I’ve officially started cleaning out my sewing room / having a full blown not-quite-midlife decluttering crisis and ebay-ing some of my old collected treasures. It’s funny the way my compulsions come full circle given enough time. About five years ago, I was interested in minimalism and simple living and trying to clear out my possessions to have time and space for what mattered most to me. Then I got interested in sewing ephemera and collecting sewing machines, and somehow my sewing room / sanctuary space became overrun with treasures.
Some of this is Asperger’s related, or to put it in non-identity-label terms, my learning style. When I become interested in something, it becomes obsessive, and I learn by immersing myself completely in the subject. I have enjoyed the process immensely, and pattern catalogs and sewing manuals and correspondence courses appeal to so many of my interests – visual art, graphic design, antiques, cultural history, gender history, material culture, crafting – that collecting them has engaged me as little else has.
But now, the cycle of my interests is shifting back to simplicity, and with a new baby and a desire to really move into patternmaking as an action and not just a study, I find that owning all of these delicate historical things is not providing me the same pleasure that hunting and studying it initially did. We don’t have enough room for me to store these things anymore, really. The sheer volume of kids toys we’ve accumulated with one kiddo who shares my hoarder tendencies is unbelievable, so with two, there’s just not room for boxes of books.
And what I want has changed. I want a crafting room or studio space that I can share with my kids without the worry that they might accidentally get ink on some antique irreplaceable thing that I paid a huge amount of money for. (Not to mention life in tornado alley makes a girl a bit nervous about all those 19th century leaflets upstairs when the sirens go off and we all pile in the basement.) I’d rather use the money from selling them to buy fabrics and art materials to engage with. So I’m finding new homes for some of the treasures I’ve accumulated over the years.
I keep reading Marie Kondo and hoping it will stick. There’s a passage in The Life Changing Magic of Tidying Up that I keep coming back to:
When you come across something that you cannot part with, think carefully about its true purpose in your life. You’ll be surprised at how many of the things you possess have already fulfilled their role. By acknowledging their contribution and letting them go with gratitude, you will be able to truly put the things you own, and your life, in order. In the end, all that will remain are the things that you really treasure. To truly cherish the things that are important to you, you must first discard those that have outlived their purpose.
Most of the things I’ve collected have served their purpose in my life, in that they’ve provided an education and a great deal of inspiration. I scan and reproduce some of my favorites as a history nerd / design passion project, so have the ability to return to the information they contain. So I think I’m ready to clear out the physical bulk and work toward having space and materials to put what they’ve taught me to use in making new designs, doing my own sketches, writing about what I’ve learned about fashion history.
So, if you are a collector of fashion ephemera, feel free to watch my ebay (here). I have so many things to clear out over the next few months. I’ll try to post about some of the things I send back out into the world as I go through the process, because some of the designs and information in them is really fantastic.
I put up a Butterick catalog from 1915 this weekend that has some fantastic illustrations and unique details in it that I figured I’d share here, just as fashion inspiration. I love the influence of the kimono on this era (and have been very into researching kimono inspired garments lately) that started with Poiret a few years earlier but can still be seen in the girdles and sashes and surplice necklines.
Some of these designs and silhouettes seem very dated but even the dated designs have details that could be incorporated to give personality to contemporary designs or simple garments. Others, though, if they were done in contemporary colors and fabrics and with a modern hairstyle, you’d never know they were hundred year old designs. The dress with a deep neckline, a sash and the midsection, and the ruffle detail low on the sleeve and skirt would be gorgeous in a light chiffon outer layer and a satin sash in the same color for subtlety or a bright contrasting one for drama, something like cream chiffon with a scarlet sash and maybe some scarlet ribbon detailing at the neckline.
Fashion magazines always appeal to my inner 15 year old art nerd, too. The way these illustrations are done is both pretty and illustrative in a way some eras aren’t. Personally, I like this better than some of the line drawing qualities of illustration in the 1920s and the harsher femininity sometimes illustrated in the 1930s. It’s interesting, too, because these illustrations seem to depict female faces as they would look with heavy cosmetic applications, though women would probably still have tried to keep their makeup applications looking very natural at this point in history, using maybe just a face powder, light rouge, eyebrow pencil, and a tonic on lashes.
