Showing posts with label SewBettyandDot. Show all posts
Showing posts with label SewBettyandDot. Show all posts

Tuesday, April 28, 2015

Focus On: Polynesian Patterns

by Sherri, SewBettyAndDot

Aloha! When you think about a midcentury vacation to Hawaii, what comes to mind? Being greeted at the airport with a lei; watching the Kodak hula show in Honolulu; sipping a mai tai as you watch the sun set; men in aloha shirts; and perhaps relaxing in a muumuu? This is, of course, a somewhat stereotypical picture of a Hawaiian interlude, but many many Kodachrome slides from the 1960s will bear out the fact that these things were indeed part of many people's experience. 
Vintage postcard for the Kodak Hula Show, Waikiki (via Pinterest).

This blog post is primarily about the Hawaiian companies that produced Polynesian patterns (or variations thereof), but no discussion of Hawaiian clothing can be had without a brief overview of the muumuu (or muu muu, or mu'uma'mu). However you spell it, it is the iconic garment many associate with Hawaii--or if not Hawaii, a 1960s pool party or backyard "luau" somewhere in America. 

When Christian missionaries arrived in the Hawaiian Islands around the 1820s, they found that the people who lived there dressed for comfort in the warm and humid climate, which meant that they were not very covered up. Men wore a malo (loincloth), while women wore a skirt (pa`u); these were usually made of kapa, a stiff barkcloth made from a number of different sorts of plant fibers. Women and men generally did not wear anything above the waist (sometimes they did wear a rectangular shawl (kihei), which was worn over one shoulder. Because nudity was not acceptable to the missionaries, women were given long and loose-fitting garments: these were called holoku and were often made of homespun or calico. 

The garment worn underneath this long dress, as a sort of shift or chemise, was the muumuu, typically knee length. Over time, the muumuu became the long garment we know today, and various other style elements have been added (trains, drapes, ruffles). Japanese immigrants brought fabric used to make kimono--often printed with flowers or other natural motifs in bright colors--and the holoku/muumuu evolved from a drab shapeless dress to a flowing relaxed garment in attractive colors. Today, the term holoku is still used for more formal evening garments, while muumuus are for daytime. Muumuus most often have a defined yoke from which the rest of the garment flows. 
Women wearing holuku, early 20th century; Woman in holuku with ukulele, ca. 1900; a group of non-Hawaiian ladies in their muumuus. (photos 1 and 2 courtesy hawaiiantimemachine.blogspot.com; photo 3 via Pinterest)

After Hawaii gained statehood in 1959 and with the advent of transoceanic air travel in the early 1960s, people were able to fly to the islands and experience all of the islands' culture, cuisine, and traditions for themselves. Simultaneously, the American postwar leisure class developed a taste for the "exotic," and tiki culture exploded: bars such as Trader Vic's and the Tonga Room, "exotica" music by musicians such as Martin Denny and Les Baxter, and the cool and comfy muumuu could be found even in middle America. If you couldn't travel to Oahu and buy a muumuu there, you could go to the fabric shop and buy a pattern by Polynesian Patterns, Patterns Pacifica, Pauloa, or Kekahi to make your own. (While the other major pattern companies also produced muumuu patterns, these four companies were all based in Hawaii.)

Of course, these pattern companies had to expand their offerings beyond the traditional muumuu, so you can find also find shifts, cheongsams, lounging pajamas, jumpsuits, and bikinis. Polynesian Patterns, which were produced in the 1960s and 1970s, gave many of their garments Hawaiian names such as Alii, Kealoha, Waikiki, Kahiko, and Ihilani. The Vintage Pattern Wiki lists 50 separate Polynesian Pattern patterns; most of the garments are for women, but they did make a few for girls and I've found one to make men's swim trunks. Below are some lovely Polynesian offerings from the Pattern Patter team on Etsy.
Top row, left to right: Polynesian 121: VintageNeedleFinds

Patterns Pacifica also produced patterns for leisurewear during the 1970s and 1980s--look for the distinctive pink-and-white packages! Their designs often deviated a bit from the more "traditional" Hawaiian designs. The Vintage Pattern Wiki lists 55 Patterns Pacifica designs.

