Monday, November 30, 2009

Christmas Girls - Bazaar Magazine 1967

The hour of the Christmas girl:
time to chime with the sudden merriment in the
air, to plunge into a Nutcracker wealth
of fantasy and wit, become the most irresistible
treat under the tree. A blow of organdy, a confetti
whirl of lace. Dress, wrapped and ribboned
to the waist by a lemon leather strip. By Mollie
Parnis, in McConnell lace. At Saks Fifth Avenue; Halle
Brothers, Cleveland; Swanson's, Kansas City. Jack Gilbert
rarrings. Round-the-Clock tights. Delman pumps.

Knickerbocker holiday.
Nervy little uprising knickers, pale gray, spilled
thigh-high around the cuffs; hugged to
the waist by a rose crepe belt beneath a deep-slashed,
ruffled white shirt. By Mr. Mort, in Bloomsburg
crepe of Estron acetate and rayon. About $55.
At Miss Bergdorf of Bergdorf Goodman;
Julius Garfinckel, Washington; Jordan Marsh,
Florida. Kenneth Lane ring. Hanes tights. Protege
pumps. Cover Girl Near-Neon Flashers lipstick.

Aurora's wedding.
Ultra-daring leap into a storybook daze
of lace. Slip of a dress in slithery, white silk crepe,
veiled by a froth coat that buttons with
jewels, flies to width with ice-white stripes and
snow-rose scallops. By Bill Blass for Maurice Rentner.
At Saks Fifth Avenue; Gidding-Jenny, Cincinnati;
Neiman-Marcus. Margaret Jerrold shoes. Tried and True
Hair Color in Dark Ash Blonde by Max Factor.

Christmas on a dazzle current. Pale, electric blue crepe,
kicking up in dinner culottes; charged with the sparks
of silver-splashed bands, zipped up in front
and circuited around the waist by a slender sash.
By Malcolm Starr, in Bloomsburg crepe of Estron
acetate and rayon. At Saks Fifth Avenue; Hutzler's,
Baltimore; L. S, Ayres, lndianapolis. Kenneth Lane
earrings. Adlib shoes. Both pages: Hanes tights.

Winging in feathers.
Christmas mille-feuille: a wild drift of white
plumes caught around the figure,
crushed to the waist by a wide, white calfskin belt
buckled with glisteners. A gay, gumptiony,
bare shoulder dress of evening, to send a
girl dancing with Pavlova's grace. By
Teal Traina. At Lord and Taylor; Stix, Baer and
Fuller, St. Louis; l. Magnin. Cameo tights. l. Miller
pumps. Shoe clip by Kenneth Lane.

Prancing in pink.
A revel suit of velvet and satin, merry to the
moment as holly berries and evergreen.
Claret velvet tunic, U-scooped and close hugged over
a baby shirt and mini-trousers of festive rosy
satin. By Geoffrey Beene. To order at
Lord and Taylor. Hanes tights.
Evins shoes. Star-clip on shoes by Mimi
di N. Cutex Frosted lces nail polish. These pages:
Coiffures and wigs by Elio of L'Equipe.

Saturday, November 28, 2009

Thierry Shoes - Give the extra slender effect - 1932

There are shoes made today with the Thierry name, but I couldn't connect them to these. If you know more please share. I think these were quite smart!

Friday, November 27, 2009

"...with exclamation color accents." Your Holiday Twosome - 1944

Feeling tangled? (And what's a trouser skirt?)

Thursday, November 26, 2009

So There You Are

You can't tell what sort of a cook a wife will make and you can't tell what sort of a wife a cook will make.
So there you are.
On behalf of bad cooks everywhere I hope you all get to eat somebody elses cooking today. And be thankful for that.

Wednesday, November 25, 2009

Tuesday, November 24, 2009

What to Wear in The Mornings and Afternoon Costumes - From Britannia and Eve Magazine 1932

Of course you are needing to know what to wear in exotic locals while chatting with your stylish friends. You're welcome.

Sunday, November 22, 2009

"With such a hat romance can't be far behind" - More Hats from Chicago Mail Order Catalog 1933

"Stunning" "Superb" "Swanky"
"Coquettish and seductive member of Fashions latest "cult", its mask brim dipping to "shadow" twinkling eyes"
"Dainty and Dressy"
"It demonstrates that a conservatively "tailored" hat may be radically smart...liberally charming!"