The shift of silhouette from the heavily corseted, tiny waistline of the first decade of the 1900s is fascinating. From what I understand this was probably partly due to the popularity of Titanic era designs by Poiret, Fortuny, and others that were inspired by other cultures with a more natural silhouette, but also due to necessity as World War I changed everyone’s lives so dramatically from 1914 onward, changing the daily activities of women, causing material shortages such that designs had to use less fabric, and so many other changes.
The corsets and undergarments really deserve an in-depth post of their own, so more on that later.
Ease amounts in commercial patterns are one of the eternally frustrating problems of contemporary sewing. The amount of ease included in designs seems to vary wildly from pattern to pattern, even from the same company, so that the home sewer finds her or himself needing to sew a muslin/toile for each pattern. It adds yet another layer of complication to the puzzle that is pattern size selection. But where does the confusion come from, exactly? I’m thinking there are a few main culprits: patterns drafted with ease amounts that don’t fit the actual garment type, inaccurate pattern photographs, and lack of finished garment measurements to give an objective way to analyze final fit. (For simplicity’s sake, I’m only going to consider patterns for woven fabrics at the moment.)
What exactly is ease?
It’s the amount of extra space added to a pattern in excess of actual body measurements to allow for movement and style. Wearing or fitting ease refers to a necessary small amount of space included in slopers and almost every pattern type (with the exception of corsets, some foundation garments, and stretch fabric patterns) that allow the wearer to breathe, sit, bend, and reach in the garment. This is usually around 2″ of additional space at the bust, 1″ at the waist, and 1.5″ at the hip, no matter what the pattern size.
Design ease is a more variable amount of space added to patterns to create different style types, create silhouettes, and to give movement to the garment. Design ease amounts are proportional and depend to some extent on the size of the garment, though there are general industry standards for different fits that are the approximately the same from pattern company to pattern company.
Ease Standards for Different Garment Types
There are about five different categories of fit that pattern companies generally use to describe their patterns. Though there is a lot of variation from garment style to garment style, and the top of the pattern may have one fit and the bottom have another, this can be helpful in understanding how much ease to expect the garment to have. The McCall website here offers a chart of ease amounts for various fits. This chart doesn’t differentiate between design and wearing ease, so my assumption is that this is the total amount added to the body measurement.
Close Fitting (includes 0-2 7/8 inches of design ease at the bust)
Fitted (includes 3-4 inches of design ease at the bust)
Semi Fitted (includes 4 1/8-5 inches of design ease at the bust)
Loose Fitting (includes 5 1/8-8 inches of design ease at the bust)
Very Loose (over 8 inches of design ease at the bust)
Slightly more design ease is added for garments that are layered on top of other garments, such as jackets and coats. The design ease included at the waist and hip varies depending on whether the garment has a waistband or where the garment hangs from the body.
There’s a great piece that goes more in depth on the subject (here), though I’m unsure about the exact design ease amounts it lists. (That chart matches the McCall chart, which I think includes wearing ease and design ease in its amounts, so the amounts of *design* ease added to body measurements are probably smaller than it describes.) It has some very helpful visual guides to what different fit styles look like on the body.
Wearing and design ease standards seem formulaic enough that it’s odd there’s so much inconsistency. So many people on sewing forums and doing pattern reviews describe problems with way too much ease for their size. So where does the confusion come in? Do pattern companies not stick to their described standards? Does grading add excessive ease for certain sizes? I examined a set of patterns to see how this works out for a few different garment fit types from different eras (because I have strange ideas about what constitutes a good time) and found a few issues I’ll examine in detail.
Grading Inconsistency and Wrong Ease Amounts for the Garment Type: Corset Patterns
Some of the problem may come from using the wrong pattern block or wrong design ease for the garment type, though this seems likely only for certain kinds of close-fitting garments like corsets and strapless bodices that require a very close fit to stay in place.
