Couture, Paris: Spring and Winter
Cardin
Desses
Givenchy
Griffe
Heim
Lanvin-Castillo
Laroche
Matta
Riviere
Rouff

Haute Couture, London: Winter
Cavanagh
Cardin
Paterson
Riviere

Alta Moda, Florence: Spring and Winter
Antonelli
Baratta
Capucci
Carosa
De Luca
Fabiani
Simonetta

(a special thanks to BonBon Atelier for reminding me of this collection)

Vintage Simplicity Sewing Patterns: 1958

2011-08-19T08:59:00.000-07:00

Vintage sewing patterns are a great resource to have. Whether I am trying to date a dress, or looking for new ideas, I just can get enough of them!

Mena Trott of Sew Weekly recently found a Simplicity 1958 pattern book. She has posted page after page on flickr for all of us to see. It's great fun to view these, and what's even better, the back views are there too. How often do we need to get those details and they aren't available? I think you'll enjoy this new resource, and if you're unfamiliar with Sew Weekly you may want to check that out too.

(the Simplicity pattern shown in this post is from my own collection)

Mid-August

2011-08-17T08:55:00.000-07:00

Isn't it time for a little vacation?
Here is a short trip that won't require a plane ticket.

Sewing Vintage Fashion: Vogue Patterns, April 1960

2011-08-16T07:33:00.001-07:00

Vogue 9967. Blue eyelet, embroidered with dots, great full sleeves on fitted shirt waist dress

Vogue 9991. Floral border on cotton with matching stole wrap, sleeveless bodice with deep "V" back

Vogue 4101. Small kimono sleeve bodice with 3.5 yards wide gathered skirt in mauve ribbed cotton

These three vintage Vogue patterns are all sewn in cottons. They appear in "Ladies Home Journal", April 1960 (the Kim Novak cover is so sadly damaged I couldn't include a photo for you). It is interesting to note how easy the dresses would be to sew. The seam lines are classic, so that they might be duplicated today using patterns available.

The slides below show some current sewing patterns from Vogue, Butterick and McCall's that I found online. These could provide the basic garment to work from. Gathered skirts are not common in today's patterns, so that style would need to be improvised (easy stuff to do).

A kimono sleeve bodice is not common today, but there is one vintage styled pattern from Butterick that is similar. This pattern also has a "V" back (remove the bow). Small cap sleeves will also get the 'look'. When sewing a "V" back, that diagonal cut seam will need to be stabilized with twill tape, a strip of interfacing or elastic. That way it won't gap or fall off the shoulders.

The fitted top with deep "V" back on the blue floral dress is very simple. When cutting a "V" back neckline, be sure that the front neckline stays high enough to keep the shoulders in place. If the front is also low cut, the shoulders slip down easily. Dressmakers would add little snaps inside that neckline so the bra strap could be fastened to the shoulder, keeping it in place.

Basic fit patterns are great for classic bodices such as this one. For the vintage sewist, this type of pattern is essential to own. It can be used for many styles once a true fit has been made. All three pattern companies carry a version of this pattern.

An alternative to simple darts is the princess bodice. Those vertical seam lines make for a better fit on curvy bodices. I show a princess pattern for each style.

This full skirted shirt dress with puffed sleeves can be duplicated in two ways: as a dress or as a blouse with gathered skirt (an easier fit for most). Those great gathered sleeves are probably easier to locate in a 1980's pattern, since current sleeves have a slender upper arm. I found a few blouses that might make a fitted bodice, and two have fuller sleeves.

Going for Sapphire Blue & Black this Fall

2011-08-05T10:50:00.000-07:00

This smart color group is an Etsy Treasury " Noeuds, pois et drapés" featuring vintage black and sapphire blue fashions.

Evening drama! This sapphire blue silk satin opera coat from Sak's Fifth Avenue is a dreamy "Mad Men" era look that would be perfect worn over an evening sheath dress this fall.

Few dresses are more flattering than this slinky black jersey dress with a 1940's spin to the silhouette. I think that the new fad for wearing turbans would require such a splendid dress as this to get the right Joan Crawford look.

1920's Seaside Party

2011-07-30T01:28:00.000-07:00

Balboa Beach, Summer 1920

1920 may seem to be too early for much body exposure or tanning trends. Most of the adults seen here are fully clothed, while the kids are allowed to wear their swim suits. This group has come to Balboa Beach, CA, which had a pier and pavilion built in 1906 along with a Pacific Electric rail line able to bring flocks of over heated in-landers down to the beach for some cool air. This group arrived from Whittier, a small inland town, whose Chamber of Commerce sponsored this first annual outing to Balboa that August.

photo: collection of the Whittier Historical Society & Museum

Camp it up: "At Long Last Love"

2011-07-25T21:22:00.001-07:00

"At Long Last Love" is about as campy as a 1930's style musical can get. Released in 1975, it is a blast to watch! Who can resist the crazy sets and costumes, the fun Cole Porter music?

If you love vintage 1930's fashion and want to live the fantasy, this is the perfect movie for a summer afternoon. So get the lemonade, flop down on a cushion and stop being so critical, it's only a silly movie.

Directed by Peter Bogdonovich, and staring who else but Cybill Shepherd and Burt Reynolds, with some serious talent to support them: Madeline Kahn, Eileen Brennan, John Hillerman, Mildred Natwick and others chime in and frolic around.

This is a Netflix Instant, so you don't have to wait for it to come in the mail!

Orange

2011-07-24T08:41:00.000-07:00

The color orange is really hot this summer! And this coral dress is such a juicy shade of orange.

Here is a bright orange citrus treasury from Etsy that features this dress, which is perfect for a hot Sunday!
Etsy treasury by Justaspire.

1930's: On the Beach

2011-07-20T09:26:00.000-07:00

On the beach in the early 1930's. Staying cool in style!

Vintage and Modern Sizes

2011-07-18T17:42:00.000-07:00

Fashion garments that are more than 20 years old tend to be sized differently than the clothes we wear today. Understanding current sizing measurements can help when reviewing vintage fashion in your size.

Here is a modern commercial size chart that I developed from several top websites. Check your own measurements with this chart to see your standard size in modern fashion.

You can use this chart to see if a vintage fashion is close to your size, but remember these rules:

RULE #1: Always add wearing ease. What is this?
Have enough extra 'wiggle room' in the garment so you can move and breathe!
Be sure that it is at least 2" or more larger in the bust than your own bust line and 4" or more larger in the hips than your own hip line.

RULE #2: Measure your own vintage fashions that fit best, and
use those garment measurements as a guide when shopping for similar fashions online.

RULE #3: Measure yourself so you,
know your own body measurements
http://www.blogger.com/img/blank.gif
Need to Measure yourself? Use this website to see how it's done:

A few things to expect when shopping for vintage:
Our waistlines are bigger, so
Expect vintage waistlines to be 'too small' if they don't have elastic stretch.
(You can let out back darts in most styles for a bit more waistline room)

Our Bustlines are bigger, so
Expect bustlines to be tight even when the waistline and hips do fit.

Vintage fabric rarely stretches, so
Don't expect your vintage fashion to have more stretch room than it measures.

And remember to wear foundation and undergarments suitable to the style, and you'll have that gorgeous vintage fashion for years to come!

Midi Skirts from the 80's

2011-07-14T16:23:00.001-07:00

Vintage fashion from the 1980's has alot to offer when it comes to details. Here are a few mid 1980 fashion illustrations of some great midi style skirts that have interesting details and silhouettes.

1950's Summer Pool and Play Set

2011-07-13T10:26:00.000-07:00

When sewing vintage fashion styles, sometimes you have to copy an idea, rather than use a pattern. This Simplicity sewing pattern from the 1950's has a classic detachable skirt worn over a short playsuit. The wrapped bodice seems strongly influenced by Claire McCardell and other American designers who were creating styles with an Indian sari influence. The jumpsuit image shows how the edge of a sari could be used to create a dramatic diagonal on the one shoulder top.

For a sewing project, this outfit is worth taking a second look, especially for the wrapped neckline which can be made with or without the second shoulder panel. The easy to sew gathered skirt is accented by a detachable cummerbund. The skirt fastens in front and it acts as a cover-up for going indoors at the country club.

