Glamourous Upholstery Fabrics from 1956 - Alden's Catalog

So after all the cool curtains from the Alden's 1956/57 Catalog we need to have hip furniture to go along with the drapes! Here's a few few selections to consider.
(And as always, check out the details...that lamp! The names!)

Fabulous Curtain and Drape Fabrics from Alden's Catalog - 1956/57

I was going through some more of this Alden's 1956/57 Catalog and while the fashions are easy to admire I found some other pretty nifty stuff. Just look at the fabrics for curtains you could choose from. Polka dots, barkcloth, Luster, big florals, fiberglas, lurex, and 'Gold to enchant'!

Alden's Sewing Machines - 1956

I posted about this Alden's 1956/57 Catalog before, but today we get to see some of the sewing machines and accessories. I haven't ever found an actual Alden's machine but one source says "Alden is just a badged machine - meaning what ever company sold those put their name on it. They all came out of the same plant though. Post war II - made in Japan - maybe a Singer 15-99 knock off - some of those were pretty well made and a very powerful machine."
But just look at the prices and the cool styling!

The zig-zag machine for $99.98 does "100 chores without attachments" and the $59.98 one could be had $10.00 cheaper without a case.

To store your new machine you needed a Console or even better a Consolette!

For $100.00 or so more you could get an "Amazing built-in brain with auto-magic action..", or choose a knock-off of the Singer Featherweight.

"The sensational new automatic Zig-Zag" is "just like having your own private seamstress", and the Accessories fit all Alden's and Singer machines, so I guess that's our clue that these were one and the same, or at least mighty close.

Why worry about RUNS in your nylons? - The Hinz's Mender

"RUNS - Why Worry with the New Hinz's Magnetic Automatic Hosiery Mender?
They can be mended in a jiffy. Reknits the original stitch."

"The only mender which can be operated by an amateur."

Really? Read these instructions and I dare you to figure out how to use this thing. It starts with a small wineglass...and you'll need a large one for drinking by the time you get your first nylon repaired.

Remember, "Now lay mender down while you stretch the runner as tight as possible lengthwise - but not crosswise. This is the most important part of the operation."

But if you cannot work this, "You are not completing your stroke clear up and clear down."

I think I'll leave it there.

'Simple Evening Dress for a Young Lady' from 1893

This 'Simple Evening Dress for a Young Lady' comes to us from The Young Ladies Journal, December 1st, 1893. The dress described is lovely, but give a moment to all the skill it must have taken to actually create this. The seamstress had to work from these complex instructions and some how use the diagram of the pattern pieces to create a bodice that was 'set well over the shoulders'. But of course if you just couldn't figure this all out they did offer to sell you a 'flat pattern'.
And consider that materials list, yards and yards of fabric all for this one gown. But we are thoughtfully provided with an advertiser who can sell us exactly what we need.
So let's go dancing!

"This simple yet stylish little dress is suitable to be made in a variety of materials; corded silk, a soft lusterous satin, brocade, or for a less expensive dress material, crepon is pretty. Our model is of shell-pink satin, trimmed with cream lace, and pearl beaded trimming."

"The skirt is made just to touch the ground, as this is the most convenient length for dancing. The cut-out pattern of skirt that we gave with the November Part will answer perfectly well to cut to this to; it should be lined throughout with pink glace silk or fine sateen. The foot of skirt should have stiff muslin 10 inches deep inserted between the satin and the lining, and the inside edge is finished with a pinked flounce 6 inches deep of the glace silk. The lace flounce must be at least three times the width of the skirt, and is 10 inches deep, put on as festoons as follows: Gather the edge of the lace and put it on in the full depth to form a sort of fan; the upper edge is drawn up quite tightly, and the stitches are covered with a rosette of bebe ribbon or a pearl ornament; slant the lace down 4 1/2 inches, pleat it to two-thirds the original width, gather slightly to make it set well, and sew it under a rosette; slant it upwards and gather again at the edge; a little practice will soon enable a novice to arrange the lace gracefully; it is best to pin three or four of the festoons before sewing, so as to be quite certain the lace does not drag anywhere. The upper part of the skirt is trimmed with two rows of pearl passementerie; the upper one is 9 inches from the waist; the second 3 inches lower down. "

"The diagrams for the bodice are shown in No. 2. The bodice fronts are joined down the centre, and are cut on the straight. The large side pieces next front as well as those next to them are cut on the cross, and lining the same way, as it makes the bodice fit much better. The back and side pieces back are cut on the straight. A bone is sewn in at the edge of each half of the back; the eyelet holes through which the lace is passed are worked just inside the bone. Each seam must be carefully boned, and the edge of the basque is piped. the top is turned down a piece of ribbon 3/4 inch wide; through this a draw string of narrow ribbon is run; this is not an absolute necessity, but it makes the bodice set well over the shoulders; the ribbon chosen for the draw string should be a good soft, strong make so as to prevent the possibilty of breaking.
In fitting the bodice, great care should be taken that it sets well, and tightly under the arm. The bodice is trimmed with perpendicular rows of pearl passementerie or a lace insertion; the edge of top is trimmed with a crossfold of satin, and stomacher of lace.
The pointed belt is composed of folds of satin, finished by a rosette at the back.
No. 3, the sleeves are of accordian-pleated lace. For the pleating, 78 inches of lace must be allowed for each sleeve, this is three times the width of the sleeve. The pleated lace must be laid flat on the table and cut out to the pattern shown in No. 3. Before cutting out tack the pleats of lace to shape of pattern, this will prevent the pleats coming out when the lace is cut. Gather the lace at the top of arm, and set it into the armholes as you would plain material."