I looked at Butterick 4254 View C, sizes 12, 14, and 16, which is a historically based late 19th century style corset with a front busk and a laced up back. At the bustline, the finished garment measurements printed on the pattern match the body exactly at the bust. At the waist, for size 12, the pattern matches the body exactly. For sizes 14 and 16, the pattern is 1/2 inch smaller than the waist. So for this particular pattern, there are two fit problems. First, the ease seems to vary irregularly by size at the waist, which is problematic for predicting fit. Second, the lacing gap for most corsets is usually about 2″, so if we add that, the final corset is not going to fit as a sewist would expect it to fit. If the sewist is wanting a garment that fits something like a Victorian corset, they’re going to be disappointed, because there’s no way a period garment included 2″ of ease, and a corset would have nipped in at least an inch or two at the waist as well. Sewists using this pattern on various boards usually recommend sizing down about two sizes, sometimes more, in order to get the fit that one would want in a corset.
Butterick 5797 corset pattern.
I also looked at Butterick 5797, View A, sizes 12, 14, and 16. It’s described as a corset, close fitting, and labeled with “Making History” (though, alas, there’s no info on the specifics of that history included). This one closes with a zipper in front and has no lacing. I found that based on the final garment sizes given, at the bust there is a consistent 2″ of ease for all sizes. At the waist, for size 12 and 14, there is 2 1/2″ of ease, and for size 16, there is 3″ of ease. At the high hip, there was approximately 1 1/2″ for all sizes. For this pattern as with the other corset pattern, it isn’t going to fit like an actual corset at all, so a sewist expecting that is going to be disappointed, though they might suspect that from the zipper. (Without lacing to allow movement with breathing, the zero ease typical of a corset isn’t really desirable or comfortable). An argument could be made for having more design ease at the waist for larger sizes since design ease is proportional, but if that were the case, the ease amount should increase between size 12 and 14 by some increment as well, but a corset is usually expected to nip in at the waistline.
What’s frustrating is that two “historical” corset patterns from the same company seem to vary in the amount of ease they use for similar garments in a way that is not transparent. Even if you give them the benefit of the doubt on 4254 and pretend that 2″ that should be indicated for the lacing gap are part of the pattern ease, when you compare the two patterns, the ease amount doesn’t change in the same way between sizes, so how can you predict the fit accurately? If you know the best size for you in one pattern, that same size may not work in the other pattern. Looking at the pattern envelope raises another issue as well.
Is Pattern Envelope Photography Realistic?
The photo on the envelope of Butterick 5797 seems to fit the model as a contemporary corset might, if worn without the intention to nip the waist. But if the model were wearing the size indicated for her on the size chart, it’s very unlikely it would fit this way. If a strapless boned bodice had 2″ of ease at the bust, it probably wouldn’t stay in place. If the model’s garment had 2 1/2″-3″ of ease at the waist, it probably wouldn’t appear this form flattering on her.
My suspicion is that models on pattern envelopes almost never wear the sizes of the garment they would be told to select on the pattern envelope, and during the photo shoot, clothing is probably pinned with clips to flatter body curves and hang just right. The photos of this particular pattern look lovely, but what’s the point of great product photos that don’t accurately depict the fit of the product? It creates an expectation that’s going to be disappointed.
Ease Amounts in Commercial Patterns over Various Eras
I was curious about ease amounts and silhouettes in other commercial patterns and over different eras, so I looked at several more examples of different garment styles for the sake of comparison.
The oldest pattern I looked at was a dress from 1934 from Mabs Weekly, one of the fashion magazines of the era that often included a free pattern. This one would have been a fitted bodice style. I don’t have the original illustration of the garment, but the pattern is for a 36” bust. The final garment measurements weren’t listed on the pattern, so I measured the pieces themselves and subtracted the seam allowances to find the finished measurements. The finished measurement of the garment at the bustline is 39.5″, for 3.5″ total ease.
1940s Lingerie Pattern Ease
I looked at another pattern, Advance 3067, for a slip from what I’d guess is the 40s from the envelope design and the lines. The slip doesn’t have a placket or closure and isn’t cut on the bias, so it’s close fitting but probably not as close to the body as some lingerie. (This image is borrowed from an Etsy listing here). I found that for a size listed as 32″ breast, the finished measurement (which I had to take from the pieces themselves) was 36″ after seam allowances were removed. At the waist, the garment had approximately 6.75″ of ease when darts and seam allowances were removed, which makes sense for a pullover style garment.
