1930s Skirt and Blouse: Finding the Focal Point

Introduction

This week I reviewed the first sketch made for my next project, a 1930s inspired skirt and blouse. I do not have much experience working with styles of this decade, so it is a big challenge for me. I have only made one dress using design elements from a 1930s book, Paris Frocks at Home. That dress was designed as what I envisioned a woman would have as a special occasion dress during the Great Depression. It was pretty enough for a semi-formal occasion and yet could be worn for more everyday events such as a Sunday visit.

With my new project I am envisioning how a woman would dress for work during the 1930s. I want the skirt and blouse to be pretty and attractive enough to be wearable for today. For this reason I am taking only certain elements from the 1930s, not all of them.

I re-thought the first sketch and was not satisfied with it. I will detail the reasons here while sharing the importance of maintaining a clear focal point for any design.

What is a focal point?

A focal point is that part of the outfit where you want to:

–direct the gaze of the viewer
–emphasize a feature and make it attractive
–express an idea about the outfit, i.e. what is the message

Importance of integrating a focal point into the flow of the design

A focal point must be in harmony with the overall appearance and purpose of the outfit. It has to have pleasing proportions and add to the wearers attractiveness. Learning how to balance focal points takes experience. You want at least one, perhaps two. But never so many that the eye does not rest on any particular area and then move to what feature you are emphasizing. For example, in Version 1 of the 1930s outfit there are, I think, conflicting focal points. The scalloped yoke of the skirt competes with the bow of the blouse.

Version no. 2 of the skirt and blouse appears more calm and pleasing to the eye. The flounce at the bottom of the skirt emphasizes the movement when the wearer walks. A second focal point is the v-neckline of the Peter Pan flat collar. A small, marcasite Art Deco broach can be pinned at the neckline to create a second focal point. Or, very pretty but small buttons may be used to create the second focal point. Here there is a more sublte play between the focal points that Version no. 1 lacks.

How to compare focal points and choose the right combinations

One way to choose the right combination of focal points, or choose to have just one focal point, is to make separate sketches of the parts of the outfit. Then make a complete sketch of the outfit put together.

1930s skirt and blouse sketches and notes, Version no. 1

1930s skirt and blouse sketches and notes, Version no. 2.

If doubts remain about the current pairing of separate parts of the outfit, the sketches of the garment pieces can be mixed and matched. This gives some idea on how the elements might or might not work together in a different combination.

Blouse Ver. no. 2 is paired with Skirt Ver. no. 1 on the left. On the right Blouse Ver. no 1 is paired with Skirt Ver. no. 2.

It helps if the sketches are put aside for a day or two. Then they can be reviewed again with a fresh point of view. When performing this review, be aware of what first captures your attention. Then consider how that first focal point works with other elements in the design.

Through this process of sketching, considering, studying and planning you will come up with an important and clear definition of how to proceed in the next steps of your design plans.

My final choice: Version no. 2

Additional Resources

To learn more about focal points in fashion please visit:

UEN Utah Education Network
Emphasis_the_Focal_Point_of_Fashion_1_.pdf
Scroll down and on the right side of the screen are free course materials you can download that will help you understand what the focal point is about.

Purfe: Fashion, design and perfect fit
“Basic Principles of an Outfit Layout: Focal Point”
October 14, 2012
by Olga

New project: 1930s Inspired Skirt and Blouse

Introduction

Here are some ideas for my next patternmaking and sewing project. I will use the 1930s inspired sloper I just finished.

Complete outfit

Blouse made with white crepe or dull, silky fabric in white.

Bias cut bow in pale pink.

Skirt in mid-weight fabric like gabardine or linen-like wrinkle free fabric.

Accessories: The bow and pearl earrings.

The Blouse

Blouse has waistline yoke. This is not a peplum. It is a feature that was common in blouses of the 1930s through 1940s. The lower portion is tucked into the blouse. The yoke creates a smooth look under the skirt.

All dart intake and style ease will be gathered into the waist of the yoke.

Flat Peter Pan Collar of Peter Pan Collar with a slight stand.

Bow is bias cut and goes under the collar. Tied into a bow at center front.

1/2″ buttons. Maybe mother of pearl. Depends on the fabric.

Slightly puffed Bishops Sleeves at cuff. 1″ cuffs. Use the fitted sleeve with vertical dart as the basis.

