Shopping at the Old Arcade

Most people generally know twenties clothing as being tubular with drop waists.  Many also frequently think of the twenties as having beading, sheer fabrics, and fringe, but that was for evening and special occasion.  However, do you know what the turn of the decade, year 1920, actually looked like for everyday wear?  When I started doing research on this I was surprised.  Very high waists, overly exaggerated hips (many with ruffles and ridiculous pockets), slightly awkward long mid-calf length hems, and loose but lovely bust-less blouses.  Yes – this was the year 1920, when women were wearing fashion which was both a carry-over from 1918 – 1919 that was also finding its way for changing up styles in a new decade.  Here is my sewing creation interpreting the year 1920, as a woman in her nice, almost sporty, and nothing-too-fancy clothes to go do some window shopping.
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Actual teens era/1920s hand painted glass buttons (close-up picture here on my Instagram) were included on the blouse I made, as well as several hours of decorative hand stitching on both neck and sleeves.  My hat is a thrift store purchase, which already had straw flowers, but I piled on a wide lace band and silk flowers for an old fashioned style.   I also made the skirt and the purse, as well as some of the authentic lingerie I’m wearing underneath.  This ensemble did not look right (silhouette speaking) until I had the correct undergarments, so I will definitely show you what I wore (and made) in a future post.

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Period authentic doesn’t have to be old-fashioned or un-wearable today.  Because it is all cotton and not body figure conscious, this is really quite comfy to wear.  Sure, it’s different, but yet lovely and tasteful enough for me to only receive kindly smiles from strangers who saw me.  I love the subtle complexity, the understated richness, and the odd femininity to the style of my 1920 pieces.  The ideal of beauty and the popular silhouette for women has changed so much throughout history, and this is just another incarnation that I am glad to have learned to appreciate through sewing it for myself!

THE FACTS:McCall 9412 & Pict.Review Overblouse, both ca. 1920, fm Past Patterns

FABRIC:  100% cotton specialty twill for the skirt, 100% cotton for the blouse, and a tapestry remnant (mystery content) for the purse lined in a burgundy Kona cotton leftover from this project.

PATTERNS:  Past Pattern’s No. 8268, Ladies’ Overblouse, from Pictorial Review circa 1920; a Past Pattern’s No. 9412 “Ladies’ Skirt with Hip Pocket Effect” from McCall Company circa 1920 , and a Vogue 7252 year 2000 patternVogue #7252 from the year 2000 for the purse

NOTIONS:  The notions for this came from everywhere.  The detailed, Art Nouveau-style brass buttons were a Hancock Fabrics’ store brand item, bought when the company was closing, while the old vintage blouse buttons were from our favorite antique store.  Most everything else needed was on hand – I even had the tassel for the purse in my stash!  

TIME TO COMPLETE:  The skirt was made in about 6 hours and finished on October 21, 2016.  The blouse took 8 to 10 hours, with 4 more hours for the hand embroidery, and was finished on February 26, 2017.  The purse was made in about 2 hours on February 28, 2017.

TOTAL COST:  The skirt’s fabric was bought at the now defunct Hancock Fabrics for less than $2 a yard…and I only needed 2 yards here.  I have 2 something extra yards still left for another (upcoming) project.  The blouse’s cotton was bought at JoAnn’s fabric recently for maybe $10.  The brass buttons were expensive even with the Hancock Fabrics closing clearance – maybe $17 – while the old buttons on the blouse were only $5.  The tapestry brocade came from I don’t know where from I don’t know how long ago, thus I’m counting it as free, but the cord handle was bought at JoAnn’s for about $4.  So, my total is about $40 something.

DSC_0232,p,a-comp,wWorking with patterns this old presented plenty of unknowns, but the primary one was in regards to fit.  What kind of body, what kind of peculiarities, and what ease do these patterns account for?  It’s one thing to get something to fit, but historical garments need a particular fit (as well as the right underwear) to be authentically worn.  I did have the assurance that my pattern came from Past Patterns Company…every single garment I have made from what they offer is a wonderful success I am most happy with.  No wonder they’ve been in business almost 40 years!