The back of the pattern shows how the pieces are cut. Even though this pattern is no longer available, it is possible to re-create the same look with a gathered skirt over a jumpsuit or shorts and halter top.

The original pattern seems to be Simplicity 7605, however with the torn edge I can't be sure. Currently Butterick 6582 has a similar wrapped bodice that could be used for the top and Vogue 1003 has a basic pant pattern that could be good place to start the shorts.

1930's Bridal Bias Cut Gowns

2011-07-12T09:35:00.000-07:00

During the 1920's and 1930's, flapper brides had real style. Wedding looks broke away from the rigid silhouettes of the previous generation because these were modern girls with a new point of view. The first bride shown here dates from 1930 and wears a 'Juliet' inspired gown. It has an empire raised waistline with short puffed sleeves that have long fitted lace arms. This bias cut gown has a long fitted body with flared hemline in a silhouette will become very popular in the years that followed.

Veils were a dominant look coming down the aisle. This bride is also from the early 1930's and shows that to be wrapped in a haze of netting can create an air of mystery we don't see often in current bridal looks today. Seen through the gauze, we can see her soft leg-o-mutton sleeves and draped cowl neckline. I bet there is a row of covered buttons down the back of this bodice. Her flared hemline is sewn to the fitted gown at about knee level, creating a long train behind her.

The third bride dates from a bit later in the decade. Her dress is a classic bias cut, with a softly flowing wide flared hemline that the photographer will manipulate into a swirl of fabric at her feet. Again, the veil plays an important part in the overall silhouette of the bridal ensemble.

As you look at these, don't miss the men's attire. Wouldn't it be lovely if fathers, attendants and grooms once again wore morning coats to daytime weddings? The longer, tapered coat is so elegant, and it creates a wonderful look to the bridal party 'scene'.

Summer Craft N Sewing Projects: Books with Ideas

2011-07-11T09:16:00.001-07:00

Get your summer crafting in gear with projects that you can wear or add to your decor. Some ideas in these books use sewing, others don't. Either way there are alot of great ideas here!

Generation T
Here is a fun book loaded with ideas for transforming T shirts with or without a sewing machine. If you have few lazy kids around the house, this book has ideas they can make up. Or, you can find projects for yourself to whip out before the day gets to be too hot.

How to Make Soft Jewelry
This is a hard to find popular craft book that dates back 20 years. It has lots of ideas that are perfect for current trends. After looking through this cute book you will want to get started ASAP!

Retro ReVamp The projects in this book are designed mostly for accessories or home decor. You will love the bright colors and off-beat ideas for using 'trash' and bits of things around the house.

There are more books listed at the shop, time to look and see what inspires you!

1950's Dress by Anjac Fashions of California

2011-06-27T07:25:00.000-07:00

A 1950's day dress by Anjac of Los Angeles is a perfect example of a mid-decade look for adult women. The wing collar is doubled, with a white top collar to frame the face. Classic 3/4 length sleeves have turned back cuffs. The center front closure is dotted with self covered buttons from the "V" neckline to hem.

A slender body silhouette is achieved by having the fitted torso with dropped waistline. This is a silhouette similar to what we see in Givenchy's designs for Audrey Hepburn ("Love in the Afternoon" and "Funny Face", 1957). By lowering a gathered skirt to the hip bone, the waistline doesn't look bulky and full.

The unique fabric pattern is screen printed in white on what seems to be an acetate textile with some shine in soft gray. The fabric texture enhances the dress design, creating emphasis for the skirt folds.

The dress's label is designed to promote California fashion. This marketing technique was popular among companies in the region who hoped to see their products displayed in "California boutiques" at department stores throughout the US.

The dress label reads:
Anjac fashions
Made in California
Styled by Jack Needleman

ANJAC story

The Anjac label was designed in Los Angeles for over 30 years. The company was founded by Jack Needleman, who named his new apparel company by combining his name with his wife Annette’s. Needleman had moved to Los Angeles with his wife in 1943 from New York City. In New York he worked in the apparel industry as a jobber. Although Anjac was begun to produce dresses, his business focus would later center on more profitable real estate transactions in the Garment District. By the 1960’s this was to become the force of his business.

Anjac designer, Ilse Metchek, joined the company in 1967. She arrived from Catalina, having worked there designing sportswear. At Anjac her profitable styles financed Needleman’s property expansions in the garment district where he would build an empire that exists today and includes many important historical buildings in the area. He would pass away in 1999, the properties now managed by his family.

Needleman maintained the Anjac label until 1984, when he sold it to Metchek. Under her leadership the company was renamed “Ilse M. Inc”. Metchek designed for her label until 1990 when she gave it up to take a position as president at White Stag. Today Ilse Metchek is president of the California Fashion Association in Los Angeles, which she formed in 1994 to promote unity and compliance within the local apparel industry.

REFERENCES

Fit to a T: from modeling to management, Ilse Metchek taps into her decades in the apparel business to guide the California Fash, by Maya Meinert: Los Angeles Business Journal, March 23, 2009, http://www.entrepreneur.com/tradejournals/article/197105816_1.html

Jack Needleman, OBIT, by Myrna Oliver: Los Angeles Times: May 4, 1999, http://articles.latimes.com/1999/may/04/news/mn-33753

Orpheum Owner Steve Needleman Is Bringing Life Back to Broadway, by Jason Mandell: LA Downtown News: Sept. 24, 2004, http://www.ladowntownnews.com/articles/2004/09/27/news/news03.txt

Book Review: Couture Sewing Techniques

2011-06-16T09:50:00.000-07:00

Couture Sewing Techniques by Claire B. Shaeffer

How to sew with couture techniques is a hot topic right now, as is just about anything with a "Couture" label. But true couture, that specialized apparel design system that is the property of the French is a unique breed of fashion. Similar construction can be found in fashions from other locations, of course. But all must attain a level of excellence that is rarely found in apparel construction.

Claire B. Shaeffer is an historian of couture who lives and breathes this medium. She is a prime expert in the field, especially in the area of construction technologies. Her book in the subject "Couture Sewing Techniques" originally published in 1993, has been one of the top references for sewing couture fashions. This spring her edited version has become available.

This edition seems flawless in scope and detail so it's difficult to imagine what might have been 'left out' in content. Techniques are shown both in detailed lined drawings and with colored photos. The historical couture fashions are great to see, and bring a high level of authenticity to this work. The topic of couture sewing is covered so completely that the book should become a 'must have' reference for any fashion sewist.

Couture Sewing Techniques
by Claire B. Shaeffer

Pub. Date: May 2011
Publisher: Taunton Press, Incorporated
Format: Paperback , 240pp
List price: $24.95

ISBN-13: 9781600853357
ISBN: 1600853358

The Dressmaker's Handbook of Couture Sewing Techniques by Lynda Maynard

A second book with essentially the same title: "The Dressmaker's Handbook of Couture Sewing Techniques" falls short when compared with the Schaeffer edition. Perhaps the editor felt that putting "couture" in the title was necessary to sell books? Whatever the reason, the title is misleading.

The techniques in this book are shown in step-by-step format with full color photos, and there are runway photo accents. This is a very visual book that captures the excitement of couture fashion.

What this book contains is a variety of fashion sewing techniques. The flow and content order in this book seem out of alignment. It begins with methods for bindings and finishes (that include techniques for knits), it ends with "Essential couture techniques". "Making a muslin" is in the final two pages before the glossary begins.

How can we end a book on couture sewing with the most important part of any fashion sewing experience: the pattern and fit? And why are "essential couture techniques" the last chapter? I would also ask why a couture book includes knits. While knits are part of the current couture line-up, the techniques we are shown belong in a sportswear text, not this one.

Overall, this would be better if it had been marketed as a fashion sewing handbook, although even then it would need more instruction into the art of fitting and pattern selection. The author is known for her fitting techniques, so perhaps that is another book.