"Messer. J. Sands and Co, Thurland Street, Nottingham, have sent us for notice some patterns of lovely lace, ranging in price from 5 1/2d. to 2 s. 6d per yard. There is a very good imitation of Honiton lace 10 inches wide, suitable for the flounce of this dress, at 2s. 6d. per yard; a less expensive is mauresque that is the same width at 1s. per yard. They also send patterns of a pretty striped gauze, which would make up beautifully in this style over a plain silk lining. The gauze is satin striped, and is woven with lace insertion at intervals of about 3 inches.

MATERIALS REQUIRED; 10 yards satin, 12 yards silk for lining, 2 yards stiff muslin, 5 yards lace 19 inches wide for sleeves, 12 yards lace for flounce, 3 yards insertion or passementerie or lace for insertion.

We endeavour to make our diagrams as clear as possible, but those of our readers who are unable to cut the bodice from our diagrams, can have the flat pattern sent by post for 6 1/2d. "

Learn To Sew - Groovy Advice from 1978!

Smart You - You Can Learn To Sew!. Remember the first thing is to have fun with sewing. Happy Sewing!

More Messages from the Past

Today I found this little bundle of unprinted pattern pieces held together with a rusty pin and this message;

To Much Work To Make These

Make Rick-Rack Jewelry!

I love me some rick-rack, but usually we see it on clothing. Here's a way to use it to make charming little flowers, leaves and buds. Decorate everything!
Think of the sweet gifts you could make, mixing the colors and sizes to make these very personal and special. Have fun!

This pattern contains complete diagrams and instructions for making rick-rack jewelry. Suggestions are given for other accessory uses.

MATERIAL REQUIREMENTS:
1/2 inch rick-rack in desired color or colors; household cement; thread-, earring backs; pearls or rhinestones for centers; copper screen wire for corsage stems; 1/4 inch ribbon for necklace or bracelet.
CUTTING RICK-RACK: For each flower, cut two pieces of rick-rack so that when ends are pasted together there are 18 points on each side. For each leaf, cut -1 piece of rick-rack so that there are 5 points when finished. For each bud, cut 2 pieces of rick-rack so that there are 4 points when finished.
MAKING FLOWERS: Join strips of rick-rack by overlapping ends and securing them with clear household cement. When cement is dry, cut away excess overlap on both sides. Lay one circle of rickrack inside the other as shown in Detail 1. Run a double thread through points of rick-rack as illustrated in Detail 1 and gather tightly and evenlv (see Detail 2); secure thread. Attach a pearl or rhinestone in center (see Detail 3). Make as many as needed.
MAKING LEAVES: Fold a piece of wire 16 inches long in half. Starting at fold of wire, sew points of rick-rack together and to wire to form leaf as shown in Detail 4. Make as many as needed.
MAKING BUDS: Fold a piece of wire 16 inches long in half. Join ends of each strip for bud same as for flower. Place circles of rick-rack together, run a thread through center (see Detail 5) and pull together tightly; secure thread. Sew bud securely to top of wire. Make as many as needed.
ASSEMBLING FLOWERS ' LEAVES AND BUDS: See Illustrations. CORSAGE: Sew each flower securely to a piece of wire. Arrange leaves,, buds and flowers as desired and wire all together at uppermost point. NECKLACE OR BRACELET: Sew flowers securely to a piece of ribbon. EARRINGS: With household cement, attach back of flowers to earring backs. For suggestions for other uses, see illustrations.

What do these dresses have in common?

So this gal wanted to make something special. She'd been looking for exactly the right thing. She had this clipping of a slim skirted sleeveless dress. But look at that back neckline...wow! It's a show-stopper. (This dress is by Jeannette Alexander.)

Then she had this much more sedate simple sheath with a boxy jacket. More like an office look?

So what did she find? This amazing Simplicity Pattern 2370. It has that sexy low back and the boxy little jacket...plus a terrific overskirt to change out the look. She did well!
(both clippings were found inside the pattern envelope.)

As a side note, the pattern is stamped "Parsons Dept. Store" and the address is across the street from my favorite coffee shop, but nobody remembers a department store ever being there, and I couldn't find out anything online. I'd love to know more.