If you look at the post several days ago that showed hats from the fifties you can see the differences, these have more brims, but they sure aren't huge wide hats...instead small, close to the head with lots of details.

Saturday, November 21, 2009

For Women Who Demand The Newest! - More Hats from Chicago Mail Order Catalog 1933

"Winning Style - Wonder Value"
"Lillian Bond - Alluring WAMPAS "Starlet" of 1932 is thrilled by our last-minute styles!"
"Sweet Peggy Shannon voices movieland's approval of 'Style Queen' hats"
"It reduces 'overhead' expense while greatly increasing your chic!"
"Dorthy Wilson - Radio Pictures 1932 Wampas "Starlet" is thrilled at the beauty and value of our 'Style Queen" fashions."
"Down-In-Front is Up In Favor!"

I just love these ads, but I had to find out what WAMPAS stood for. The Western Association of Motion Picture Advertisers picked 13 'starlets' each year and then they got to speak with authority about many topics...apparently including ladies hats. But I'm sure they really were thrilled by these...who wouldn't be?

Friday, November 20, 2009

Styles That Thrill All America - Hats from Chicago Mail Order Catalog 1933

"Class, My Dear, Class!"
"The Latest Flash from Hollywood!"
"Adorable Sue Carol (Charming Hollywood Favorite) Praises 'Style Queen' Hats"
"The Smartest Silhouettes of The Season!"
"It's just a soft, crushable "handful" of hat...but what a devastating amount of allure it harbors!"

I think you can tell that while I love the hats themselves, it's the copy writers that send me over the edge. Do enlarge these and read the descriptions...priceless!

Thursday, November 19, 2009

Court Dress - 1822 Fabulous Gown for Presentation at Court

"No. 81 of R.Ackermann's Repository of Arts &cc Pub Sept 1, 1822"
I did find some information about these mystery plates, they are apparently from Rudolph Ackermann's Repository. There is some information here.
And here are some of the rules and protocol that you had to follow to be presented at court.

Wednesday, November 18, 2009

A Quiet Book - 1963 Shell Oil Company

This is our last Carol Lane project. Maybe you'll get inspired and make this for a gift?

Tuesday, November 17, 2009

Stole, Car-Tote, Hat, Cummerbund -1958 Shell Oil Company

Carol Lane - The Shell Oil Company Women's Travel Director, sends you these great projects...I bet you don't have a Car-Tote!

Monday, November 16, 2009

Terry Cloth Teddy Bear - 1957 Shell Oil Company

Sure you can use this to make the Pillow or Beach Bag...but you NEED to make the "After Bath Outfit"!

Sunday, November 15, 2009

Make It Yourself - Luggage Leaves 1957 Shell Oil Company

In the 50's and 60's the Shell Oil Company had Carol Lane (a real person?) who was the "Woman's Travel Director". And apparently she mailed out these projects and I'm sharing with you!
(Remember to click on the image twice to see the details)

Friday, November 13, 2009

Thursday, November 12, 2009

Promenade Dress - February 1825

From my stack of loose pages. This says across the bottom;
"No. 26 of R Ackermann's Repository of Arts &aPub. Feb y1. 1825"
I've tried to copy that exactly...if you can help clarify please let me know.
In the mean time do check out this fabulous gown. The woven trim, the interesting sleeve and of course that marvelous hat and muff!

Wednesday, November 11, 2009

"Garments that Are Easy to Make" The Modern Priscilla Magazine - 1911

No. 4353 Misses' Yoke Dress
Three sizes, 14, 16 and 18 years. Medium size requires 6 3/4 yards of 36-yards material or 5 3/4 yards of 44-inch. Price of pattern, 15 cents.

No. 4360 Girl Dolls' Set
The pattern is cut to fit dolls from 14 to 26 inches in length, measuring from the crown of the head to the soles of the feet. To make the set for an 18-inch doll will require for the dress 1/4 yard of 36-inch material with 3/4 yard of flouncing and 1/4 yard of 18 inch flouncing; for the coat, 1/4 yard of 44-inch material; for the cap, 3/4 yard of edging. Price of pattern, 10 cents.

No. 3379 Child's Night Drawers
Five sizes, 1 to 9 years. Medium size requires 2 3/4 yards of 27-inch material or 2 1/8 yards of 36-inch. Price of pattern, 10 cents.

No. 4784 Girls' Dress
Closed at front. Four sizes 6 to 12 years. 8-year size will require 3 1/4 yards of 36-inch material or 2 7/8 yards of 44-inch. Price of pattern, 15 cents.