The Dressmaker's Handbook of Couture Sewing Techniques
by Lynda Maynard

Pub. Date: December 2010
Publisher: Interweave Press, LLC
Format: Paperback , 144pp
List price: $26.95

ISBN-13: 9781596682474
ISBN: 1596682477

Vintage Dress: late 1930's to early 1940's

2011-05-28T22:25:00.000-07:00

Dating vintage dresses can be fun, with so many clues to find hidden in the dress. The vintage dress shown here dates from the late 1930's through early 1940's. It is of black crepe, cut with a skirt that has 10 gores sewn to the hip yoke. This fanciful design was lost when WWII rations controlled skirt yardage. In addition, it has 2 metal zippers by Talon: one at the back neckline, and the other in the left side seam. These are typical locations for zippers during that era. The metal zippers would become unavailable during the war years, so we can assume this dress was made prior to 1942.

The photos below give some close-up views showing the details of both bodice and skirt. These details can help when trying to create reproductions. They also provide inspiration when designing modern fashions with a hint of vintage.

The bodice bows are set on very small pockets where the yoke meets the crepe bodice. The striped yoke and sleeves are made from 1/4" wide strips of the crepe fabric, sewn to a sheer black backing.

The skirt has 3 gores in back and 7 in front. The hip yoke is cut in one with the center gore, creating a "T" shaped panel. The length is original to the dress, with an inch deep hem. There are signs of belt loops at each side seam.

Bodice shirring in 5 rows creates gathers at the waistline. These provide the fit without darts because the entire bodice is cut on the bias.

Measurements:
bustline = 42" around
waistline = 33" around
hipline = 40" around
bodice length = 17" from shoulder, over bust to waistline
skirt length = 27" from waistline to hem at side seam
sleeve length = 5" at side seam
sleeve width = 12" around at cuff
hem line circumference = 84" around

Available at PintuckStyle on Etsy

Sewing Retro Sun Dresses: 1930s and 1940s Vintage Styles

2011-05-28T10:30:00.000-07:00

It is easy to sew a retro style sun dress. Vintage styles are sometimes hidden in modern patterns. Using contemporary commercial patterns has a few advantages: availability, fit, cost. For anyone who loves the 1930's and 1940's look, true vintage from that era can be fragile, valuable and difficult to fit. With some cute reproduction cotton prints, it's now possible to re-create similar styles to those sewn up and worn during the 30's and 40's.

These sundress patterns have a 40's vibe, with the simple cut and soft skirt. At first glance, these may seem to be alot like dresses from the 1950's. Probably the biggest difference between 1940's and 1950's sundress patterns are the softer skirts and shorter lengths in the 40's. The knee length skirts look better with the wedgie sandals worn then.

In revising these current patterns it's possible to get a cute retro look. The first style is ready to go, just shorten it to knee length. The center view could be made more retro looking with a simple white collar or adding bow where the little 'V' notch is in front. The third view has a 1930's vibe, with the higher waistline and flared skirt. By choosing a hem length appropriate to the time, you will have a sweet sun dress so like the ones you see in vintage movies.

Fabric selection is a breeze with the great reproduction cotton prints for sale. Although produced for quilts, these fabrics are very similar to the affordable cottons women used in that earlier era. Quilting cottons are also a great fabric for new sewists because they don't slip, stretch or act funny. Pre-wash any cotton fabric a few times to be sure it has shrunk before you cut out your pattern.

Trims such as contrast bias tape, bigger sized buttons and patch pockets are design features that can be added to really make these simple dresses unique and very retro. Try these trims and you will notice how vintage your dress can look.

RETRO STYLE SEWING PATTERNS
Sun Dresses:
Simplicity 2174 - Princess seamline dress with pockets
Simplicity 3827 - Raised waistline with 'V' neckline
Vogue 8725 - Sweetheart neckline with halter neck tie

NAUVOO QUILT COMPANY
Nearly all of these vintage style cotton prints are from WINDHAM FABRICS 1930's and 1940's collection of cottons.

1930's Vintage Fashion: Turn Around to See the Back View

2011-05-24T09:36:00.000-07:00

Fashion during the 1930's was cut with diagonal bias seams to be smooth and slinky. The back view of a dress was often its best feature. These illustrations are from an old scrap book of mine, so I can't give you the exact dates, however most are from the early half of this decade. These fashion illustrations are just a peek into the wide range of back views seen during that time.

If you are dating a vintage dress that seems to be from this era, check out the back, that may help determine what decade it is from even more than the front view. And if you are going to sew for summer, why not consider adding some back interest to your project, that could make it something special.

Helen Rose

2011-05-15T12:06:00.000-07:00

Helen Rose has been in the news lately, with her stunning wedding gown for Princess Grace being so influential. Helen Rose was known for her softly feminine designs, and this is one that captivates her style. It is a weightless silk chiffon made with impeccable workmanship. The very modest bodice and sleeves are given drama with a swirling, soft pleated skirt. The design accent is a wrapped chiffon sash in scarlet, brown, and the self beige color. It's genius for the subtle red 'pop' toned down with the chocolate. Who would think of that color combination today? Yet it works perfectly.

Label:"Robinson's, California", a Southern California department store.

Sewing Retro: Vintage Shirt and Blouses

2011-05-14T10:11:00.001-07:00

Wearing true vintage fashion can be difficult. Sometimes they just seem too costumey, and not casual enough for real life. Fit and availability are other issues. These problems can be solved nicely by sewing your own vintage looks. But this project can present another problem: where to find vintage styled patterns and fabric?
A good place to start are casual shirts with a 1950's or early 60's design style sewn up in fabrics that seem very vintage in look. Shirts and blouses fit easily into our modern lives, while capturing the essence of vintage fashion. They are also some of the easiest fashion sewing projects, and can be a great way to start sewing for yourself.

Button front blouses with a fitted silhouette are available from several of the big pattern companies. Keeping the fit close to the body provides the retro silhouette you want. Slim sleeves, worn short or long are classic. Note the details: collar shape and button fronts.
The best fit for a curvey body shape are the long princess seam lines that will make up a slender style. These are also easier to alter.
For more design details, the Vogue7003 blouse has several front darts, with is such a vintage look. This style also comes with French cuffs.

Selecting the right printed fabric comes next. Three of the most popular themes are nature (top), pictorial (middle) and graphic (bottom). The 'all over' prints are easiest to lay out, since you won't need to match anything. These prints are a good choice when sewing a princess seam line style. The horizontal motifs in the bottom set are best in patterns that have simple bodice darts and only the center front needs to be aligned.

So, consider making a blouse for summer (no sleeves, now that's easy!).

All of the retro style fabrics shown here are from BonBonAtelier on Etsy.
Fabrics:
CLOUD 9: POTS AND JUGS, PROTEAS, AVENUE, SHARDS
KOKKA: HOT AIR PARIS, RUSSIAN FAIR
LIZZIE HOUSE: PEEPS
ALEXANDER HENRY: DAGMAR PLAID

Blouse Patterns:
MCCALLS6285, MCCALLS6076, MCCALLS5138, MCCALLS2094,
UTTERICK5538, BUTTERICK5538, BUTTERICK5300
VOGUE 7903

20% OFF, MOTHER'S DAY SALE

2011-05-08T07:46:00.001-07:00

20% OFF SALE TODAY ONLY
Mother's Day Special Discount
Both shops: PintuckSew and PintuckStyle on Etsy.
20% refund will be made at the time of sale.

This is our 'secret sale' offer for our friends!
Have a great day too.

1930's Whimsey

2011-05-06T16:01:00.000-07:00

The 1930's was an era when whimsy and fanciful details in fashion seemed to bolster the spirit. Schaiparelli was instrumental in starting the trend where apparel became sassy and fun to wear. This day dress was designed by Hattie Carnegie in 1939. Upon close examination it shows us something we might have forgotten about our clothing: How we can take advantage of a print to have fun with fashion. Round straw hats are scattered all over this silk fabric. To make it unique, selected crowns were cut out, giving us a surprising peek-a-boo bodice with sleeves that sport port holes!

Wouldn't it be fun to try this idea? Any design with disk shapes will work: daisy centers, suns, even polka dots could be treated as portholes too. I think this is a super cute way to make a simple summer project look amazing--with a bit of whimsy too.

More on Hattie Carnegie, HERE.
This dress was seen in an exhibition at the Petersen Automotive Museum in Los Angeles, and is part of the Phoenix Art Museum's collection.