Let me start by talking about the bodice.  After some figuring, my estimated bust measurement of the blouse pattern as-is (in the size 38 to 40 bust) is 45 inch around.  This led to my figuring the wearing ease to this blouse was about 5 inches over and above the bigger of the two sizes (bust 40).  I can see that the bust is supposed to be bloused and roomy (over a flat chest) so I went down to a generous measurement for myself and ended taking out a total of 4 inches around hoping to end up at what would be the next size smaller for this pattern.  The side seam allowance is 1 whole inch so I figured I had plenty of room to fix a wrong calculation is sizing, but still…it’s easier to  take out some extra than it is to be stuck with a garment which ends up too small.  I totally feel like I nailed the right fit!

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I realized that this is an overblouse that I am not wearing as an overblouse.  This is not the first time I have made an over blouse only to wear it tucked into a skirt – see this 1958 project.  When I received my pattern in the mail Saundra Altman kindly included a tutorial page on how to add in a stay-belt inside the blouse.  As I am just getting the feel for teens and early 20’s dressing, I kept the construction of my blouse simple from the waist downPerry, Dame & Co Catalog, New York styles, fall and winter 1919-1920 because for now I plan on only wearing it as you see it.  At some future point I hope to make a year 1920-style pleated skirt and wear this same top as a proper overblouse, and at that point I might come back and add the welt pockets and a stay-band to the waist.

I did use my oldest (1930’s) sewing machine to do all the button holes along the front opening, but I also splurged and used all cotton thread and self-fabric bias tape for the neckline.  After I had made the button holes I decided I really didn’t want to subject the buttons to the wear and tear of pushing them through every time.  So, I still sewed two at a time connected like link buttons but they’re on there permanently for now, and if I want them off I’ll just cut the linking threads.  I did try to make these buttons linked by a metal loop with a connecting chain but I had disaster strike doing that.  The back loop on one broke by cracking right off, but it is a molded part of the rest of the button so it cannot be fixed unless I glue some loop or such on it.  I never guessed these were as fragile as they seem to be.  Until I figure out how to add something to the back of this broken button, I will sadly made-do with one at the top closure.  This is the risk of working with, or even wearing, old original items from many decades back – they are unique and fragile, but deserve to be seen nonetheless, so using them is a risk that also could only garners appreciation.

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My decorative hand stitching is I know not the best compared to many others, but this is so much better than I used to be able to do.  Whatever my skill, the stitching does take my blouse to the next level, I think, besides show casing an old time-honored practice that modern garments are so far from.  Hand stitching was very much needed here because of the rather plain color of the blouse’s cotton.  I made my own design, and after several unsuccessful Art Deco drawings I settled on the softer more feminine floral on my blouse.  After all King Tut’s tomb would not yet be discovered for a few years from 1920!

The skirt probably would’ve fit me pretty much as-is, but I did add one extra inch to the waistband only to be on the safe side for fit.  I did not change the rest of the skirt because I wanted the gathers to be a bit looser.  Looking back I wish I had made no gathers across the center front of the skirt – the pockets and the hip panel would look better.  No matter, I like it just the same! DSC_0297a-comp,w

The skirt did not need any special closures for the left side opening – the placket kind of conceals itself because of the side seam pleat overlay.  Only hook-and-eyes keep it together at the waistline.  The waistband is quite neat.  It is a two inch band against my skin on the inside, with a 4 inch waistband gathered horizontally on the outside so it looks like a cummerbund belt.

DSC_0220a-comp,wTrue to the era, the back of the skirt is just a long rectangle for a small taste of the slim and skinny.  What a contrast for the front!  Along the front geometric pocket edge I made my own self-fabric “ribbon” to decorate, finish, and stabilize the edge.  At first I tried a brown velvet ribbon for the edge, but, no – I didn’t look good so I took it off and went with the matching fabric.  This pocket edge needs to be stiff enough to stick out on its own and define the hips so I was tempted to add interfacing.  My skirt’s twill fabric was thick enough that three layers along the edge (1 – the skirt, 2 – the ribbon edging seam allowance inside, 3 – outside of the ribbon edging) was plenty good.

