One would think that it is only living things that would be able to make up their minds. In the case of this year 1945 dress, I feel the pattern’s design could not make up its mind whether or not it wanted a peplum, and what styling it really wanted. Being a pattern for teens and juniors, it totally makes sense to be a bit mixed up…since those of the “in between years” are being overwhelmed by everything! Now, with some dramatic re-sizing and re-drafting, some cheaply priced wool suiting, and an old unwanted skirt from my basement to re-fashion, I think I’ve hit the right balance to rock this War-time design as a grown woman, ready to flaunt the cold of winter in panache. Of course, a pair of killer 40’s style ankle strap shoes also completes my power 40’s outfit – they are velvet fabric reproductions from Rocket Dog.
This dress was actually my Christmas outfit for this past 2016 holiday, but I think the plaid has enough small amounts of other colors in it that, together with the navy it is paired with, keeps things relevant for most all of fall of winter, as well. If I want it more holiday-ish, I can pair my dress with more red items or even browns or goldens. Women of the 40’s loved to use plaids (especially teen girls), so I’m focusing on that rather than my mental query that I might be wearing some sort of Scottish plaid (which is why my bottom half is in a solid). Reds and blues were popular colors for teens wear in the 40’s after all, too, so although this is my “adult” dress I am sticking to colors and fabric types “traditional” for the pattern’s intended audience – juniors, that is, those of the 14 to 18 crowd just as they were officially being known as teenagers (see info source here).
This dress is also my first time making a vintage garment where the print (or at least the contrast fabric) is just in the bodice and nothing else. I’ve always admired those kinds of two-fabric clothes, always wondering if they would work for me…now I know they do!
FABRIC: The solid navy skirt and sleeves are in a 95% wool/5% polyester blend suiting from Fashion Fabrics Club in town. It has a textured finish much like a gabardine. The plaid, re-fashioned from an old skirt no longer worn, is a half and half rayon/poly blend with twill finish. It’s label inside read as “Robyne’s Dream“, “Made in the USA”, and I believe this is from the 90’s. I have seen this style of red, forest green, yellow, white, royal and black plaid labeled as a “Prince of Wales” design. The waistline and the peplum are lined in a basic, navy blue, all-cotton broadcloth, merely scraps on hand.
PATTERN: McCall’s #6297, year 1945
NOTIONS: I had everything on hand in my stash that I needed here – thread, a zipper, bias tapes, interfacing, shoulder pads. The three buttons down the front are vintage pieces from hubby’s Grandmother’s stash.
TIME TO COMPLETE: This dress was a last minute decision and was started the week before Christmas and took about 20 hours’ worth of time. It was finished just before leaving for Midnight church service, December 24, 2016. Whew! I was ‘cutting’ it close, ha ha!
THE INSIDES: All cleanly bias bound. Strips of 100% cotton batiste are used as facing for the inner waistband for a lovely smooth feeling against my skin.
TOTAL COST: I am counting the plaid fabric from the re-fashioned skirt and my cotton lining scarps as being free, as well as the notions from on hand, with the wool only costing $2 a yard. My total for this dress is about $3 for only a yard and a half of the wool I used…how awesome is that!?
This project is one big hooray for re-using and re-fashioning! As I’ve discussed past posts, my wardrobe is something I consider long term, and if I do not wear or am not happy with an item, it is re-done and cut into so it can used differently ‘til it is 100% what I will use or wear. Why can’t unwanted clothes be treated as a commodity (defined as in “useful or valuable item”) for creativity just the same as a newly cut piece of fabric, the way I see it? Anyways, this skirt had been an occasional favorite when I was between 10 and 15 years of age, but for the last 10 plus years it has been in my fabric stash waiting for a new incarnation. Something from when I was a teen, becomes a new garment for grown-up me, sewn from a pattern catered for teens. Oh, the irony…
My original skirt before re-fashioning was a simple long bias skirt with a gathered elastic waist. Thus, I had a good amount of fabric to work with, but the skinny width was restrictive. This is part of the reason why the plaid is not as perfectly matched as I would have liked and also the fact it is on the bias…although I do like the look of the plaid cross-grain! Cutting off the two side seams and folding the length over on itself, I had just enough as you can see. The front half of the skirt became my bodice fronts, while the back half was enough for the bodice back, peplums, and a neckline tie that ended up making piping for instead. So close!