I Love Lucy: 50's theme

2011-05-04T07:50:00.000-07:00

This collection of 1950's inspired images has an "I Love Lucy" theme--don't you just love the polka dots with a red/white and blue look?

Just put on your best 50's style dress in eye popping red with a cute hat and shoes to match, then give the decade a spin !

From Pintuck Style: Scarlet Red Shirt Dress

I Love Lucy, an Etsy treasury

Royal Wedding Gown: Vintage Inspirations

2011-05-02T07:26:00.000-07:00

1950's Wedding Gowns are a source of inspiration for current trends in wedding styles. The royal wedding gown showed this with its lovely lace jacket worn over a classic sweet heart neckline, strapless gown. Most reviews point out the connection between the Grace Kelly gown with its own lace bodice, but a review of current vintage gowns for sale on Etsy.com shows many versions of this style.

Sewing patterns are perfect if you want to create your own version of a lace bodice. You'll notice that many have higher necklines, prim and proper for the bride in 1950! The handmade gown could use a modern sewing pattern for the strapless dress, but a vintage pattern for the lace over-bodice. By using both, a well fit style is possible for a modern figure who may not fit the tiny 1950 waistline.

If the bride wants to re-capture a true vintage look, there's nothing like a gown from that era. Shown here are some of the many lace bodice gowns available on Etsy. Necklines can vary from high to a wide cut with lace edging, as most have here. These are so flattering because they widen the shoulder line, making the waistline appear more narrow. This creates the perfect hour glass silhouette.

Not getting married this summer? Well, wouldn't it be fun to use this inspiration to sew up a summer cocktail dress with matching lace jacket? Another more easy option would be to make a black lace jacket to wear over an existing little black dress that you already own. Those long black lace sleeves would be gorgeous!

(See better details: Click on slides to see them in full size)

Fashion Books to Own: History of Costume by Kohler

2011-04-23T07:51:00.000-07:00

"A History of Costume" by Carl Kohler

Anyone who loves fashion or costumes should have a reference library. It's always nice to have something to look through when a costume question comes up. To start at the beginning, this is probably one of the most popular older publications on fashion that still makes sense today. Originally published in 1928, this was revived by Dover Publications in the 60's as a small soft bound book that was inexpensive to own.

What makes this book still valid today when every new book is in full color, are the countless pattern drafts from original historical garments and the photos of museum fashions. Being able to see actual historical pieces is always enlightening, but the costume drafts are super helpful when making original costumes or creating fashions that are derived from historical inspiration.

This book has over 600 photos and pattern drafts, which really packs a punch into the 464 pages of this little (5 1/8" x 7 7/8")volume. Seriously, if you love fashion, this should be on your bookshelf.

Where to find it?

The History of Costume by Kholer

Pantone Honeysuckle: The Color for Spring

2011-04-21T08:31:00.000-07:00

'Honeysuckle' is the name Pantone color services has given this warm, dark pink, their color choice for 2011. Now that we are seeing signs of spring, it's time to consider this color as it is arriving in stores this month.

It shouldn't come as a surprise that this pink is a vintage color, re-claimed from the 1970's and early 1980's. With this in mind, we assembled a rack of 'Honeysuckle' pink from our Etsy shop. Shown here are a few dresses to tempt you into wearing pink this season. Whether the pink you choose is on the bright side, or shy's away towards the dusty rose versions, pink looks new again. This classic hue can work into any wardrobe when you are looking for a color is that is both up beat and inviting to wear.

Where to FIND these DRESSES?

TOP SLIDE:
1960 Mad Men Silk
1980's Peplum

LOWER SLIDE
1980's Floral Flapper
1970's Maxi Goddess
1970's Jersey

Generation Gap: Buttons

2011-04-15T08:50:00.001-07:00

Is is possible to live without buttons? Well, if you were born after 2000, it may be. Recently one of my students in a beginning design course turned in a collection that puzzled me. The garments she designed didn't seem to show her assignment: design a line influenced by a decade from the 20th century. When I asked her how her decade had influenced the designs, she responded: "Buttons, the decade used buttons, so that is my influence". I had to pause and think about that because usually these projects reflect the silhouette and style lines from the decade, and not a trim.

Then it hit me: a girl born after 1990 has grown up in the era of "American Apparel" Ts and "Forever 21" easy knit tops. Is it possible that today's college student hasn't owned a garment with buttons? Are buttons really a vintage trim? Has she worn only knits and zippers?

Taking a look at buttons with this point of view can be a new way to find inspiration. Here we have a few fashion illustrations from the early 1960's when Jackie O was wearing large scale buttons that popped down her suit jackets. Sometimes these were bold colors, other times the buttons were covered to match the suit fabric.

And where would the shirt waist dress be without its row of buttons, clever colored accents in a wide variety of styles. So, maybe it's time to remember buttons when we design or sew.

This dress has a great 70's style, a design for Vogue by Balmain that has couture style lines and a neat row up buttons down the center front.

Looking at more 70's style, this sexy blouse can be worn tied or buttoned, and looks terrific over fit and flared 70's wide leg pants. This was designed for Vogue by Anne Klein.

Whether you find them in thrift stores, estate sales or at the local fabric store, buttons are coming back into style. Many front closures on the new safari shirts and blouses sport unique buttons that create visual interest.

So, maybe the time has come to grow up and wear buttons!

Vintage Sewing patterns:
Vogue 1062, Anne Klein, 1970's button shirt
Vogue 2827, Balmain, 1970's dress

New Sewing pattern:
McCall's 5052, Safari shirt

Citrus Brights: Refreshing Spring Colors

2011-04-08T07:21:00.000-07:00

Gotta love these spring colors. Our limey green polka dot dress from the 60's is that cute style at top left. What a Citrus Blast! This sunny collection is posted as a treasury of items on Etsy (here).
Isn't it time to break out some new bright colors? Hello Spring!

Under Tuscan Sun: Sewing Retro Style Dresses

2011-04-03T09:49:00.000-07:00

"Under Tuscan Sun" from 2003 remains a popular chick flick, in part due to the vintage styles worn by the lead characters, designed by veteran costume designer Nicoletta Ercole. The 'white dress' that the lead character Frances (Diane Lane) wears created quite a scene when the movie was shown. It was a mini trend at the time. Women everywhere wanted to find that white dress.

Dresses featured in this film seem timeless: fitted bodice with longer tea length hemlines. This look couldn't be more current, as tea length styles are once again in fashion. I thought it might be fun to take a second glance at these costumes.

The white dress seen in a back view shows clearly the silhouette of this outfit. Below the neatly fitting surplice wrapped bodice, a semi-circle skirt is cut to a vintage 1950's 'ballet' or 'tea length' hem line.

The bodice fit is accented by a black belt which is the perfect way to note a slim waistline. I show a close-up view of the wrapped bodice, which crosses over to the front darts. The facing is wide, completely covering the bodice center front. It's my guess that the inside fastens on the front left at the dart to keep this from draping open, as surplice tops often do.

The sleeve is cut in a short kimono style to make this crepe dress look like it has short sleeves, but without a shoulder seam line. This gives it that late 1940's style.

It is important to notice that this is a mock wrapped dress because the skirt is not wrapped, having a half circle skirt instead. To get that look this dress should have a side zipper.

What makes this dress such a success is the fabric selection. I believe this is a quality crepe. During the late 1940's we see many similar dresses in this textile. At that time rayon, silk and wool were used to drape soft fold and body contoured silhouettes. Crepe would provide the necessary weight and hand to drape the front wrap, soft shoulder and graceful circle skirt. The bodice appears unlined, except for the facing.

A wedding scene has Frances appearing in yet another captivating dress. This one is probably Thai silk in luminescent peach. It has a great circle skirt, looking similar to that on the white dress.

The bodice of this dress is a classic cut: front and side darts create a smooth fit. This crisp fabric requires a set in sleeve, seen here with small cuffs. A narrow shawl collar and covered buttons on the front add soft, but not contrasting details. The one color accent is her wide belt. The skirt on this dress does not continue the center front buttons of the bodice. This would require a side zipper.