No. 2232 Boys' Russian Suit
Six sizes, 2 to 7 years. Medium size requires 2 3/8 yards of 36-inch material or 3 yards of 27-inch. Price of pattern, 15 cents.

Tuesday, November 10, 2009

Morning Dress for May 1799

This is from a stack of clippings I have, but they are loose and I don't have any history. So let's just enjoy the beauty. (And don't forget to click twice on the image to see the details.)

Monday, November 9, 2009

Charming Day Dress, For Mornings, Extremely Flattering, Attractive Home Frock - All from 1935

Notice all the details, the shaped collars, lines in the skirts, even in the sleeve cuffs. These gals could sew!

Extremely Flattering
The dress, No. 870. is designed for 16, 18 and 20 years and for 36, 38, 4O and 42 inches bust-measure. To make the dress in the 36-inch size will require 3 1/2 yards of 39-inch material, with 3 yards of binding.

For Mornings
The dress No. 2611, is designed for 36,38,40,42,44 and 46 inches bust-measure. To make the dress in the 36-inch size will require 3 1/2 yards of 39-inch material, with 3/8 yard of 35-inch contrasting goods, and 3 1/2 yards of binding.

Attractive Home Frock
The dress No. 872, is designed for 36, 38, 40, 42, 44, 46 and 48 inches bust - measure. To make the dress in
the 36-inch size will require 3 5/8 yards of 39-inch material, with 3 3/4 yards of

Charming Day Dress
The dress No. 2618, is designed for 36. 38, 40, 42, 44, 46, 48 and 50 inches bust-measure. To make the dress in the 36-inch size will require 2 5/8 yards of 39-inch material, with 1 1/4 yards of 35-inch contrasting goods.

Sunday, November 8, 2009

"Timeless Wardrobe, all for $100.00" 1953

In 1953 dollars you could get all this for under $100.00, now you couldn't get one piece for that...but the rose is still free, because you have chic and wit!

"Combine fashion and personal wisdom and you have
something money can't buy. Combine a bright red coat,
a smoke gray suit, a black faille dress and a simple
gray tweed and you have clothes to take you
anywhere, any time. Consider the delightful factual
sum of money spent, $99.14 and you have a small miracle.
All accessories, even the fashion-conscious cummerbund
taffeta scarf and narrow-silhouette bag are included!

The red rose was handed to you by an admirer-for your chic and your wit."
By Wilhela Cushman - Fashion Editor of the Journal

Beautiful red coat of satiny wool, lined with Milium, $34.00, by Irving Finker. Rayon-velvet beret, $1.59; plastic-calfskin bag, $2.95; gloves, $2.95.

Fashion of gray tweed, a wool-and-rayon dress, with a white collar and black satin bow and belt, $14.95, by Clara Blatt. Rhinestone clips on the beret double for earrings ($1.00). Gloves are washable rayon, $1.00. Gloves are washable rayon, $1.00.

Your afternoon and dinner dress is a separates-fashion in black rayon-and-cotton faille, by Nellie de Grab. Skirt, $8.95; top, $5.95; rayon-satin cummerbund, $1.50; rhinestone pin, 40¢.

Year-round suit of charcoal-gray rayon-and-acetate ribbed weave, $19.95, is worn under the red coat all winter. The rayon-taffeta tie, $1.00, is for the suit or coat. The felt bonnet-cloche, $2.95, is interchangeable with the rayon-velvet beret.

Saturday, November 7, 2009

Singer Sewing Book - Using your Machine Attachments - 1951 (Part 2)

Fullness with Shirring. Shirring consists of two or more rows of gathers and gives soft, rich effects. When fashion approves shirrings, your machine Gathering Foot comes into its own. Use matching thread, space rows evenly and distribute fullness equally along stitching line. The illustration here shows several ways in which fashion makes use of shirrings. Inserted shirred bands are shown in the blouse front opposite. A corded shaped band of shirring makes an interesting border treatment for the jacket at the top left. All-over shirred effects, as in the bodice and in the full coat sleeves shown, are obtained by evenly spaced rows of gathers put in before the garment sections are assembled. The generous skirt of the evening dress is not actually shirred, but is made of row after row of deep ruffling, joined with cording. Remember that shirring is always best in soft, limp fabrics, and that the allowance for making must be ample, since the gathers require l 1/2 to 2 times the finished measurement. Do not plan group shirrings for garments that must be washed often, since ironing is difficult.