Top row, left to right: Patterns Pacifica 3006: CloesCloset

Pauloa and Kekahi are two other Hawaiian brands (I believe the same company, as their office share the same address). These are much more scarce. In addition, Alfred Shaheen (who was primarily a fabric designer) produced several "Hawaiian" patterns. 

Which of these patterns would you say "aloha" to? Tell us in the comments!

Tuesday, March 31, 2015

Focus On: McCall's New York Designers' Collection Plus: Arlette of Réal

By Sherri, SewBettyAndDot

We were treated to another fantastic "Sewing Through the Cinema" blog post by Amy from ViennasGrace a few weeks ago; she featured the 1968 film Petulia, starring gorgeous Julie Christie wearing fab mod clothes by the designer Arlette Nastat, also known as Arlette of Réal. In her post, Amy showed us four patterns by Arlette, which are part of McCall's New York Designers' Plus series. We'll get to Arlette in a moment.

McCall's launched its designer series in 1965 as a way to draw in young sewists and those seeking the newest fashions. Butterick had already begun to produce their line of Young Designer patterns in 1964 with Mary Quant as the first designer featured. (Please see this Focus On blog post for more info on Mary Quant.) 

Interestingly, the series was first called "New York Designers' [note the plural possessive here] Collection Plus 1": this was because the first designers were all American with the addition ("Plus 1") of Digby Morton, a London couturier. The first designers were Larry Aldrich, Geoffrey Beene, Bill Blass, Laird-Knox, Digby Morton, Originala, Mollie Parnis, and Pauline Trigère. 



Top row, left to right: McCall’s NYDCP 1032 (Larry Aldrich): patternshop

It's interesting that they are all relatively simple A-line garments. Additional info on these designers (and more!) in future blog posts. 

Now, back to Arlette Nastat: born in France in 1937, she was a force in the fashion world from the late 1950s to the 1980s; as late as 1989, an L.A. Times article recommended visiting her Paris shop on Rue de Passy in the Sixth Arrondissement. Arlette was the favorite designer of Brigitte Bardot (and in fact dressed Bardot throughout the late 1960s). Her father was in the ready-to-wear business, and at the age of 19, along with her friend Hélène Varger (also her sister-in-law), she opened a boutique called Real on Rue St. Honoré. 
Image courtesy Pinterest
In a 1964 article about fashion trends in the Schnectady (N.Y.) Gazette, the writer describes Nastat as the "high priestess" of a new wave of style: 


"Simultaneously the new feeling of fun, novelty and creativity is erupting in cities and towns of Europe, the United States and even Japan. Jet airplane travel is setting the pace for a smaller, faster world. Pop art, new dances like the Frug and the LeKiss, fast cars, and the Ye-Ye look in clothes are spontaneous examples of a love for living that is becoming universal everywhere. High priestess of this new wave is Arlette Nastat, the young Parisienne who designs for a shop called "Real," on the Rue St. Honore, and for the Arkins in New York under the name of Mademoiselle Arlette. Such famous fashioned trendsetters as Brigitte Bardot and Jane Fonda sometime ago found in Arlette Nastat the empathy for creating clothes that projected their image of innocent seductiveness. Today, Catherine Deneuve, the rising young movie star, and Sylvie Vartan, the Ye-Ye singing rage of Paris, head the list of fashionable young women everywhere whose wardrobes consist solely of clothes designed by Arlette Nastat. The Mademoiselle Arlette spring collection is young, bubbly, and infinitely wearable. There is a well balanced wardrobe story, of coats, coat ensembles, suits, dresses and jackets and dresses for day and evening. ...The basic shape is a modified A with a neat spare shape. Pleating, narrow braid trim, military flap pockets, and Venice lace collars are some of the details contributing to the well bred school girl look so popular now.... Many coats have figure skimming dresses in contrasting or matching colors, underneath.... Skirts are gored, box pleated, kick pleated, bias or A line, but never, never straight.... Dresses—the basic shape is the Princess skimmer. Most dresses are sleeveless, the look that Arlette believes to be the most contemporary and flattering to young figures.... Easter egg colors plus a wonderful new shade called gentle magenta are used throughout."