Manikin Model Dolls - 1943

This is a Manikin doll, probably Peggy McCall. You can learn more about these dolls here.
These are hard to find...and not cheap when you do see them. (I know, I've wanted one for years) And actually while they were suppose to teach and encourage young sewers, in fact doll clothes are hard! Ever try to sew tiny, tiny little sleeves into a tiny, tiny little armhole? I suggest leaving doll clothes to the much more experienced sewist, let's not discourage the youngsters!
This was written by Elisabeth May Blondel, a writer and editor for McCall's.

"Learning to fit and make pretty clothes on a modern fashion model means that half the battle's won to young sewers when they come to make their own. Glamor clothes, slacks, dirndls, etc. (1058) look adorable on such fashion models, which are usually about 12 1/2 to 20 inches high."

The Look Of Spring - Box Coat And Reefer - 1943 McCalls Magazine

A selection of coat styles from the April 1943 McCalls Magazine with very different shapes. Gals could choose from two quite extreme shapes, very slim and fitted or very loose. And not much in between. The term Reefer jacket is more familiar to most of us as a Pea Coat, there have been many versions of the classic style and it's popularity in the forties was to be expected, military influences were everywhere in women's fashion.

These illustrations are signed Jean De Vigne who I can find listed as an illustrator on some book covers, but no other details. Any ideas?

THE SEERSUCKER SUIT is a grand institution. This black-and-white one has the short length jacket, and a skirt eased by kick pleats stitched along the edge to keep them crisp. Wear it with blouses or dickeys. No. 5244.

THE SEMI-FITTED REEFER at the right, and turning its back to you above, will soon start collecting admirers. It is just a shade more mannish than most reefers. And this cut makes it wonderful for bulky tweeds. No. 5248.

THE BOXY SHORTIE in yellow wool is a very gay little sports coat which you put on over your suit on shivery days, and wear with shorts, slacks, and extra skirts during the summer. It's double breasted, No. 5247.

COAT OF MANY USES - It is the boxy one shown here twice. Make it as long as the beige, and it is a coat you can use for spring, summer and fall. Make it as brief as the red, and this is a toss-on shortie which you can wear with suits, slacks, shorts and all extra skirts. No. 5242.

CLASSIC COAT FOR TOWN WEAR - It is the reefer, of course. The spring reefer above can be a fall reefer too, if you choose the right color. It is fitted by flattering long, narrow panels, which make one's figure as slim as slim. Good sharp collar, set-in pockets. No. 5211.

Three Degrees of Softness - 1943 Dresses

Three Degrees of Softness, another grouping from McCall's Magazine, April 1943. Each of these use pleats to create a less severe look. And they are each pretty interesting too. It's all about those details. And the hats, again with the hats!

"TAILORED BUT SOFT"--This describes at least half of the new shirtfrocks. Everybody can find a becoming one, now. The yellow dress falls into this softly tailored class, with its curved yokes and the gathers below them. No. 5229

COLLARLESS SHIRTFROCK--Many women like everything about a shirtwaister except its notch collar. The flame-colored dress is for them. The skirt is interesting. It has eight slim gores, the front ones saddle-stitched, No. 5217.

ONE FOR VERY BEST--The green dress is illustrated in a good rayon crape, tested rayon. This is one of the best of the draped style, and simpler to make, really, than a tailored frock. Very nice, too, made of a semi-sheer. No. 5225.

Plenty of Pleats - To Take Back to Collage -1943

Another look at some fabulous forties fashion, reminding us that shoulder details are "where they do the figure some real good", the black dress has pleats but the "skirt width is strictly legal" and the light green is a "never-out-of-style frock", and they may be right!

For Collage gals the "peplum is the big attraction". But to wear the navy dress "you have to be young". The yellow dress looks "particularly nice on girls with curls". And of course the pink print is "pretty, summery looking, cool. Of course!

1943 Spring and Summer Wardrobe - McCalls Magazine

We have two pages from McCall's Magazine from April, 1943. Don't miss the hairdos, the gloves, and the hats. Oh, those hats!

One illustration is signed by Blanch Rothschild, who I could only find listed as an American Artist - 1893-1988.

This is a Spring Wardrobe.
The first set include the aqua dress, that is "especially for those who say, 'I can't wear shirtfrocks, they are too severe'. You can wear this one." The dotted crepe, "worn with town accessories, it looks like a soft suit." The Navy with "lingerie touches" has a "swing-over neckline."

To Keep for Summer
There are plenty of details to enjoy here, but I have to admit I think the gray with the contrast bodice does it for me. But maybe I'm influenced by her cute little hat. They do say that it is "a wonderful idea for getting one new dress out of two old ones". Remember this was wartime. The red dress "uses the border edge at the hemline only, which is smart of it.". The blue dress uses eyelet and it is "A good shoulder-broadening style. Use a piece of leftover material, printed or striped, can be used up smartly for yokes and sleeves, as in the white dress".