For some reason, the envelope and instructions to this dress are one of the most fragile in my pattern collection, but the tissue pattern pieces are seemingly fine. Just in case of a damaging accident, but also since I knew I needed to both add in several inches for size (29 inch bust, yikes! so small…) and bring the dress to some adult proportions, I traced all but the skirt and sleeve pieces onto new, semi-sheer medical paper. In case you didn’t know, any pattern from about the early mid-1930’s up to about 1946 that are marked “Junior Misses” will be every short in proportions and used “as-is” are only sized for an under 5 foot tall person or an under sized teen. Most of the time I have to add in a good 2 or 3 inches horizontally to bring ‘sleeves-bust-waist-hips’ all down. It’s kind of what is done to make a pattern appropriate for someone tall, and opposite of what needs to be done to fit someone petite. Yet, as I demonstrate, these juniors’ patterns are very usable for those are willing to do the ‘work’ of dramatically grading and re-sizing. However, doing such an effort (in my mind) can only be a good thing – it brings new styles to suddenly be available to use besides teaching bunches about working with patterns.
The original cover drawing is quite cute – and I do not do outright “cute” if I can help it. Both neckline options are the nails in the “cute factor” coffin (I generally find it hard to like a Peter Pan collar on myself), so they were the first to go and be re-drafted while I was tracing out a copy of the tissue pieces. I originally figured on making an open V-neckline, and adding in straps that would twist and criss-cross across the chest opening and come back around to button back down on the same side – very military-like and strong, similar to Simplicity #1539, also from 1945. Well, I guess you can tell I didn’t end up sticking with that idea – not here at least, but hopefully in the future on another project. My neckline was the very last thing that I figured out before the dress was fully finished. In the end, I merely took the lapels I drafted as self-facing and made them into a small, slightly pointed, turned back collar instead. I like the simple subtlety of it, even though it was not at all what I had planned for at all. There’s enough going on with the rest of the dress, so I felt it needed something non-distracting but still dramatically plunging for a not-as-conservative, grown-up touch.
What is not so obvious but remarkably lovely to the bodice is the way the bust is shaped by a vertical shoulder pleat. This so completely exaggerates the shoulders as only the 40’s can do – I love it! It really does wonders to complement the waist, especially since there is a set-in waistband to define the middle of this dress. The fold of the shoulder pleat on my dress ends so precisely at the seam of the shoulder/sleeve, it was bit tricky to sew around without catching it…a bit of unpleasant unpicking made things alright. It’s rather a shame that this detail is only in the front (much like the peplum, I guess). Nevertheless, I still wanted a very defined line at the end of those shoulder edge pleats so there are ½ inch shoulder pads inside. I always find it so curious how well gi-normous 1980s shoulder pads seem to be made to go inside many of my 40’s fashions. Except on the occasional dress, I think the WWII years’ silhouettes are just lacking some sort of potent, calculated, confident fullness without emphasized shoulders. I have seen similar vertical running shoulder pleats on many 40’s patterns circa 1945 – a McCall’s #6102, McCall’s #6902, and Simplicity #1891, as well as a modern (retro-inspired) pattern Butterick #6363, to name off a handful. Also, for some hard-copy examples, here’s a photo of a mid-1950s wool dress, an extant 1940’s rayon crepe gown, my own Chanel-inspired 1967 linen suit set, and an 80’s chiffon dress, (notice the varied fabrics and years). This ingenious method of bodice shaping is too good a detail to keep to only one decade.
With such prominent shoulders, I softened the sleeves by not sewing them as set-in. The sleeves were sewn to the bodice much like on a man’s shirt, connected together at the shoulder so then the entire side seam – from sleeve hem the bottom hem – is stitched in one long continuous seam. The sleeves are quite deeply cut, similar to this 1946 blouse that I’ve already made. My sleeve ends taper to being fitted at the elbows but nonetheless these are very easy to move around for full movement and reach room – much appreciated. Reach room is something I generally do not find modern patterns have unless I alter them in some manner. Reach room is under respected…if something is good enough to make and wear, accepting being restricted with basic arm movements is something no one needs tolerate.