What was "yé-yé"? Derived from the words "yeah-yeah," this European pop music style was made most famous by singer-songwriter Serge Gainsbourg. Most yé-yé singers were beautiful young women such as Françoise Hardy, France Gall, and the glamorous, ultra-cool, gorgeous Sylvie Vartan (if you're not familiar with her, do yourself a favor and Google her!) Arlette designed Sylvie's wedding gown (below--wow!) worn at her wedding to French heartthrob Johnny Hallyday.
Image courtesy weddingsecret.co.uk

In addition to being the costumer on Petulia, Nastat was also credited with costumes in the 1967 films À Coeur Joie, starring Bardot, and La Route de Corinth (dir. Claude Chabrol), which featured cool girl Jean Seberg.
Top row: Jean Seberg in La Route de Corinth; Brigitte Bardot in À Coeur Joie; Seberg
Bottom row: Still from À Coeur Joie.
Seberg images courtesy thelucidnightmare.blogspot.com; Bardot images courtesy luxhedera.wordpress.com

As Amy noted in her Petulia post, here are the four McCall's Arlette patterns--based on costumes from the movie and modelled by Julie Christie--that we can track down. The two on the top row are from Pattern Patter team shops and are currently available to buy--these are rarities, so snap them up while you can!
Bottom row: McCall’s NYDCP 1041 (Arlette of Real for Joan Arkin) (courtesy VintagePatternsWikia.com) 
McCall’s NYDCP 1042 (Arlette of Real for Joan Arkin) (courtesy VintagePatternsWikia.com)

The "for Joan Arkin" notation under "Arlette of Real" refers to the designer Joan Arkin, whose husband Andrew Arkin marketed Arlette's clothing under the Mlle. Arlette (and the Real line for juniors) label in the United States. Despite a LOT of research, I've been unable to unearth why "for Joan Arkin" is on these patterns--she was a designer herself, but it was her husband whose company marketed adaptations of Arlette's clothes for the American audience. (If anyone knows anything about this relationship, please let us know!). Andrew Arkin was the son of Leonard Arkin whose New York fashion house produced clothing under various labels, including Leonard Arkin and Andrew Arkin. The Advance pattern company produced several patterns by Leonard Arkin. Whew! The fashion connections are intermingled and far reaching! 

Arlette designed for the cool French girl (and she was one herself): Brigitte Bardot, Catherine Deneuve, Silvie Vartan...whose style do you like the best? Tell us in the comments!

P.S. There is an accent on the "e" in "Real" but Blogger wouldn't let me put it in after the first few times. Argh!

Tuesday, January 20, 2015

Focus On: Dickeys and Vestees

By Sherri, SewBettyand Dot

Do you crack up or cringe when you hear the word "dickey"? It's one of those fashion items that one doesn't hear much about these days: the dickey seems to have (mostly) fallen out of favor (except with Howard Wolowitz on The Big Bang Theory--he's a big fan!).

Historically, dickeys--defined as a false shirt front, or "detachable bosom" (really!)--were items worn by men: laundering garments was expensive (and difficult--no Maytags) in the 19th century, so just as collars and cuffs were removable on everyday shirts, the dickey could be laundered as it was the most visible part of the shirt seen underneath a man's jacket (which was rarely removed outside of the privacy of one's home). The dickey was most often an element of a formal shirt, one worn under a tuxedo or other formal suit. In addition, many uniforms had dickey fronts--again, as a way to save on laundering costs: the bellboy or waiter presented a neat appearance but didn't have to wash the entire shirt beneath the jacket. With the invention of celluloid, an early form of plastic, dickeys went high-tech (for the time). These plastic shirt fronts were held in place either with straps at the back or via trouser tabs. (By the way, the etymology of the word is unclear: Wikipedia says it may come from rhyming Cockney slang: "dickey dirt" means "shirt"; I'm not sure if that's true, but I like it!).
Advertisement for a man's false shirt front or "dicky"/"dickey". From Wikipedia, courtesy of The New York Public Library. www.nypl.org
The dickey with which we are all probably most familiar in our own experience is the pullover turtleneck knit dickey, which is actually a  smart idea: it adds warmth at the neck and throat without adding bulk. From my own youth, though, there were some rather unattractive examples out there (purple acrylic mock turtleneck under a polyester printed shirt, anyone?). 