1950s Lingerie Pattern Ease
Simplicity 1426 bra pattern.
For this example, I examined a contemporary reissue of a 50’s era Simplicity bra pattern (Simplicity 4333). The contemporary version of the pattern is numbered 1426, and I looked at view C. *Represses rant about ugly contemporary pattern envelope design with all her might* But seriously, the 1980s wood stain exterior paint green of the Simplicity logo and the weird way the elements are balanced is just…no. NO.
There is some confusion with using the finished garment measurements in some reviews, as it’s unclear if the size represents the full bust. (My guess is probably yes, since that’s where the Simplicity site suggests measuring to select your pattern size. Personally, I think the high bust is the better starting point for accurate pattern selection, since it measures your frame rather than your breast fullness.) According to the size chart, the finished measurement matches the body measurement exactly at the bust.
Out of curiosity, I measured the pattern pieces for my likely size as well. For the size 12 pattern, the finished measurement is listed as 34″. But there is a button placket at the center back, and it’s unclear if those finished garment measurements include the amount that the band overlaps at the placket or not. I measured to the center line of that placket, essentially measuring the circumference of the garment when closed for wearing, and found that when seam allowances were removed, that size would actually be 33″, an inch smaller than the body, which isn’t going to be workable for a garment with no stretch. (Counting the overlap in the finished measurement would have given me a measurement of approximately 34 and 1/4″ full circumference.)
While there’s definitely some room for error on the part of my measuring, a lack of any ease for breathing and the lack of clarity in what the finished garment measurements actually mean are a problem. While the contemporary formulation of band size/cup size wasn’t being used in the ’50s, it seems odd to me that one of the Big 4 pattern companies couldn’t examine the pattern measurements and explain their sizing in a way that takes band size/cup size into account to better serve the needs of their current customers for the reissued version. If I could find the original pattern, I’d love to compare the ease standards and grading used in the original to the ones used in the reissue. I’m also curious how accurate the finished garment measurements printed on patterns usually are.
Contemporary Lingerie Pattern Ease
Vogue 8888 lingerie pattern.
I looked at Vogue 8888 to get an idea of how much ease is used in contemporary lingerie pattern making as well. View A is a loose-fitting surplice robe. View C is a close fitting, bias cut pull over camisole. View F is a semi fitted pair of bias cut shorts.
What I found was that for the robe (View A), the bust included 6.5″ ease and the hip had 7.5″ of ease for all sizes. For the camisole, there was 3″ of ease at the bust for all sizes I checked, which might be just slightly above what the Big 4 ease charts describe as “close” fit by about 5/8″, but which makes sense given the lack of a closure and need to be able to pull it over the shoulders. For the shorts (View F), the hip had 3.5″ of ease. (I checked the actual pattern pieces for this view and found this measure to be accurate, too.) The waist had 8″ of ease, which, along with the stretch of the bias cut, would allow for them to be pulled over the hip without a placket or opening. These ease amounts aligned pretty accurately with the stated total ease amounts for the major pattern companies for different fits, and the ease amounts were the same for all sizes I looked at.
Contemporary Pattern Ease in Loose Fitting Garments
McCall 6649 loose fitting shirt pattern.
McCall 6465 loose fitting dress pattern.
I looked at McCall 6649, a loose-fitting button up menswear style shirt in a B cup size, and found that the bust had 5 1/2″ of total ease, the waist had 6″ of total ease, and the hip had 6″ of total ease for all sizes I looked at (16, 18, and 20 for this pattern). So ease amounts were consistent, and matched the given ease chart amounts for a loose fit. I was curious, though, if the final garment actually fit as it’s depicted on the envelope or if it might be looser, especially at the waist. The model may be wearing a smaller size than the envelope would recommend for her body measurements, or it might be styled to be flattering, or maybe it’s just me.