Katherine, played by Lindsay Duncan is an fanciful character whose references to Fellini are underscored by her wardrobe. Some of these gowns appear to be true vintage, others are close copies. This red dress coat dress and hat serve to give this character the eccentric drama she requires. Wide lapel details enhance the monochromatic theme of her red on red outfit.

In a Fellini moment, we see Katherine in the village fountain, wearing a dress very similar to Fellini's famous fountain scene. It is a slender strapless black sheath with a sheer overskirt lined in gray chiffon. Another black dinner dress with a lace overlay or yoke may be vintage, its delicate details certainly are classic for that era.

Now, where to find or re-create these styles? I have found a few sewing patterns that could be altered to reproduce the same look. Actually, the dress styles here are not difficult to sew. The challenge is in the fit instead, so find a willing assistant to pin your fit may be required.

What both of Frances's dresses have in common is a circle or semi-circle skirt sewn at the waistline to a fitted bodice. In both cases that makes the front closures decorative, because the real dress opening will be a side zipper.

These two wrap front sewing patterns have the essential bodice details of the white dress. The green style by Butterick 5030 is closest in cut (minus the collar and ruffled sleeves). The Butterick pattern has front bust darts and will fit a curvy body shape while the Vogue 6846 style is without darts, for a more slender figure. With both bodices, altering the pattern by drafting a wider shoulder cut from the bodice will create the type of sleeve seen on the white dress.

Because this should be a mock wrap dress, a circle skirt should be sewn to the bodice instead of wrapping the front skirt. This skirt was probably cut in a 1/2 circle.

When adding a circle skirt, completely fit the bodice first to get the waist measurement and skirt length. The skirt will be drafted from those measurements.

The slender shirtwaist dress by McCalls 4769 has the classic darts to make a fitted torso, as well as set in sleeves. The collar is a traditional notch style. It has a placket front that may be eliminated by taping those center front pattern pieces together on the seamline and cutting as one.

The real style challenge is to capture the shirt silhouette. In the movie versions, both were full or semi-circle skirts that were sewn to the fitted bodices, requiring a side seam zipper. While a circle skirt pattern can be found for sale, it is not impossible to cut an original version to fit the bodice.

When preparing to draft a circle skirt, the directions ask for a waist measurement. Use the bodice waistline measurement from a fitted garment. Be sure to draft a skirt with side seams. When doing this, I use an open floor space, chalk, yardsticks and even string to create the true arc.

Hemming circle skirts is most easily done with a very narrow double fold that is hand sewn or machine stitched. When using softer fabrics like crepe, before hemming the finished dress will need to hang for a week or so to let the hem 'hang out'. After that, have the length measured while wearing the dress. This will even out what is probably an uneven skirt length.

If you want more information on drafting circle skirts, the images I show here for the skirt draft are explained in full on the blog: Making Things by Andrea Tung.

Balenciaga in San Francisco: the de Young exhibition

2011-03-29T07:45:00.000-07:00

We were in San Francisco this weekend for the "Balenciaga and Spain" opening lecture and symposium at the de Young museum. This exhibition is nothing short of fabulous! All of his cast of characters are present, some are like these familiar photos: old friends. Other pieces are new to public viewing. What makes the collection so special is the presentation of his work, from the mid-years focus on embellishment into his later explorations on form and drape.

The lectures helped to pull the theme together, noting the inspiration he took from Spanish apparel and regional costume. With a career that spanned most of the mid-years of the 20th century, it is interesting to view his transition in silhouette and texture, while retaining a singular viewpoint: that of a Spaniard in the world of couture.

This is an exhibition not to be missed by anyone who values the history of fashion, couture and pattern design.

The de Young press release with a summary of the exhibition: HERE

Exhibition catalog

VIEW the Symposium lecture (there is a short Preview available)

Elizabeth Taylor: 1932 - 2011

2011-03-23T11:56:00.000-07:00

Your personality and style will continue to inspire.

studio photo: c. 1948
Father of the Bride: 1950
Cat on a Hot Tin Roof: 1958
Cleopatra: 1963

SPRING SALE on VINTAGE

2011-03-22T09:25:00.000-07:00

This is the BIG Pintuck Style SALE of the season.
Nearly everything has been marked down, as we get ready to add a rack of vintage for Spring.
You'll find it all right HERE!

Wearing Retro Fashions: Betty Page Clothing Line

2011-03-19T09:40:00.000-07:00

When true vintage just won't due, sometimes it's necessary to shop the retro racks for a perfect dress. I recently went shopping with a curvy fit model to the Betty Page Clothing boutique on the old Walk of Fame in a vintage Hollywood district. Their shop is truly a 'blast from the past', located in a very 50's style building. Big and open, it felt like we'd stepped back in time, the entire space filled with colorful dresses and separates in tons of retro styles. We had alot of fun shopping the racks, then it was time to try them on!

We both agreed that we liked the summer dresses shown here the best. The dresses are sewn in fabrics that are stretchy cottons. The weight isn't too stiff or plastic. We found the fit great--due in part to that stretch. The black and white striped "Lucky Dog" sun dress is stunning. It comes with a red belt, which is cute. One of the first things I noticed as the 'dresser' are hefty metal back zips. Wow, these zippers are great!

The red or khaki cotton "Carla" shirt dress is another keeper. The bodice fit is good and it has a flattering full skirt. We liked the looser short sleeves which are perfect for summer. There are several nice details in the dress: tucking on the shoulders, side pockets and buttoned front.

For authentic vintage details, both the turquoise "Petra" and printed "Cheers" frocks capture a true 50's feel and look. The print on "Cheers" is adorable and it's a nice casual summer frock. "Petra" is a bit more dressy, with gathering at the neckline and an open back. This dress would be great worn casual with flat sandals at a morning farmer's market, or dressed up with heels and belt at dinner.

As a fit model, my curvy fit girl is tall, and we noticed that the body cut for this line is a bit short (so she'll wear her belts a bit lower to compensate for that). The company size chart on the website (HERE) seems to reflect what we found with their sizes. If you are considering ordering online, I think you will be happy with any of these dresses for spring and summer.

Betty Page Clothing, online shop

Dresses from the Betty Page line: New Arrivals
Yellow Sundress: Cheers, $102
Turquoise Sundress: Petra, $108
Red and Khaki Shirtdress: Carla, $112

from the Elvgren line:
Black and White Sundress: Lucky Dog, $116

Sizing Chart

Betty Page Clothing Boutique
The Walk Of Fame
6650 Hollywood Blvd
Los Angeles, CA 90028
Phone: 323-461-4014

Pintuck Sew SALE: 25% OFF all week: March 14-18

2011-03-13T13:13:00.001-07:00

SALE this week only: March 14-18

25% OFF at Pintuck Sew on Etsy

This means that you can find great deals on sewing patterns, craft patterns, fabrics and costume books!

(enjoy)

1930's Women's Pants: Polka Dots and Sailor Styles

2011-03-12T06:01:00.000-08:00

Deco Beach Pants"id="BLOGGER_PHOTO_ID_5583194721872426114" />

Wide leg pants are showing up in fashion again, affected by the 1970's influences currently affecting trends. The sailor styles we saw during the 1970's had their origins in the 1930's when women began to wear 'beach pajamas' and men's tailored trousers.

The women's beach pajamas illustrated here date from the early 1930's (some are dated 1931), and show how women were able to choose from a wide variety of style details and looks. Most interesting to me is the white double breasted suit. Who says YSL was the first to put women in pant suits? Here's a great example from nearly 40 years earlier!

So be inspired, this silhouette has alot to offer and is a great change of pace from the skinny jeans we have seen for the past few years.

Sewing Aprons: Vintage Restyle or Repurpose

2011-03-09T18:56:00.000-08:00

If you are in a creative mood, try this vintage sewing project. Restyling or repurpose: making over vintage is getting alot of coverage lately. I have had a little sewing binge of my own, making aprons from dresses. In this case the dresses were summer frocks, with various reasons making them unwearable. And what I got in the bargain was a fun new version of each dress that I will wear much more often than I ever did the original dress.

The bonus of making dresses into aprons is size: find a cute dress that's too small? Make it an apron. The open back design means it has a wide range of sizes, making it a perfect purpose for cute styles that are too little to wear.