This is actually a free knitting pattern from FreeVintageKnitting.com; it is from Botany College Hand Knits, Vol. II (1958). 
In terms of women's garments, in the nineteenth century women began to wear chemisettes, or tuckers--these were lightweight (muslin, linen, lawn, lace) sort of half blouses (often tying at the sides) that covered the chest/bosom, both for modesty's sake and to alter the appearance of a dress at a time when people had far fewer clothes. The same dress could be worn in the evening without this item, and the dress would look very different. 

Four chemisettes in the collection of the Metropolitan Museum of Art (metmuseum.org); courtesy the Metropolitan Museum of Art, New York. Three are from the mid-nineteenth century; the one at lower left is from ca. 1925-1930.

These are really kind of dickeys, yes? In the twentieth century, these sorts of items--dickeys and vestees--were worn almost as accessories, as a way to add interest at the neck (and again, change the look of a garment) without adding the bulk of a blouse. They often had bow ties, embroidery, or collars (the peter pan collar was a favorite). Vestees are, as far as I can ascertain, slightly longer garments, and seem to have less ornamentation--but maybe not: perhaps a vestee and a dickey are one and the same for all intents and purposes (fashionista historians, please weigh in and let us know!).

Whatever you call it, there are a million ways to use one of these faux-fronts to change up your wardrobe; in fact, they are a great way to transition between the seasons.

Now let's look at some dickey/vestee patterns from member of the Pattern Patter Team on Etsy! It's interesting to note that in many cases the dickeys/vestees look like part of the dress--you have to look closely to see that a dickey is part of the pattern.
Top row, left to right: DuBarry 5800: Denisecraft

Top row, left to right: Simplicity 3611: AdeleBeeAnnPatterns


Top row, left to right: Vogue 3293: VintageNeedleFinds
 Simplicity 6434: SelvedgeShop

Whether it's a dickey or a vestee, which one of these lovely patterns would YOU don? Tell us in the comments!


Tuesday, December 16, 2014

Focus On: Butterick Young Designers: Mary Quant

By Sherri, sewbettyanddot

When we think of designer sewing patterns, many of us probably immediately think of Vogue: Vogue began to publish named designer patterns around 1949. Stay tuned for more blog posts about Vogue designers! The other pattern companies also created designer pattern lines, and in this post we'll start with Butterick.

Butterick began its Young Designer series of patterns in 1964 in an effort to appeal to a more youthful seamstress, and Mary Quant was a natural choice to begin the series. Quant was born in England in 1934 and graduated from Goldsmith's College, London, with a degree in Art Education. She began her career in fashion as an apprentice to a milliner whose shop was located next to the venerable Claridge's Hotel. In 1955--at the age of 21--she opened a shop called Bazaar on the King's Road in the bohemian Chelsea neighborhood in London; a second branch followed in 1957. Mary Quant was in the forefront in making London, for the very first time, a fashion capital.

Her youthfulness meant that she identified closely with her customers. With the success of several garments she designed and made, she decided to focus on her own clothing line. Quant's idea was that women and girls without a big budget should still be able to look hip and chic, and she also believed that clothes should be simple and easy to move in. Her shops were the place to be: she was friends with Vidal Sassoon (she sported his iconic five-point bob) and the Beatles (Pattie Boyd married George Harrison in a Quant mini). According to the London Guardian, "Quant was responsible for hot pants, the Lolita look, the slip dress, PVC raincoats, smoky eyes and sleek bob haircuts...."

Left to right: Vidal Sassoon cutting Mary Quant's hair (courtesy classicenglishstyle.com);
The second branch of Bazaar, on Brompton Road (courtesy queensofvintage.com)
Pattie Boyd with the Rolling Stones (wearing a version of the dress in Butterick 3287!) (courtesy glamouragogo.blogspot.com)
A 1960s Mary Quant ad (courtesy glamouragogo.blogspot.com).