I was originally very hesitant about sewing on the skirt’s peplum flaps, but I’m so glad they turned out to be something new to like! Apparently the odd, front, half-peplum design was a quietly popular yet not mainstream style for the mid-decade. Besides seeing front half-peplums on Juniors’ dresses in my 40’s Sears catalog, the character of Rose from Season Two of the Marvel TV show “Agent Carter” is wearing a lovely drapey rayon dress in this same style. Even Simplicity pattern Company released their own half-peplum the same year (1945) as #1357. For one more tactile example, here’s an awesome vintage original half-peplum dress, in a wonderful novelty print, which had been for sale on Etsy. I certainly don’t “get” the “why” of the style, but since before this dress I’d never really tried a peplum before, I figured half of one might be an easy way to acclimate myself to them. Turns out this is not all that bad because being anchored on all but one edge prevents too much “pouf” of the peplum flaps. Still, I generally do not like corners being cut, “party in the front, business in back”, or “coffin dresses” (as they are distastefully called when everything is in the front and the back is totally neglected). However, technically the back of my dress is not neglected at all – it does have the plaid bodice, too, and the lovely classic 1940s tri-panel skirt back. There is still one extra touch I added that makes sure the details from behind are just as nice as the front.
Self-made, matching plaid fabric piping runs along the bottom seam of the set-in waistband. This was actually my hubby’s idea…I’ll give him the full credit for this great custom notion for which I was doubtful about at first. I did not have the right thick cotton cording on hand for the piping so instead I used several strands together of thinner cotton cording on hand that we use to hold plants upright in the garden. A bias strip of fabric was then wrapped around the piping and stitched down using my invisible zipper foot (just like what I demonstrated in this post). This piping made installing the side zipper a bit challenging, and it’s not the best closure I’ve done…but it works to close the dress just fine and that’s good enough for me.
I guess it’s not all that surprising that this sweet vintage style for young ladies and teens is so strongly adult in its attribution – in 1945, women on the cusp of growing up were receiving more representation, acknowledgement, and opportunities, all with greater diversity, that year than ever before. Firstly, 1945 was the year of a historic Miss America Pageant Competition. That year of 1945 was the first year the winner was offered a school scholarship as her prize, rather than gifts of an item to wear or travel packages. Year 1945 was also the first year that a young lady won who had been a Collage Graduate, but more significant was the fact that the winner, Bess Myerson by name, was a Jewish American. She used her fame for so much good – raising awareness to biased prejudice, as well as helping out the last of the war effort, and later as a New York Politician. Teen-age girls must have been a big enough “thing” in American after all to get a long article in Life magazine for December 11, 1945 (read the whole thing here, pages 91 to 99).
Furthermore, the magazine Seventeen had just begun the October of the year before (1944) and in 1945 were really gaining influence and gumption to speak out for their intended audience, “the age when a girl is no longer a child, yet isn’t quite a woman.” Periodicals focused only on Hollywood stars and starlets were going out of favor and Helen Valentine, who, after starting out at Vogue, had already begun Mademoiselle: The Magazine for Smart Young Women by 1944. Seventeen was started by her as a magazine meant to be a teenagers’ voice, a benchmark for thought, and a place to bounce off ideas, so much so that they were not scrupulous about mentioning heavy world affairs and controversy. By the 1950’s, Seventeen quickly moved from Valentine’s original focus on service and citizenship toward themes of fashion, sensuality, and body scruples…more like magazines of today. See this amazing web page for more early history of Seventeen magazine.
Young ladies of 1945 and after were influencing history like never before. I hope a lovely dress style like the one I made for this post might be just a small example of that fact. Teenagers’ clothes of today generally strike me as disrespectful to their potential and distasteful to their capabilities. Sloppy clothes, ones trying to be overly “on trend”, or the large majority of clothes which have writing or characters in the most surprising places all seem to put them in a box of what society expects them to feel and react – and many end up never growing out of those attitudes and habits. This is in no small part (in my opinion) to the incidental that what one wears can impact how we think of ourselves. Not every teen or 20 something is an electronic addicted being with an I-don’t-give-a-blank level of respect. They need a constructive way to build their own entity. Let me share a Helen Valentine quote from the book Fashioning Teenagers: A Cultural History of Seventeen Magazine. After seeing the 90% of teens at the 1945 opening of New York’s U.N. building, she said, “People have an idea that the only thing they’re interested in is their next date, but it isn’t so. They (young people) are really thinking about very important things and we ought to be thinking about them in those terms.”
Vintage clothes for the middle years strike me as giving them a taste of their future in their own special way, with some small detail of the features of the clothes styles they grew out of so as to not forget where they are and where they have been in life. It’s like their fashion and not just their education was attempting to transition them into the confidence of independent and capable decisions while allowing them the fun and freedom that still part of their life. Their ideas and habits are the future we all have to deal with. May teens of today wear clothing that is respectful of their place in the world every bit as much as fashion of the past has done.