I looked at one more “loose-fitting” pattern, the McCall 6465 loose tunic dress. For sizes 16, 18, and 20, ease amounts were consistent. It had 5.5″ of ease at the bust, 13.5″ of ease at the waist, and 8.5″ of ease at the hip. The ease amount at the waist seems large, but if the dress is pulled over either the shoulder or the hip, it would make sense for the narrowest part of the body to require more ease here. This one was a looser fit than the other pattern, so if a person was expecting “loose fit” to mean the same thing on both without pulling the patterns out to check the finished measurements, there might be some frustration with the results.
The patterns I looked at seemed mostly consistent with ease amounts described as “industry standard.” I can’t find much information on ease standards in ready to wear, so I’m curious how those industry standards are applied outside of patternmaking for home sewing.
If ease amounts in patterns are relatively standard, then where does the confusion and frustration come in? I’m thinking some of it is the stylized photography of pattern envelope photos. When we see a photo of a finished garment, there is a certain automatic assumption that the photo is more realistic than the highly stylized, exaggerated silhouettes of vintage pattern envelope fashion illustration. But the photos aren’t as realistic as they seem if the samples are potentially being selected to flatter the model and the garment rather than depicting the actual fit of the pattern if it were sewn to the model’s body size. This is compounded by the possibility that clothes are pinned in place or pinned closer to the body and that photo editing might be creating the illusion of closer waistlines or trimmer leg silhouettes than the garment really gives.
So what’s a sewist to do to avoid pulling her/his hair out? The best indicator of final fit is the finished garment measurements. You can check the total ease amount by subtracting actual body measurements on the measurement chart from the finished garment measurements printed on the tissue, if they’re present. If not, it’s worthwhile to measure the pieces at least at the bustline to get an idea of whether the fit the pattern is said to be is the fit you’re expecting, and the waist and hip measurements are helpful as well. If you have a sloper that you work with for pattern fitting, you can rotate the darts to the approximate position of the sewing pattern you’re comparing it to to see how much the additional space the sewing pattern has, and whether this works for you for the fit you’re seeking.
Finally, it’s a good idea to know what kind of ease you prefer in your garments, and a great way to do this is to measure ready to wear clothing you already have that fits the way you’re wanting your sewn garment to fit. For example, if you have a skirt that is just long enough and has the amount of ease you want in a close fit, measure its actual dimensions and compare with your body measurements to get an idea of what desirable fit is for you. I’m incredibly picky about how pants fit, so as soon as my pregnancy belly resumes a more semi-permanent, somewhat back to normal state, I will be measuring a few of my favorite pairs of jeans for exact inseam length, favorite boot cut flare amount, and crotch depth that is tight enough to give some curvy definition to my back end without being pinchy or uncomfortable. In my own patternmaking future, I hope to help with the ease confusion issue by listing final garment measurements clearly and offering consistent descriptions of fit or an explanation of the amount of ease so that, hopefully, the sewist can know what they are getting into without having to sew muslins of every pattern.
If you have frustrations with pattern fitting because of excess ease, I hope that this was helpful. Do you have any tips or strategies that help you to get consistent fitting results from commercial patterns? I’d love to hear them!
Happy Saturday. A morning of bright, clear light here. Drinking coffee as the rest of the house wakes up.
As sewing goes, I’m happily sewing up little samples of lingerie for different sizes to test, learning about the legalities of garment tags, etc. I’m also mulling a jacket project, in part because Game of Thrones will be back on soon and I’ve wanted to make something power-dressing Cersei inspired since the last finale. And also because suffragette bicyclists in spats and bloomers and epic riding habit style suit jackets has hooked my interest.