Needless to say, as much as I love pockets, these take the cake! My skirt’s pockets are like mini suitcases.  I can keep everything in them and it doesn’t even make a difference the skirt is so roomy and meant to be billowy.  Yet, the only thing that mystifies me about my 1920 outfit is the pockets, mostly because the purses and hand bags were so tiny!  Pockets and purses were still relatively new items to 1920, and both signifying the independence and progression of women, but to go overboard with such a contrast between the two in interesting to me.  As you can see, I did take a slight shortcut and have the pocket opening close with a snap rather than a real working button and button hole.

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Patterns for both the skirt and the blouse both seemed to run very long.  I made the shorter length of the overblouse, which was just over 10 inches shorter than the full-length option, and it is still falls about mid-thigh on me.  For my skirt, I took out 4 whole inches from the length because as-is the pattern falls to floor length (I’m about 5’ 3” height).  Now, take into account the fact that these two garments are meant to have deep hems, especially the skirt.  My skirt does have a wide 3 inch hem to it which helps to weigh it down properly besides bringing it to the proper just-below-calf length for the year 1920.  Skirt and dress lengths of 1920 seem to be just enough to show the ankles, just enough to move freely in, and a tad shorter than just a year or two before (1919-ish).1916 purses

My purse is something so easy but I’m so tickled at how lovely and cute it turned out.  The pattern I used is a real unknown gem with lovely designs straight out of the teens and 20’s.  I remember my mom and I being so excited when this came out!  Look at this comparison between a 1916 handbag poster for comparison.  In a 1926 catalog, I’ve even seen a strikingly similar version to “View C”!  They are all really quite simple designs but I like the fact they give the tracing designs for all the beading and decoration.  My purse doesn’t hold much but came together so quickly.  Trimmings and de-luxe materials seems like the way to go with this pattern and a remnant was all I needed.  I will definitely be using this again!

In the 1920’s, handbags were often just enough room for a few small essentials (including lipstick and keys) and often geometric in shape, like my own vers ion.  Mine is probably way too stuffed than what a 1920 woman would have carried, yet as it was I didn’t have room for everything I needed!  Also in the 1920’s, handbags weren’t necessarily meant to match with an outfit but carry their own tasteful, individual, and often ostentatious flair…quite different from modern times!

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By making my purse (a ‘reticule’ style) from tapestry I am harkening back to a popular type of “daytime” purses of the 1920s – ones made of richly complex fabric carpet bags and delicately flourished needlepoint.  Handbags from these materials seem to either be meant to show the wealth of the one possessing it or the talent of the maker, as many of these types of purses were often handmade by either the woman herself or someone for the company that sold it and some were quite expensive.  By having a decorative tassel at the center bottom point I’m aiming to narrow this to a primarily early 20’s piece.  To read and see more, this “Vintage Dancer” page has a wonderful overview of all the ways 1920’s women carried what they needed.  There is so much history to this littlest part of my ensemble!

All the materials I used for this outfit are just a dream to wear and were wonderful to sew.  The twill for the skirt is a lovely weight and hand – almost as heavy as a denim, slight body, but drapey and soft enough to hang nicely.  The low-key design of the fabric adds interest and keeps the olive and brown tones to it from being too drab.  The cotton of the blouse is so soft it doesn’t really wrinkle all that much and it’s just sheer enough to be pretty.  The tapestry of the purse is so rough, textured, and stiff it provides a nice contrast to the blouse and skirt.