She is, of course, one of the designers often credited with "inventing" the miniskirt (along with French designer André Courrèges) in the early 1960s. She claimed that it was her customers who were responsible for the garment: they kept insisting that she make their skirts shorter and shorter and shorter. She has said, too, that she was influenced by ballet costumes, both in terms of short skirts/dresses AND the tights that went under them. Whether or not she invented it, Quant definitely popularized the miniskirt--and some sources say that she named it the Mini after her favorite car (she designed a special edition Mini car in 1988, complete with her signature daisy motif). In the late 1960s Mary Quant made hot pants ubiquitous and popular, as well as colored tights and color-blocked a-line dresses, and her make-up line was wildly successful (spider lashes, smoky eyeshadow, and pale lips were all part of the Quant look). The two models who are most associated with Mary Quant are Jean Shrimpton and of course, Twiggy!

Top row: models wearing Mary Quant designs (courtesy u1010026.wordpress.com)
Twiggy wearing a Quant design (courtesy strawberrylemonade.blogspot.com)
Bottom row: A Mary Quant Daisy doll (courtesy Wikipedia)
Mary Quant with images of Royal Mail stamps featuring her and the Mini automobile, ca. 2009 (courtesy excoboard.com)

Quant sold/licensed her designs to J. C. Penney in the early 1960s, allowing her clothes to be mass produced and introduced to the American market. She designed tights, make-up, and accessories as well, and there was even a Mary Quant Daisy fashion doll. In 1966 she was made an Officer of the Most Excellent Order of the British Empire (OBE) and received the honor from Queen Elizabeth wearing a blue jersey miniskirt. Mary Quant is now 80 years old.

Top row: Mary Quant receiving her OBE award at Buckingham Palace in 1966
Quant fashions in J.C. Penney catalogue
Quant fashions in J.C. Penney catalogue
Middle row: J.C. Penney catalogue
Mary Quant makeup advertisement
Tights by Mary Quant
Bottom row: An ad for Quant dresses
Fashions for Mary Quant's Daisy doll
A toaster designed by Mary Quant
(all image courtesy tumblr.com)

Given all of the above, I'd say that Butterick definitely had their finger on the pulse of youthful fashion when they chose Mary Quant as their first Young Designer!

Now let's look at some Butterick Mary Quant patterns from members of the Pattern Patter team!

Top row: Butterick 3505: Fragolina



(Text sources: Wikipedia; vam.ac.uk.com; biography.com; dailymail.co.uk)

Which Mary Quant pattern makes gets your motor revving? Tell us in the comments!

Monday, December 1, 2014

Teaching Tools - The History of Teaching Children to Sew

Bridal Party Sewing Kit 



School Sewing Lessons
In days gone by, young girls carried a composition book, like the one pictured below,to and from school. What's different from the books carried today? The subject of the lesson. This book is full of lessons on sewing. Each lesson has a page of instruction and then a piece of fabric on the facing page practicing the stitches. The work is so amazingly neat and tidy. I wonder as I look at it when it was done, how old the girl was, where did she live. 

Growing up in the 1960's and 1970's, my mother started teaching me how to sew and iron when I was 4 years old. Then as a pre-teen, Home Economics was a required class for 7th and 8th grade girls. The boys took wood shop class. I continued to take Home Ec through my Junior year in High School by choice. In past generations, sewing was a required class for female students of all ages. Girls had lessons ranging from mastering different stitches to complex garment construction and pattern making and fitting . The composition book full of lessons and fabric with a different type of stitch for each of the lessons was a great Estate Sale Find.  Model No. 1 starts with the basic basting and hemming stitches. 


You can see the student's stitches in the picture above. 

Model No. 2 is a running stitch. Girls took their studies very seriously. As you can see from the sample below, the girls did their very best to do a good job.  
                                                                    

The book continues through all different stitches and finally into decorative stitching methods. Something I know we never learned! 