In this slide I show the two aprons. The green dress has an empire waist, and the brown country calico dress was a shift. Originally, both had bias shoulder straps and a back zipper. The dresses were a sort of "A" line shape.

The side views show how I cut away the sides: low under the arm hole then straight across to center back.

Here's a brief tutorial. Since few dresses are the same, you can adapt these suggestions to suit your own project:

1) Selection: Dresses with straps or halter necks are the easiest to convert. I have seen dresses with sleeves re-styled into aprons as well. I wouldn't use acetate or nylon because those fabric are too flammable!

2) Center back: Cut out the center back. Starting at the top of the dress body, cut about 3" on either side of the zipper all the way down to the hem. After you do this, remove the zipper and lower back seam. Press the two long strips flat.

3) Shoulder Straps: Cut the existing shoulder straps where they are sewn down to the dress body in back. These will become the neck ties. You can finish the ends by sewing them over or tie knots at the ends instead.

4) Side cut-out: If you can try this on or pin it to your shirt, use chalk to mark how low you want the sides to be cut. Also mark where you want the hem. Cut this with a 1" seam allowance.

5) Back ties: Use the 3" wide long strips that were cut from each side of the zipper. Fold over each long edge about 1/4" and press. Next, fold these sides together, matching the pressed folded edges (like double fold bias tape). Sew along the pressed edges, creating a long strap. It's possible to use other fabrics, bias tape, or woven tote bag straps for the back ties as well.

6) Pockets: There should be some fabric left where you cut the upper body of the dress away under the arms. This curved shape can be used as a pocket bottom, or make a big patch pocket. More fun: edge this in bias tape, rick-rack or lace. Create patch pockets by using a double folded edge for the pocket top and sew that in place. Then press the remaining three sides over 1/4". Set aside to sew onto the apron front.

7) Upper edges: Double fold the apron's upper curved edge. Do this by pressing a 1/2" over each time. Machine sew this in place. If this edge puckers and won't make a smooth curve, try folding a more narrow edge. Other options are bias tape edges. Ribbons and lace won't curve as well as the bias trims will.

8) Hem: The center back edge and lower hem can be turned and stitched like the upper edges or bias trimmed. Mine are plain, but there's room for improvement!

9) Sash application: At the upper edge of the apron in back, sew on the back sash ties. To do this, fold one of the sash ends over about 1/2" and press. Lay this end at the upper corner of center back where you want the ties to be located. Sew in place by stitching a small rectangle over that folded end. To finish the other end of the sash tie, you can fold it over and stitch. Another option is to tie a knot at the end, which means you don't have to sew it at all!

10) Pocket application: With the apron on, decide where you want the pockets. The green one I made has one wide pocket with several stitched sections. The calico has two patch pockets with curved bottom edges as cut from the underarm section of the original dress.

That should do it!

1950's Vintage Fashion: Little Cover Ups

2011-03-01T08:55:00.000-08:00

Little cover ups for spring and summer dresses during the 1950's came in many styles that included bolero and small capelets. The looks shown here are from sewing patterns that give both the dress and cover up views. There is an amazing variety of styles that were worn over dresses during this decade. From simple shapes to trims with buttons, collars and turned back cuffs. Today we tend to wear cardigans over dresses, but why not plan to sew a cover up when you make your next vintage styled dress? It's such a cute look!

Top view: Butterick 7243
Middle view: Simplicity 2501
Lower view: McCall's 9330

The little bolero shown here features turned back cuffs on the short sleeves and a winged collar. Mock buttons on the front are a cute accent. For most outfits, this shape really is figure flattering, creating a nice hour glass silhouette.

Black bolero with matching skirt

Vintage or Retro? Leaf Prints

2011-02-17T09:00:00.000-08:00

An early 1950's pottery company, Stengl, produced a trend setting design in 1954 called "Amber Glo". Part of the charm was the leaf print, almost like a flame with a brush stroke style. When I saw this newly released "Naturewalk" leaf print in 100% cotton fabric pattern by Cloud 9, I saw that same leaf style. This time the leaf is in repeat in an all over motif. What better fabric to sew into a crisp vintage style blouse or throw pillows for the Nelson style sofa?

Simple fashion styles are perfect for busy cotton prints. These vintage sewing patterns are easy to make, and will work into any modern wardrobe. Busy prints need clean lines to show off the colors and details like these patterns do. Start now, and you'll be ready for the first spring day with a new blouse or dress!
A: Vogue 1002, c. late 1970's
B: Butterick 2475, c. early 1960's
C: McCall's 7608, c. early 1960's

Read more about Stengl: Amber Glo design c. 1954

Shop for Naturewalk fabric by Cloud 9: Bon Bon Atlier (also, don't miss their daily blog posts, always fun new things to see!)

Retro or Vintage? 1960's Suit

2011-02-17T08:19:00.000-08:00

Vintage 1960 style suits are back in fashion. Was it Mad Men, or are we just ready to dress up again? It seems that vintage styles just keep inspiring our best designs for Fall 2011. Here Marc Jacobs, who often references his favorite decade de jour has lifted a classic suit silhouette from 1960 an sent it down the runway.
Gorgeous! But wait, don't we have many of the original c. 1960 lovelies still waiting to be worn? If this style speaks to you, don't look further than the vintage shops that carry quality fashions. You'll find the right style, at an amazing price. A British couture suit for only $75? Yes, and isn't this what you really want to wear to dinner with Aunt Jackie when she comes to town next month?

Blue wool tweed suit, c. 1960, Label: Debeuhaw and Freebody, by Appointment to the Queen, Linen Drapers, to H.M. the Queen.

Gloria Swanson: A 20th century 'New Woman'

2011-02-11T16:36:00.000-08:00

Gloria Swanson was an early film actress, born in 1899, she lived through the boom years of the film industry. By today's standards, Gloria was far ahead of most women in her day. Her acting career brought fame and wealth to her, giving her the flexibility to work on many projects that would benefit women and others. One of these was her ongoing design partnership with an American fashion company, Puritan Fashion Corp, from 1950 through 1982 (she would have been 83 years old at the time). For Purtain, Gloria designed for the "Forever Young" label, traveling around the country showcasing her styles and giving women advice on style and beauty.

Gloria Swanson's interests were wide: the arts, politics and inventions are included in her roster or achievements. A champion of natural foods, she campaigned in the 1950's for product labeling and food additive legislation. She also championed women on many levels. Politically she would protest tax rates for single people (1972) and supported the rights of senior citizens (1980's).

Overall, many of her achievements are unknown. In the end, she was obviously an amazing 'New Woman' of the 20th century!

The "Forever Young" labeled dresses seen here show Gloria's best fashion design technique: have texture and visual interest at the neckline, and widen the shoulders so that the hips appear more narrow. Add to that a flared skirt or hipline pockets as artful drapery. The pink lace dress above has a trim in bias cording that is scrolled around the neckline and around a flared skirt hem. The blue linen dress has a neckline trim of dyed to matched textured lace with rhinestone details.

Gloria would design dresses to flatter the average woman's figure. She didn't try to cinch in a waist to tightly or cut sleeve too short. These flattering dresses have a great fit for most women, and continue today to be sought after for their 1950's vintage styling that fit a modern contemporary figure.

Find out more about Gloria Swanson:
Harry Ransom Humanities Research Center, University of Texas, Austin:

The Blue dress is currently offered for sale in our shop.
The Pink dress has been sold.

Vintage or Retro? 1950's Cropped Jackets

2011-02-11T16:11:00.001-08:00

We love vintage cropped jackets with contrast trim. A recent article in the NYTimes compared 'retro' (copies of vintage) to vintage (truely old), as the cheaper alternative. Really? Here at Pintuck Style, we have noticed a distinctly higher priced product at such stores at Anthropologie. Case in point: our cute little 1950's red cropped jacket with grey banding for only $35, compared to the grey banded jacket from Anthropologie at $148. And the retro version isn't even a natural fabric (the red jacket is a lush scarlet wool). So what do you think? Isn't vintage worth the hunt?

You can score this cute bolero style cropped wool jacket at our PintuckStyle shop on Etsy, but be quick about it, this isn't going to last long at that price!