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The place of our photo shoot is something quite special.  Not only is it a city landmark and the town’s best example of Gothic Revival architecture, but it is a National Historic Landmark.  I’m talking about the St. Louis Arcade/Wright Building, opened in year 1919 as one of the very first indoor shopping areas of its kind in the country, a very early, but much more elegant version of the modern American suburban, indoor, covered “Mall”.  Just think how extraordinary this is from a historical standpoint – plans for this steel and stone skyscraper was begun in 1913 before World War I and many of the materials needed for this building were rationed.  Federal officials closed and postponed many construction operations during WWI.  It is rumored that the principle contractor apparently had a simultaneous deal with the government at the time, so I suppose he was able to pull a few strings.  The Arcade was the tallest building in the world for a number of years.  Besides, the architect, Tom Barnett, was something quite important nationally.  This multi-story hall was recently renovated (after being vacant for several decades), preserving much original pieces so that the Arcade can still give visitors a taste of what it might have been in its heyday when people came here for high-end purchases such as jewelry and fine china.  Being able to walk through and visit places like this in period authentic clothes makes sewing this outfit a very worthwhile experience.

DSC_0295aa-comp,wP.S. Good news…you don’t necessarily have to sew if you want this ‘look’!  ReVamp vintage has re-made an amazing year 1921 oversized pocket skirt very similar to my own, the “Prudence” with brownish olive twill and lovely details!  Although, there are a few ways to wear a modern take on such a style – “Dress Romantic” on Etsy marketplace has a neat version that’s my favorite!  As for ready-to-wear 1920 style blouses, ReVamp has lovely options but any loose modern blouse with lace and/or feminine details would work – my favorites are this Anthropologie yellow blouse, this J.Crew cream colored pleated neckline blouse, or this sheer smocked neckline top.  There’s always old originals out there, too, (like this one) for a taste of the real thing!  Will you be channeling the early 1920’s for yourself, or have you already?

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Modernly Vintage 1963 Sheath Dress

An ideal example that vintage fashion is classic and has lasting style is obvious in my newest make, a year 1963 dress.  Really…this is from the 60’s?  Yes, I can truly call this “vintage” no matter how it looks otherwise.  Sometimes those Mid-Century designs will do that deceptive ‘fast forward on time’ appearance.  Would you guess I whipped this baby up in about 5 hours?  Oh, I have found such a winner with the pattern for this dress and I am happy.  I hope you can find a copy of this pattern for yourself and try it, too.

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THE FACTS:

FABRIC:  The fabric was a remnant item on deep discount at JoAnn’s Fabric store, a cut of 1 3/4 yard.  It is pretty much all cotton with just a smidge of stretch.McCall 6799, year 1963 envelope cover-comp

PATTERN:  McCall’s #6799, year 1963

NOTIONS:  I had all the bias tape, thread, and the zipper needed on hand already.

TIME TO COMPLETE:  Super quick…only 5 or 6 hours from start to finish.  It was completed on June 16, 2016

THE INSIDES:  Cleanly bias bound.

TOTAL COST:  just over $10 for my finished dress – the fabric’s original price was $13 per yard!

The fabric is a very nice woven great for a close fitting sheath dress.  I believe it is technically a twill, the way it is textured with small rows of black and white, but it is lightweight, closer to a chambray.  Yet, the stretch in the content fiber keeps the fabric nicely stable and slightly thicker.  The color and weight of the fabric makes this a perfect all-season fabric so I can have a classic all-season dress, wearable alone in the heat (with a blazer indoors) or cozy with tights and a sweater in cooler weather.  Besides the multi-season wearing ability, my ideal here with making this dress was to have something I didn’t yet have – a classic dress with clean lines, not overly fussy, and professional enough to wear when I go to the University or just get dressed up.  Although I did do a number of fitting adjustments, it was still ridiculously simple for what it appears.

DSC_0987-compThe ‘recommended’ fabrics on the envelope back does not mention anything stretchable, but I had a feeling too much here would be bad and a little might be very good.  I believe I was right and found a good match for the pattern.  Combining the stretch in the fabric with the especially soft cotton content keeps this dress very comfy for as dressy as it might look – a winning combo.  I hate those modern all- polyester knit sheath dresses that is the only thing I see ready-to-wear offering nowadays – they don’t breathe!  I originally had a bland, grey, non-stretch, linen blend chambray intended to use with the pattern, and I’m glad now that I didn’t buy it.  The give in my chosen fabric also compliments for a rather smoking shape and lovely feel as I move, if I must say so myself, letting a sheath dress do to the body what it is meant to do (different from a “shift dress”).