Yoke length from waist to a point between abdomen and hip.

The Skirt

Skirt length: 28-30″ from waist

Hem to be finished with 2″ wide hem lace.

8″ zipper at center back.

Underline yoke of skirt so that a hidden zipper can be sewn by hand at center back.

Flounce is cut in the bias at center front and back.

Skirt yoke is placed on top of flounce and top stitched into place.

1930s Inspired Pattern Sloper and Toiles

Introduction

I am happy to share with you my hand drafted slopers that can be used to create styles with a 1930s feeling. The slopers are in a Standard Misses Size 4. The patterns were drafted with 3″ of style ease added to upper arm, chest, bust, and hips. The waist has 1 1/4″ ease added.

I did not use a period drafting system to save time. Instead I used the French Fashion Academy drafting technique which I learned in school. I think the results come close to capturing the pattern shapes in the 1930s drafting and sewing books I used for reference.

I release the slopers into the commons. The photos may be downloaded and used in a graphics program like Adobe to refine, grade, print and use as you please.

Research used: 1930s Pattern Cutting and Sewing Books

For the pattern shapes I used Dress Cutting by Margaret Ralston. Here are diagrams from the book for the bodice, sleeve and one of the basic skirts.

I referred to illustrations in Weldon’s Encyclopedia of Needlework as an additional step in learning about the shapes of basic patterns during the 1930s. Here are some illustrations from the chapter about fitting:

The results I obtained differ from the illustrations. The straight skirt is not as form fitting as a modern pencil skirt. The curve over the hip is softer and the skirt falls straight from the abodomen down. This is why I call it a “slim skirt”. I like the fit as it is not tight and it is not that form fitting in front or back.

The slightly A-line and flared skirts do not fall as straight as the illustrations in Ralston’s book would have you think. I was surprised and pleased with the degree of flares each had. They are flattering and permit easy movement.

Hemline lengths differ during the 1930s

I bought scans of fashion illustrations from Etsy. These came from various sources and compiled by RetroKatDigital From the scans I saw that skirt lengths went to mid-calf length or lower from 1930 to about 1937. From 1938 to the end of 1939 hemlines went above mid-calf. The silhouette that became iconic during the 1940s was already evolving during 1938 and 1939. The shoulder line was more defined. The waistline was neatly nipped in and skirts had a more A-line shape that was less fluid, at least for everyday wear.

For this reason I marked two different hemlines on the slim skirt sloper. The shorter hemiline is for 1938-1939 inspired styles. The longer hemline is for styles influenced by fashions from 1930-1937.

I made a mid-calf flared skirt for 1930-1937 influenced styles. The sweep at the hemline is greater than that of the shorter flared skirt to be used for 1938-1939 influenced styles. The shorter skirt also has less flares.

The Bodice-Blouse Sloper and Fitted Vertical Dart Sleeve

The sloper for the bodice-blouse ends at the hipline (8″ below the waist). The waistline is also marked. This way the sloper can be used for a blouse or the bodice of a dress. I chose an unfitted sloper because this shape agrees with what Ralston shows in her book. When used for a dress, the extra style ease can be gathered into the waist. Another approach is to make a toile, and then drape in tucks or small darts.

The vertical dart in the sleeve can be transformed into gathers that fit into a cuff. The effect is a very modified Bishop Sleeve. The sleeve can also be transformed into a sleeve with a point at the wrist. It can be cut above the elbow to make short sleeves, flared sleeves, bell sleeves and other kinds of sleeves.

Special Notes

–The measurements used for the sloper are the Basic Misses Size 4 plus 3″ ease to chest, bust, hips, and upper arm. The waist has 1 1/4″ ease.

–Always make a muslin to customize the fit or check that it is in line with the size 4 you use.

–Seam allowances of 1/2″ to 5/8″ must be added when cutting.

–The French Fashion pattern making system moves side seams of tops, bottoms and slaeves 1/2″ to the back of where the side seam is on the form or where it would be in mass manufactured clothing. This is done to create a better fit.

–The toiles are fitted over a one piece slip. This enables me to determine if the final fit has enough ease. It also improves the look of how the garment will drape over the form.