Remember Miss Gulch from Wizard of Oz? Sure, she was a horrible wretch in the movie, but if Frank L. Baum was writing a story set in 1900, could she also have been a caricature of the New Women of the day? Game of Thrones and bicyclists may not seem to have much in common but in my mind they relate because a) I love cinematic representations of women that involve them not always being perfect and good and angelic but instead as creatures capable of the full range of complicated humanity and as straining in various ways against their prescribed societal roles and b) fitted bodices with high collars as activewear for the WIN. Structure wise Cersei’s ruling with an iron fist wardrobe is not so different from the traditional riding habit/”sportswear” of the 1800s. I’ve always found her wardrobe fascinating; even in her more feminine garb of earlier seasons there was often an element of armor; arguably for Cersei her femininity IS a kind of tactical wear. Cersei as a character is fantastic. We feel for her earlier struggles and can understand why her life made her what she now is, although we can’t condone it. We almost root for her strength and defiance when she is imprisoned and powerless and still threatening Septa Unella. But then she gets power, and she’s terrifying. She’s a complicated representation of human ambition who happens to be female. In 50 years I wonder what humanities scholars will have to say about that in relation to the Clinton campaign. Not that I’m equating Cersei and Clinton, but she’s the closest thing we’ve had to a female president, and the reactions to Clinton are so intense it’s kind of fascinating. I think especially in her earlier days in the White House the world preferred her playing dutiful wifey and baking cookies and not hyphenating her name, and some of the casting of her as shrew figure by the right (then and now) seems loaded with gender symbolism. She’s got a different field of symbolism to navigate than a man, and, well, the rest is history.
But bicycles…the women circa 1900 seem to have been subjected to a lot of mockery and derision for their chosen mode of transportation. Some things I read talked about people looking at it as scandalous because of the physical exertion, the physicality and the fact that (oh lordy) women were sitting on a seat in such a way, that it meant more outings with the opposite sex. And given the eternal strain of youthful generations against the prohibitions of the old, it must have had some subtly sexy, defiant undercurrents that resonated with some subset of the population because there are some great advertisements of women riding bicycles floating around the interwebz. (There are also a large number of topless Grecian goddess type bicycle women?) Here are some from the era that interest me at the moment:
And there are a few surviving garments in exhibitions that have me drooling:
So I’ll have to play around and see what kind of GoT watching garb I can come up with. 🙂
(Photos are all from Pinterest searches of things like “Victorian bloomer bicycle” etc. Most are uncited. Some of the great extant garments are originally from The Met exhibitions, and some of the advertising is originally from the French Gallica website.)
I’m not sure if I have shared this link before or not, but I returned to it recently and thought I should share. These books were linked to on The Vintage Pattern Files blog, which is itself an incredibly generous resource for knitting and vintage fashion too. But the books themselves are great resources on draping, and one of them happens to be a Woman’s Institute booklet produced in the mid 30s. Evie of La Couturiere Dimanche scanned it and made it available on her blog (here). I love all things Woman’s Institute, and their materials from the 30s are especially hard to find. Yay for the internet!
There’s another by Mary Evans from 1935–Draping and Dress Design.
It goes into some depth on draping sleeves and shoulders and necklines, which are my current problem areas to get the fit just right. Also interesting historically, since there seems to be an erroneous contemporary idea that toiles or muslins weren’t really used, despite Mary Brooks Picken advocating them in notes in Fashion Service in the 20s and these draping guides. My suspicion is that wartime shortages made fabric more expensive during the 40s, or maybe people had less disposable income for muslin, or the make do and mend mentality changed sewing practices during that time, and maybe that stuck until our contemporary era. If anyone knows more about that, I’d love to hear it!
As far as my own projects go, I have two wearable muslins in progress at the moment–one is a blazer jacket that actually allows some movement and incorporates tailoring techniques (thank you Craftsy courses!) and another is my first decent self drafted corset. Both started as flat pattern attempts, went wrong multiple times, and gradually morphed via draping and chalking and cutting and cussing into something more like a workable pattern. I think draping is more my style than flat patterning, despite all my attempts to do it the hard way. Sigh.
I watch a LOT of period dramas. (Aptly named, quoth the partner. Har har.) And I read a lot of old timey sewing materials, so I know I’ve seen a fichu collar, and I have seen it referenced in pattern books, but ask me what it actually IS and/or how to make it and I don’t really know. So…wikipedia says:
A fichu is a large, square kerchief worn by women to fill in the low neckline of a bodice. It originated in the United Kingdom in the 18th century and remained popular there and in France through the 19th with many variations, as well as in the United States. The fichu was generally of linen fabric and was folded diagonally into a triangle and tied, pinned, or tucked into the bodice in front.