Tucking and Pinking. Every one of the Singer fashion aids offers its own distinctive method of enhancing garments and accessories. On this page are shown ways for using the Tucker and the Pinker. The trim tailored lines of tucks in the blouse fronts at the top can be made in lengthwise, crosswise, or diagonal patterns, as shown, and evenly spaced, graduated or in groups. Tucking is one form of fabric decoration that is nearly always in fashion. It is attractive not only in sheer cottons and lingerie fabrics, but also in dress woolens. For tucking in children's and infants' garments. The Pinker makes the easy and attractive notched edges shown in the rosettes at the neckline and in the trimming of vest, gloves, belt and bag at the bottom. Felt is excellent for pinked bandings, since it does not ravel. Taffeta, chintz, organdie, and plastic fabrics are also practical for pinking. The dress in the center also shows the versatility of the Pinker. The applied pinked bands in neck ruffle and skirt are of two different widths and so spaced as to make an interesting crosswise accent.

Fagoting and Hemstitching fabric decoration with open-work designs and with self-trimming can provide attractive fashion details. Open work is particularly appropriate for summer clothing and lightweight fabrics, while the tubing is suitable for somewhat heavier fabrics. Both the Singer Fagoter and the Hemstitcher can be used for open-work lines. The choice depends on the effect desired. The Hemstitcher gives a narrow line of open work and does this in stitching directly on the fabric. The collar and bodice front at the top right show bow hemstitched designs appear. The Fagoter makes an open-work insertion which is applied in seams or in slashes placed to contribute to the dress design. The lines in the deep armhole and shoulder at top left, the deep ruffled cuff at the left and the ruffled yoke at center are done with the Fagoter in cross-stitch effect. Use yarn, braid, tubing, crochet cotton or embroidery floss to make your fagoting, depending on the fabric used in the garment. The Hemstitcher has another very practical and effective use. It provides the dainty edge finish of the picoted ruffles in the sheer dress at center right and the yoke beside it. This is produced when hemstitched lines are cut in half. Tubing Self-trimming with tubing can be used in a variety of ways. It, too, can provide open-seam insets, as in the diagonal lines of the blouse and the neckline shown here. The tubing, made with the Cording Foot is cut and stitched in parallel lines to give the ladder pattern of the blouse and inserted. A contrasting color used here accents this line. This arrangement may be varied by knotting each cross bar. As an edge finish, tubing is also attractive when arranged with the looped or scalloped line shown on the off-the-shoulder neckline and the cape coat below.

Fullness with Smocking. Always a favored fabric decoration for children's clothes and young effects, machine smocking is also attractive on grown-up garments and accessories where it is desirable to hold and control fullness at shoulder, neckline, waistline, etc. 'Peasant" styles can be created by using bright colored thread for the stitching. More formal effects, as at the upper right of the illustration, require stitching with matching thread. Smocking, either by hand or with your machine Gathering Foot, should be done only in fabrics that are soft enough to look well with considerable fullness. Many like to gather by machine, then decorate with a twisted chain or briar-stitch by hand over the machine gathering lines. This is especially attractive in plisse' cotton crepe, for children's dresses, blouses and skirts.

Quilting- Top-Stitching Quilting. Originally used to provide warmth, quilting is now more often used for enrichment or beautification of fabric and for purpose of design. When fashion favors quilting for wearing apparel and when you are master of your machine, the Quilter, with its adjustable Quilter Bar, can help you to make really lovely garments and accessories (see page 118). A few designs are shown here to inspire you to use this very practical means of fabric decoration. Simple block quilting, as shown on pockets, collars, cuffs, and belt here, can be very effective. For evening wear, it may be given added interest by adding sequins at the crossing of stitching lines, as in the bolero jacket and gathered skirt. Italian quilting in floral designs, as in the two other jackets shown here, especially dainty and feminine.

Top-Stitching. This is a smart and practical way to accent the lines of a garment and to give additional firmness along edge. Stitching may be done in matching or contrasting thread, according to the effect desired. A single line of stitching on heavy fabric, as in the coats at the bottom of the opposite illustration, gives a welted effect. In lighter weight fabrics, several parallel rows can be used, either in all-over effect, as in cuffs, yokes, pockets, belts and panels, or to lend importance to a line or edge.

Friday, November 6, 2009

Singer Sewing Book - Using your Machine Attachments - 1951

You know that box of odd things that came with your machine? Dig them out and get inspired!