Sewing Mannequins 


Besides the lessons in school, during the 1940's and 1950's, sewing dolls, or Mannequins, emerged as a way to encourage young girls to sew. During WWII, there were shortages of fabrics. Women were encouraged to remake clothing using worn or outgrown garments instead of buying yardage. Because the mannequins were small and used scraps they were the perfect way for girls to learn. This kit included templates to make the simplest shifts and pullover blouses. This kit was obviously intended for a young girl. Probably 6 to 8 years old.


Older girls had sewing dolls as well. The dolls had more mature bodies and more complex patterns as well. The pattern companies came out with dolls. McCall had Peggy McCall. She was available as a stand alone as well as a deluxe kit that included patterns and a Dress Form made of plaster. 



My Estate Sale Peggy Mannekin with patterns and dressform.


Peggy McCall was one of the more popular Mannequins. Unfortunately, the available materials were not very durable. As you can see in the above picture, my Peggy is missing an arm and the other arm has no hand. I've always taken in the runt of the litter or the toy that nobody wanted. The patterns for Peggy and similar dolls were not just a simple template. They are miniature versions of actual patterns. 
Photo Courtesy of SewBettyanDot











Here's the Simplicity version of the Mannequin. The cover shows the FashionDol with a dress and the box with the dress-form on a stand.















Available at Amazon.com for $17.99  for 7-12 year olds




The Resurgence of the Art of Sewing

Sewing Today


Today the craft of sewing is being reintroduced to children. A much more practical mannequin than the fragile versions of the past, this kit is being sold on umcommongoods.com for children 8 and up. Alex Toys is selling this sewing kit that includes everything you need to make items.





Seedling Fashion Design Sewing Kit - uncommongoods.com $50


Sewing Cards Beginner Books


Now I need to back up to the younger set. Sewing cards were popular when I was growing up. Lacing yarn through holes in the cards that outlined the picture was a good starting point. It also helped develop some fine motor skills and had/eye coordination. These cards are still available on many websites in the toy department under crafts. The vintage ones have very cool graphics but I don't recommend giving the vintage ones to children as the ink used in older books and paper goods do not meet modern safety standards.
From BlueJeanJulie on Etsy






 Sherri from SewBettyandDot sent me some great pictures of some of her sewing books for children. Here's one for beginners.




















This book by McCall has such nice detailed instruction on stitching. It also has great projects for kids to make. Not just sewing!


My siblings and I made everything from candles, to needlepoint pillows, to birdhouses as kids. Rainy and snowy days were always busy ones either in dad's workshop in the basement, in the kitchen, or simply sitting on the sofa with a needle and thread.
I don't recall having any books to help me learn - I would have loved that!
















If you want to teach a child to sew, start with sewing cards. You can buy vintage ones or make your own. (see picture at right). Once they master the sewing cards, move on to simple stitches. Don't rush. Teach them to enjoy the experience and appreciate the craft.





















Easy Steps in Sewing for Big and Little Girls - or - Mary Frances Among the Thimble People

by Jane Eayre Fryer


This is another great book to have the younger set use. 
The book has a story with the Thimble People being the characters.What a great way to teach kids. The story takes them through the steps of sewing. I found a blog with a write up on the book, HERE
I also have the chapter on children and sewing as a PDF file that is part of the Gutenberg Project. You can view or download it HERE.






One of Many New Sewing Books for Kids




Television shows like Project Runway have brought the art of sewing back to the forefront. New books are being published, community centers are offering easy sewing projects aimed at kids. Pattern companies have created new lines aimed more at teens and young adults. "Toy" sewing machines are becoming more available as well.
Totally Me! Sewing Machine with 4 Projects














The toy machines range from true pretend toys to working models such as the one pictured that are working machines with all of the supplies as well as projects. For $30 or so, a child can give it a try. These days $30 is a pretty affordable gift! For older girls, you may want to invest in a "real" machine. In looking at machines on amazon, there are some for under $60 that have fairly good reviews. Take is another step for more choices in stitches and the choices are endless. Starting at $60 and going as high as $5,000. Be careful, you might talk yourself into buying a new one for yourself! 





Here are a couple of options for low to mid priced machines. 
Brother Project Runway $369 on Amazon.com
      
Brother XL2600l $79.99 on Amazon