Edwardian Corsets, styles from 1900

2011-02-08T09:13:00.001-08:00

Here are a few corset ads from the early 1900's to inspire you. There are many ideas to use when sewing summer tops, garden party dresses or even an awesome Steam Punk gown! As spring approaches, wedding, prom and summer styles borrow so much from these lingerie looks.

Great VINTAGE FASHION blogs

2011-01-09T10:28:00.001-08:00

Here's a few Vintage Fashion blogs that I think are great fun.
See one you haven't visited before?
Cruise by and say "hi".

Couture Allure Vintage Fashion
Such eye candy! I just love to see what beauties she's found. They are always gorgeous.

Wearing History
Neat articles about fashion history, along with sewing projects.
It's a fun read.

Vestedbee Vintage
I love the way she styles and wears her vintage finds.
This is a great jumping off point into fashion trends with vintage pieces.

Image photo: Fall/Winter 1960
Both outfits are in plaid wool by Jacques Tiffeau, who won his first Coty Award that year as an American designer.

How to: COPY a DRESS or KNOCK-OFF a PATTERN

2011-01-07T09:11:00.000-08:00

How can you copy a dress? How can you make a pattern from your favorite fashion? If you have ever loved a vintage dress and wanted to sew another, then knowing some basic techniques for copying garments would be helpful.

This tutorial will show you how I made a pattern from this vintage mid-1950's cotton dress. I chose a very simple style, one with short kimono style sleeves that are cut in one with the bodice. I also used a style with only one simple bodice dart in both front and back.

The details in this bodice are a simple wing collar with sleeve cuff to match. There is a button front as well.

The back view is 'clean', without details, showing a one piece construction with darts to make the fit.

As you follow these photos, you may want to 'click' on the image to see an enlarged version, as some details are small.

tools and materials:

Cork Board: I use a large old bulletin board

Paper: I use plain white butcher paper, because that is easy to find. Using the BACK side of old gift wrap in a wide width can work as well. If you have access to pattern 'dot' paper, then that is best. But I will show you how to work without that grid.

Ruler: A 12" or 18" ruler and a yard stick

Pins: I prefer pearl head pins because they are easy to use and see.

Pattern Wheel: This is ideal, but I will also show you how to use a pin to create marks if you don't have this tool.

Pencil: sharp

Dress: Pressed and smooth

TERMS: I will use the following terms

Grainline and On Grain: this is the 'up and down' direction that follows the yarns (warp) that would have been tied to the loom. It is a perfect vertical line.

Cross Grain: This is the 'side to side' yarn direction, that follows the yarns (weft or fill) that would have been woven across the loom. It is a perfect horizontal line that is exactly perpendicular to the Grainline.

Bias: This is a perfect diagonal line (45 degrees) created when the vertical grainline and horizontal cross grain line are folded together. This is the same line that is created when a bandana is folded to create a triangle. This diagonal has stretch properities.

Selvage: This is the fabric edge. Traditionally it is woven when the cross grain yarns (weft or fill) turn and weave back across the fabric. More modern wide with textiles may have a 'fringey' selvage.

Center front (CF): This is the front line of a garment. It can be found when the sides of the garment are evenly matched together, creating a fold (center front fold). In most garments, this is on grain and oriented perfectly vertical on the textile.

Center back (CB): This is the perfect back line of a garment and is determined the same way as center front.

This project will begin with the back view because it is the least complex.

Step 1: Find the center back line on the bodice
Work from the inside of the garment, match up the dart seams, side seams and neckline, pinning those together. This will produce a center back fold. You may press this flat

Step 2: Draft the center back line on paper
Lay a length of paper about 18" long on your cork board, pin the corners down.
Use your ruler to draw a sharp line that is about 18" long with at least 15" of paper width on one side. I turn the board sideways, and will work that way in the photos.

Step 3: Align the center back line
Lay your back bodice that is pinned so that the center back fold is exactly on the drafted line. Here I use my ruler to guide me. I then pin the fabric from waist to neckline on this fold.

Run the pattern wheel down the edge of your CB fold.
Run the pattern wheel along the waistline and neckline as far as you can without getting into any pulled areas.
Alternative method: using a long pin (corsage pin works well), run a length of 'stab' punches down the fold line. I just 'hop' the pin down the line, creating a length of pin dots.

NOTE: When I pin, I use a technique where two pins are in a "V" position. This helps to keep them fixed in place and not pull out.

Step 3: Draft the Dart: In this photo you can see how the dart tip is also pinned down. It is important to keep the grain of the fabric straight. The yarns should stay in a perfect 'grid' orientation, and not be stretched towards a bias or diagonal.

Run the pattern wheel up the dart seam line from waistline seam to the point. Accent that point with a cross mark to create a bulls eye "T".

Step 4: Bodice side and shoulder seams: It may be necessary to remove the CB pins as you smooth the garment towards the side seams. Smooth a perfect horizontal out from the point of bust and pin that point.

SUGGESTION: Work out from the dart's point to smooth out the fabric towards each seam line. Think of this like the center of a clock with the hands radiation outwards. This will maintain the dart's position, and the fabric grainline more easily.

You will need to release the dart pins that are in place from the waistline to the point below the dart point. As you smooth the fabric, the dart should pivot a bit away from that original location. This is forming the dart's tuck of excess fabric.

Pin out the remaining waistline seam, side seams, neckline, shoulder and sleeve.

Edges: Run the tracing wheel to mark those edges. You may need to release some pins that are pulling the shape in order to get the sleeve and neckline shape. Just take care to
- work flat and smooth
- keep the fabric on grain, don't stretch it on the bias or make it 'crooked'.

When you remove the garment, this is what the back view should resemble. Reinforce the pattern wheel punched lines with a pencil and ruler. The CB line can be folded, so that your draft has both sides.

This is the front pattern that was drafted in the same way.

Button front: Where is center line if there are buttons? This line usually runs down the center of the button line (or the dot where each button is sewn in place). You can make a pin 'punch' where each button is centered.

NOTE: I worked the front pattern from the good side of the garment. You can see that the fabric pattern and details are facing out. I did this to make the buttons, collar and cuff easier to see.

When using this method, I did not pre-draft the CF line because it is under my dress front and I can't see it. I drafted the CF line after removing the dress from the paper. I had a row of pin punches to denote that CF line, so it was easy to find.

Front Neckline: This is pinned, then traced down that line. You can add pin 'punch' marks at each end to note the exact length.

Collars and Cuffs: How can I draft these shapes? These are the easiest pieces to work with. Just flatten each onto the paper, and pin flat and smooth. You can trace the outside edges with a pencil, and use the pattern wheel to outline the seam where it is sewn into the dress.

NOTE: As you draft, remember that these are seam lines, and you will need to add your seam allowances to this pattern. Generally these are 1/2" in the fashion industry, and 5/8" for home sewing patterns.

NOTE:
A seasoned patternmaker once told me "There's more than one way to skin a cat".
Meaning: This is only one method to produce similar results. As you work and gain experience, you may develop different techniques. Or perhaps you will be taught a different method by someone else. Regardless, as long as the technique produces the desired results, any way is OK.

Going Further:

Fit Sample:
Cut a fitting sample from the same type of fabric as your vintage dress. My dress is simple cotton, so any cotton or plain muslin will work in this case. I will add side seam allowance to make a 1" seam allowance at each side. I recommend this in case you need more room during the fitting.

Draw the seam lines from your pattern onto the muslin in a red sharpie or marker, and it will be easy to follow. With the fitting, use a 2nd color marker to show new alterations. Transfer those new seamlines into a 2nd pattern. If you don't need to make many changes, this 2nd pattern should be ready to use with your fashion fabric.

SEWING the DRESS:
The following vintage sewing posts may help you to sew your dress:

How to sew Flat Lining

How to sew a Fitted Bust Dart

The Party Dress Book by Mary Adams: a Book Review

2011-01-01T10:33:00.000-08:00

Sewing dresses is a great creative outlet, but for many who sew, coming up with ideas and trying to make them real is a big challenge. Finding vintage inspired fashion to sew can be difficult as well. "The Party Dress Book by Mary Adams" is a great source for new and vintage concepts and ideas for sewing dresses. It has a whimsical bent, with styles that you won't find in a store. Rather, the focus is on dream-like and fantasy looks with a vintage 1950's or Victorian or Marie Antionette kind of style.