I’ve seen it in books from the 1800s, and especially like this example from Godey’s (source):
Here are some gorgeous examples from 1780s era paintings by Adelaide Labille-Guiard, whose story is fascinating in its own right–I had never heard of her before researching fichus, but she was a talented painter who defied convention by learning painting at all in a mentoring system that typically denied access to women and went on to earn a living as a professional painter and teacher of her craft, painted royalty, and even divorced and remarried in the 17oos! (source for paintings; source of biographical info)
Some more pretty pictures of unknown origin:
And here are some examples from museum collections (all from The Met, I believe, via pinterest and here):
Or like this, from an unknown source but originally viewed (here):
Tea In a Teacup has a great, in depth post on different varieties of fichus and how one might construct and embroider the different shapes (here). She created the following diagram, which is a great starting place for sewing up a few of my own to slip under vests or into necklines that scoop a bit lower than I’d like (what can I say, I’m a prude about my decollete):
Also cool to see was the ways this historical article comes back from time to time in fashion cycles, as does everything, it seems. (Except maybe the monokini.) For sewing inspiration and some styling and interpretation ideas, here are way too many images of fichus, fichu collars and fichu-esque drapery, mostly from Etsy, Pinterest, Ebay and the Vintage Pattern Wikia. The vast majority of actual fashion pieces are from Dior in the 50s/modern day:
Brace yourself, the snarkiness is coming. As well as links to free stuff, for spite and because they’re amazing.
Soooo…I’ve been very into tailoring research lately. Cruising the web at all hours of the night for some sweet, sleek menswear resources. And I’ve found quite a few great ones on archive.org…that I see AGAIN on etsy.com marketed as the sellers’ own work. As I’ve said before and will say again, I think this is a horrible thing to do. I generally hesitate to call anyone out on this stuff because I’d hate to be wrong. BUT. Antique books are an extremely expensive hobby. I know this firsthand, because there are so, so many things I drool over and cannot afford even if I can find them. And it is virtually impossible to find enough old tailoring materials to compile a very large collection, even if I wanted to spend huge amounts of money on it. So when I see an etsy seller like HowToBooks who deals exclusively in collector’s item/antique books that are listed in ways that bury the actual title/author deep in the description (if they are stated at all) AND who sells items I have found on archive.org–seriously 95% of this seller’s dressmaking/tailoring content is listed there–I know they’re a jerk who’s just taken free materials to sell as their own. Let me elaborate:
“Design Your Own Clothes Mens TAILORING and TUXEDO PATTERNS Formal Wear Tailored Suits” by HowToBooks is actually the 1907 edition of Croonborg’s Grand Edition of Supreme System of Cutting Men’s Garments. Available completely free, here, courtesy of the good folks (likely librarians and interns who spend hours slaving over a scanner) at archive.org.
“Men’s Tailoring the Red Book for Men’s Tailoring 1917” is another Croonborg text–actually called New Supreme System for the Cutting of Men’s Garments. I know for an absolute fact this seller stole this one off of archive.org, because they include a picture of the table of contents that contains a pencil mark that is the EXACT same on the free version of the archive.org pdf available, for free, here.
This seller has a lot of great things listed in their shop. Don’t pay for them. They’re probably all available for free.
There is another etsy seller named BuriedTreasureChest that I found during my search for tailoring references that does the same shady stuff. This jerkface also sells the Red Book of Men’s Tailoring–the same Croonberg text, with the SAME PENCIL MARKINGS on the table of contents. No joke.
They also sell “Victorian Costumes Patterns Book” which is really The Diamond Garment Cutter from 1895. I know they stole it from archive.org because on the page featured on their listing, there is a penciled in “137” that is also visible on…you guessed it…the archive.org version, available free of charge in all its glory here.
This bothers me because libraries are my spiritual homeland (and that smell=heaven) and also because I know what it’s like to spend 10 hours scanning and editing a book because you’re a design/typography/arts and crafts junkie who truly loves these books and wants to partially fund the obsession. As a matter of principle it really, REALLY bothers me when people profit off of the work of others as these sellers are doing. It also bothers me when people don’t cite their sources. It might be petty of me, but HowToBooks has about 4500 sales at current count–if each one of those is $4, then some jerkface has made about 16k, give or take, off of stolen books. Screw them. Screw them so much.