Personally I think my change to the front waist of the skirt was the best thing for this pattern, a touch that makes it much more uniform in style than how it was originally intended.  The pattern has all these darts everywhere for tailored dress, yet it calls for a gathered front waist?  Really?  Who wants extra bulk and pouf over the belly – I don’t!  So I merely changed the front skirt to have slanted pleats instead.  The skirt’s pattern piece was necessarily left unchanged and cut as per the pattern.  I merely made a pleat to align with the darts in the bodice, slanting them slightly horizontal out towards my hips.

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I’m loving how this touch accentuates the hips, and visually slims the waist.  Making darts in the waist was my original idea, but this pattern from my stash (McCall’s #4680, year 1958) gave me the better idea of pleats.  The wide ‘sleeves’ of the dress’ V-neckline actually sit on the far outer curve of the shoulders to create a total hourglass figure.  I’m impressed at how well the armholes are cut.  A sleeve like this could be confining but this dress is comfy and easy to move in.

Now, there is a McCall pattern that I made from the year before (a 1962 sundress) that had the same cover style, same look of the pattern pieces, and same sizing guide as this one from ’63.  My pattern used for this post’s dress should have technically been my size, and it pretty much was just how it was expected to be.  My hunch of this pattern was spot on – longer hem and slightly generous fit with great curving and a generous bust.  I now feel like I have this line of patterns from the early/mid 60’s pegged, and this is always a nice thing to figure out as vintage patterns change a lot over the decades.  The oversized bust probably comes from the lingerie commonly worn at the times.  For life practicality and a more modern fit, I merely took in the shoulder seams as well as both horizontal and vertical bust darts, making them longer and deeper.  This ended up bringing the darts together to meet, making them look like some side panel.  Oh well, nothing can make me dislike this dress.

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The one last slight change was to raise the front V neckline by about one inch.  The back neckline was left ‘as-is’ because I feel my best in a top or dress which is open enough to show off some of my back and shoulders.  There is a deep lapped zipper placket which I made for this dress.  I was hoping that it would completely cover the zipper and connect the top of the zipper at the dip of the neckline, and it does, thank goodness.  I really cannot put a hook-and-eye at the top because of where it ends…my arms and hands are not able to “blindly” work an extra closure at that level behind myself.

All the jewelry worn with my dress was also made by me as well.  There are many different colors which can be coordinated with my dress but I really like pairing it with light pastel blues.  The necklace and the bracelet are both blue lace agate beads, strung on filament and finished with sterling silver parts.  The drop earrings are sterling and Swarovski crystals.  A complete handmade outfit…except for the shoes, of course.

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I have a fabric exactly the same as the green floral on the full skirt version of the envelope and I was really tempted to make a copy but now I am so glad to have gone more creative.  I frequently find myself in a rut of following inspiration (not something remotely bad, don’t get me wrong), but I feel good going on my own ideas, too.  Do you follow the covers or go rogue?  Maybe both, like me?

Vintage fashion cannot be ignored – it is the base for the styles we wear nowadays.  This 1963 sheath dress is a perfect example of this, especially to find a past style which looks straight out of today’s fashion.  What is old is now new all over again.  I have a strong inkling that if this pattern had a modern cover with a 2016 model re-make I might not like it as much as I do looking at it from 1963.

This brings me to a question – do like envelope covers better when they’re sketched, or when they have a model photograph?  For me (for some reason), I think drawing covers are more appealing when they are vintage but I know they are probably not realistically proportioned.  Old pictures are hard to see and you never know what ladies were wearing underneath to look the way they do (meaning girdles and such).  Modern drawn pattern covers and pictures often turn me off and I have to rely on line designs more to judge a style.  I have a feeling this same sheath dress in a modern drawing might look quite plain to me.  What do you think?  Do you have a greater liking towards certain covers or an opinion on the way patterns are presented to you?  Do you also find vintage covers as appealing as they are for me?  Do you have a hard time seeing past the old style to re-invent it for yourself?