The sewing techniques shown in this little book range from layering sheers, applying bias strips, ruffles, applique and other textures. By using opaque and sheer fabrics, many unusual and fanciful effects are created. The author reviews each type of texture in detail, showing how it can enhance a surface and provide richness and visual interest.

Bodice and skirt details are shown from the author's collection. There is a significant portion of the book devoted to the author's background and artistic profile. This is not always what someone looking for sewing ideas is willing to read, but it does provide an interesting viewpoint and career outline that some may find inspiring.

The final book chapters provide a pattern with directions for making a dress. This is a princess line bodice and circle skirt dress, which is especially good for detailing with textures and color.

The pattern itself may seem complicated for a beginner to work with, but similar patterns are available in purchased patterns, if that approach is easier. In fact, a purchased pattern might provide helpful supplementary sewing instructions not given in the book.

This bodice is shown without boning, which will make it soft, without structure. With this style, shoulder straps are essential. I am guessing the author left out boning to make the pattern easier. Having a purchased pattern may help to advise the sewer who wants a boned bodice instead.

I highly recommend this book as a source of inspiration, along with a great series of tutorials on how to create texture and visual interest when sewing fashion. This is something that has been left out of fashion sewing in recent years, so for many this may be a first peak into new territory for sewing.

Book: The Party Dress Book, How to Sew the Best Dress in the Room
Author: Mary Adams
Publisher: Watson-Guptill, 2010
Binding: spiral bound

Skill level: Intermediate
(With a purchased pattern, this book could be used by someone who has fit and sewn a dress or two successfully, and is ready to be more creative.)

Suggested:
This book will appeal to anyone who loves fanciful and creative fashion.
It is the perfect engagement gift for a creative bride to be.
This is equally fun as a 'look book' for someone who doesn't sew but loves new ideas.
It is also an interesting read to learn about the author's own career in the arts and fashion.

Supplimentary Patterns:
The following commercial patterns may be used when making the dress shown in this book.

Princess bodice, with sweet-heart neckline:
Simplicity 4070
New Look 6805

Princess bodice, with flat neckline:
Butterick 5322
Butterick 4443
Simplicity 2440

The Vintage Traveler: new home for a great blog!

2010-12-28T20:31:00.000-08:00

Lizzie Bramlett, the author of the fun vintage and travel blog: The Vintage Traveler, has packed up and moved her blog to a new address. You'll want to make a note of that so you don't miss her newest post, she's having a giveway!

http://thevintagetraveler.wordpress.com/

Lilli Ann: 1950's Swing Coat

2010-12-12T21:45:00.000-08:00

In vintage fashion, a Lilli Ann label brings to mind the San Francisco design house that specialized in drama and fashion flash. It is noted for wonderful wool coats and suits produced following WWII. Although the company history spans several decades, the late 1940's through mid-1960's era are probably the most popular eras for Lilli Ann collectors. I wanted to share one of my Lilli Ann study garments with you. It dates from the early to mid-1950's.
Probably the first thing you will notice is the sheer weight of this black wool coat. It is really heavy, in part due to the thick, lush fur blend wool that was produced in post war France for Lilli Ann. The shiny fur guard hairs produce a glimmer that is unmistakable. The silhouette for this coat is a wide 'swing' or 'A Line' cut. Its wide hem is very full, enhanced by pleats in front that fall from the neckline.

Appliqued on the wool are black velvet stripes that widen towards the hem. These chevron down the center back seam line, creating a pointed optical illusion at the hem. The stripes are wound around the coat, starting in the upper front and ending in a chevron point at back.
To compliment this 'A line' shape, the sleeves have width at the elbow and gather into narrow wrists. These are accented by deep turned back cuffs. An equally wide pilgrim collar can button to the chest.
When looking to date this coat, I found several Lilli Ann coats of the same textile. Often these have a 'fit and flare' princess seamed silhouette. These two types of coats seem to form the main silhouette selection at Lilli Ann during the early 1950's. Wide collars were popular, and are almost always part of the look. This picture group shows a Lilli Ann coat and others typical of the era.
The drafts of this coat are drawn to scale and show the coat in detail with its very wide skirt. The front pleats are also apparent in the draft, along with the placement of the velvet appliques.

I hope this great coat can be an inspiration to you. Many elements are very easily reproduced. Especially trying the chevron applique could make a 'ho hum' coat simply fabulous!
And if you collect vintage, keep your eye out. You never know where a Lilli Ann coat will be hiding!

More articles on Lilli Ann:

1940's suits

1950's and 60's suits

1950's Jackets

1980's Jacket

HOLIDAY ONE DAY SALE

2010-12-03T19:30:00.000-08:00

24 HOUR SALE
SATURDAY, DEC. 4 ONLY
20% off ALL items
in our Etsy shops:

PintuckStyle
and
PintuckSew

Mad Men Era: Green Silk Cocktail Coat

2010-11-13T16:57:00.000-08:00

Vintage fashion from the late 1950's or early 1960's can be created in silhouettes that stop traffic. Mad Men style, it's something to wear this winter.

Sometimes something perfect comes along, and this emerald green cocktail coat from Sak's Fifth Avenue is one of those moments in fashion history. Sculptural and refined, it's waiting for an evening on the town or keeping off the sea breeze when you admire the view of Hollywood from a hillside terrace.

Green Silk Satin Cocktail Coat: Sak's Fifth Avenue

1960's MOD Fashions to Wear or Sew

2010-10-23T11:16:00.000-07:00

Sewing dresses can be fun and easier than you think. 1960's fashions have such cute styles that seem very wearable right now. Yes, that center style has a divided skirt! I could see sewing up a few for spring, or even some in heavier fabrics for winter. How cute would these be with leggings and boots?

These dresses are all from vintage BUTTERICK patterns of that era. With so many cool vintage patterns selling on Etsy and other sites online, I think it wouldn't be too hard to look them up for yourself. I find these older patterns have excellent pattern instructions that are easy to work from.

Here are the back views with pattern numbers, so you can get a good idea about the styles.
Would you use a 60's pattern to sew a dress like the ones here?

If you collect or wear vintage, this group of styles dates from Spring, 1967. Using patterns can be a great way to help with dating vintage garments too.

Sewing Vintage Styles: Vogue Vintage Patterns, 8686 & 8687

2010-09-25T10:12:00.000-07:00

Vintage style sewing patterns Vogue 8686 and Vogue 8687 offer a great way to get a retro look with a more modern fit. Fall is a good time to start a sewing project and these two patterns would sew up well in light weight wools or wool blends.

The Vogue 8687 ensemble above has a 1950's coat style that would be easy to sew. It could be made to be worn alone. This coat would be perfect in many weights of fabric, from brocade for evening to gabardine, plaid or canvas for outer wear. The body of the coat is cut in one with the sleeves, so it is a great project for the sewist who might be afraid of a difficult and complicated coat pattern.

The sleeveless sheath included in this pattern could also be worn alone. 1950's styles are often seen in silk florals, brocades, solid crepes or linens (great for spring and summer). For a more modern twist why not try a light wool men's wear gabardine.

Of course, you can go with the suggested ensemble and create the set. I have in my collection a gorgeous dress and coat set in black wool crepe lined in silk with a black and white abstract design. This pattern is a super way to showcase a dramatic silk print. Another alternative is to make the sheath bodice in the same silk to match. As a lining, the print will come as a suprise when you take off the coat with a flourish!

Vogue 8686 has a mid-1930's style with a slender skirt and wider upper body typical of the period. When looking for the right fabric, try to find one with enough drape to reveal the body. If the fabric has too much shape, this dress could look bulky and stiff. I think that a wool crepe would be nice and have the right vintage look.

The bodice pattern has small bust gathers at the waistline, typical of the early to mid-1930's. It may not have enough shape for a larger bustline. Sizes bigger than a B cup may want to make a muslin fit sample and add shape to the midriff with a waistline bust dart to decrease the bodice fullness.

This dress would be a knock-out, especially of you can find a great bakelite buckle to go with it!