Whew. Sorry, it’s been a stressful work week.
On a happier note, I’ve been hand sewing and it is the best kind of Zen medicine. At least, now that I learned to condition the thread with beeswax. I’ve been working on a wearable muslin of a vest to get a better bodice sloper. It’s actually going very well, and only needs buttonholes now. I also finished my wearable muslin / first attempt at sewing with chiffon. It’s a simple tunic type shirt with set in sleeves and a high scarf collar that ties in front, and gathered sleeves with tie closures. It fits and it has that romantic-young-man-in-a-Jane-Austen-romance look that I like so much. So that’s encouraging.
This is the rabbit hole I’ve been down today. Medieval blackwork embroidery:
All of the above examples are from medieval portraiture except for the photograph, which is from (here). There is a gorgeous reproduction of the cuff above, which is from Holbein’s portrait of Jane Seymour during the Tudor era. This version was done by Alexandra Gray (more info here).
I’ve found a few great sources for this on archive.org–one is a book from 1532 from Alessandro Peganino, because when I go vintage, I go VINTAGE. Here are some of the illustrations it includes:
The original book is available for free (here). I’m hoping to incorporate some of these designs as trimming details on some of my 1920s tunic attempts!
Sometimes I have to drown out the ugliness of the world with the beauty of human nature and human works. So this week there have been a lot of kitten videos, avoiding of facebook and beauty for its own sake. Just thought I’d share some of my current happy micro-obsession with Poiret, the art deco fashion illustration of the 20s, and the multiculturally inspired, out-with-the-corset elegance of the 10s. Many of these are Poiret designs, and many are Barbier illustrations.
Oh internet. Daily you force me to confront the best and the worst in humanity. *waits for pizza ordered online thus avoiding the dread and horror of talking to real humans on the phone* Is there a special circle of hell for people who claim to be book lovers and knowledge preservers who just sit back and profit off of some poor publicly funded librarian’s scanning efforts? I would like to think so. (I noticed this book, and many others, from archive.org listed on Etsy, being sold as someone’s own work. The listing *did* make me sit up and take notice of the book’s content, which is a plus, but also depresses/frustrates/enrages me bc there are sellers who just take others’ work and sell it as their own.)
But where was I? OH YES. Art deco 1920s excellence that I wouldn’t have ever found had I not been snarkresearching on this Etsy seller’s stock. This book by Harry Collins called the ABC of Dress is part dressing guide, part dressmaking guide and the illustrations are gorgeous:
Wanna download it? A variety of formats available (here) free of charge, thanks to the indefatigable wonderful folks at archive.org.
If memory serves me, this French language publication began in the 1920s or slightly earlier, and is still in publication. It features fashion, knitting and embroidery, and many of the ones I have from the 30s still have an included iron on transfer sheet with embroidery designs. As part of my learning curve with digitization methods, I’ve been playing around with one from the 1930s with some gorgeous designs by Maggy-Rouff, Molyneux and Lelong in it. It’s gorgeous, as most illustrated fashion magazines of the era seem to be. (I think I like illustration better than photography in my fashion mags, even though the illustrations definitely seduce me into sewing things that aren’t going to flatter my body but look great in theory on a drawn person whose waist is roughly 12″ around and who stands at least 7′ tall.)
Another thing I love about these old publications is the window they provide into the day to day life of their era. We tend to think of the past as if it were so different, but all the advertising in these speaks to the same things we worry about today–wrinkles, our weight, our hair color, that ever elusive glamor we want for ourselves. Unlike some of my friends who tend to think that technology is revolutionizing our consciousness, etc etc, I tend to think that the human heart stays mostly the same. We all worry about the same things, we all need the same intangible things from each other, whether it’s 1700 or 2015. But outside of the context of one’s era, certain things do seem bizarre…like whatever this beauty treatment ad is offering (if radio-actifs means what I think it does, omg, way to redefine youthful glow):
Another thing I can’t get enough of is old lingerie advertisements and design.
So pretty! So I managed to digitize it all and have it not be distorted, overly blurry or overly contrasted–if you’d like the entire pdf, I’m making it available for free download for a day or two 🙂 enjoy!