Designers' Sketches the fashion sketches here and on the following page show how designers use the decorative finishes. Fashion is selective. One season banding or braiding is favored, the next may bring shirrings, gatherings, puffings, or flounces. These illustrations are given to stir your imagination and show the variety of possibilities in such decorations. Experienced buyers realize that the difference in price ranges of ready-made garments depends less on the cost of fabric than on the good workmanship of the better clothing. The more expensive the dress, the more certain you are to find details such as these in its construction.

Bands and Edges Edge-Stitcher. Wherever straight smooth edges and narrow inconspicuous joinings are required, the Edge-Stitcher proves its worth. Net, lace and filmy fabrics which are to be stitched together in bands or in all-over effects, such as the blouse at, top-center, are beautifully handled by the Edge-Stitcher. This attachment is also valuable for giving a crisp edge to perky ruffles, as around the neckline at bottom, and when bands of fabric, ribbon or braid are used, as in the skirt and the sleeve shown. For very fine work, use matching thread, a short stitch, and tissue paper underneath for protection.

The Zigzagger for Applique. Of all the practical Fashion Aids which the sewing machine provides, none contributes more to the beauty of both design and fabric than does the Zigzagger. With it, you can applique the most intricate, time-taking designs, doing the work even more effectively and with far less handling than by hand. This page shows you only a few of the ways in which it can serve you. The zigzag stitching line it makes back and forth across the joining is ideal for applying the shaped edges of lace to filmy fabric, as in lingerie and evening wear. For applying fabric motifs, it also makes an excellent secure and inconspicuous edge finish. Flower motifs, conventional designs, monograms may all be applied in this easy way. The particular advantage of applique is that it lends interest through contrast-contrast of textures, of color, and of design. The tracery of the outline against a plain surface is eye-catching. Velvet on broadcloth, taffeta on satin, satin or taffeta on organdie, taffeta on satin or net, net or lace on chiffon, plain cotton on printed, or plain silk on printed-these are only a few of the possible combination's you can use. On sheer fabrics, self applique gives the shadowy contrast of a double thickness. If you are not expert with the Zigzagger, go to a Singer Shop and learn how to use it for applique.

Feminine Frills Ruffles. Feminine as a powder puff, ruffles are the essence of daintiness. The infinite, variety of ways to use ruffles is just hinted in the illustrations opposite. With your machine Ruffler and Gathering Foot you can make these perfectly and with a minimum of effort. Center-stitched ruffles, applied on a curved line, are used in the round-necked blouse at the top and the evening dress at the bottom, tiered ruffles in the petticoat showing beneath the lifted skirt. The blouse front at top left has a ruffle inserted in a seam. The all-over ruffled effect in the jacket just below is obtained by applying center-stitched ruffles along parallel lines marked in the fabric. Ruffles generally are best cut on a true bias, hemmed, picoted, or lace-trimmed, then plaited or gathered. They may, however, be made of ribbon, of lace, of a bias fold. Always press your ruffle after the edge is finished and before gathering the top. Keep ruffling in a box-do not let it get wrinkled after it has been gathered.

Corded Finishes Cording. The illustrations here give you an idea of the many ways in which your machine Cording Foot can help you in achieving attractive and professional-looking details. Cording may be made of self-material or in contrasting color, depending on whether a color accent is desired or not. When inserted in seam lines, cording gives weight and importance to the lines of the garment. It also makes an attractive edge finish for collars, necklines, cuffs and jackets, as shown. Several additional rows of cording may be put in above the edge to give the effect shown in the flared tunic illustrated. Where a shirred section joins plain fabric, as in the blouse front at the top, cording may be inserted to give the joining a nice finish. The center dress and the bag show how corded shirring holds and distributes fullness, and the shirred bands at the top illustrate the use of cording to give a firm neat finish at the edges of the bands.

Trimming with Braid Braiding. The sketches opposite show a few designs for braid trimming. Make your own motifs, choose a transfer pattern, or take a rubbing from a pattern and transfer this to your fabric for the braiding lines. Learn to use both the Braiding Foot and the Underbraider expertly before beginning such work. Then braiding can give you a decorative touch at neckline or pocket. It can accent the lines of a long-torso dress or a short bolero. Braid can add distinction to a simply cut evening wrap and give a note of interest to a plain bodice or the lapels or peplum of a dressmaker suit.