The Sloper: Unfitted Bodice with Fitted Sleeve (vertical dart)

The Sloper: Slim Skirt

The Sloper: Flared Skirt, longer length

The Sloper: Flared Skirt, shorter length

1930s Slopers Update: Flared Skirt

Introduction

I am making a series of slopers based on basic patterns created in the 1930s by Margaret C. Ralston. Her drafting system and pattern transformations were published in a book entitled Dress Cutting.

I am using the pattern drafting system that was taught at the French Fashion Academy. I find this system more suited to making retro inspired clothing., rather than using a vintage pattern drafting system. This route saves me time and makes the process more enjoyable. Ralston’s instructions sometimes make no sense to me. For example the sleeve seam is 3/4″ to the front of the bodice, meaning the sleeve seam will not match the side seam of the bodice. In the instructions for transforming a skirt pattern, she writes that sometimes a skirt side seam can be moved towards the back. I am sure this all made sense to her students and target audience at the time. However, I am not sure of how the results will look now and I do not have the time to go into that kind of nitty gritty effort to be authentic. So long as I can create a pattern and garment with a feeling and a little touch from a selected time period I’m quite satisfied. My goal is always to create a little bit of the look of retro combined with ease and movement of modern clothing.

The patterns for the 1930s sloper are drafted using the measurements for a Standard Misses Size 4. My vision is to create the building blocks of 1930s inspired styles that will look flattering on a smaller range of sizes. When completed the slopers will be put up at my blog. They can be best graded down to Misses sizes 0 -2 and upward to Misses sizes 6-8.

Three inches of ease at the hips and 1 1/2 inches of ease at the waist was added to the basic straight skirt drafted as the basis for this flared skirt.

Creating the flared skirt pattern and fitting toile

Cover of Dress Cutting (left) and pattern diagram for basic flared skirt. Notice how the flares begin at the hipline with overlapping of the pattern from waist to hip.

On the straight skirt pattern, the first dart by the side seam was closed halfway to give the skirt more ease and add a slight flare. The remainder of that dart was taken off from hip to waist.

Front of flared skirt pattern.

To create the flares the dart intake closer to center front was divided in half. I then drew two new darts equidisant with each having half of the intake. Then I added another slash line. The darts were closed and the third slash line opened. This reduced how high the flares would form. I repeated the same steps for the back skirt pattern.

Fitting toile of flared skirt.

As you can see from the fitting toile this is a very softly flared skirt. The flares begin below the abdomen and the sides fall straight. It feels true to the spirit of the 1930s when dresses were soft and there was lots of flare and movement created by insets, godets and the way in which the grain was used for a blouse, skirt or dress.

As of the date of this posting the skirt has been pinned to the form or 48 hours. I take this step to let the grain settle prior to marking and then putting up the hem. Sometimes I leave it hanging 72 hours. I highly recommend taking this step. Your finished toile will then reflect the way the flares look when hemmed. You will also know if you lose any length due to the way the grain settles. This skirt when finished and hemmed should have a center front length of 27-29 inches, in keeping with the longer skirt lengths of the 1930s.

Happy New Year! Welcome, 2024!

May you enjoy new inspirations for all your creative adventures in fashion sketching, sewing, patternmaking, draping and designing!

Thank you for subscribing and following my blog. There will be more pattern diagrams, drafting instructions, slopers and finished projects to share in the year ahead.

–EmilyAnn Frances May

illustration from pixabay dot com, dress form, member: ArtsyBee

In the works for 2024: 1930s inspired pattern sloper

In the works for 2024: a1930s style sloper inspired by Margaret Ralston’s book “Dress Cutting”. I added 3″ style ease and base is size Misses 4 because I want to do somethingvfor smaller sizes as a challenge. This sloper is based on the French Fashion Academy. That is why it looks different. there will be a skirt sloper, too. The intention is that one can make 1930s inspired styles like some of the skirts, blouses and drop waist dresses in this or other 1930s books. Test muslin is next.

For background information on this project please see my posting: Researching and preparing a 1930s inspired pattern sloper

#sloper #1930sinspiredsloper #1930s

New pattern: Standard Misses Size 8 Fitting Shell

Introduction

I began work on a new standard size 8 sloper in June 2023. The goal was to achieve a sloper with a more shapely fit that the one I developed for making 1940s style clothing. The technique I used for the 1940s inspired sloper was based on Precision Draping by Nellie Weymouth Link. It resulted in a well fitting sloper that had a bodice adaptable to the shoulder pads and boxy cuts of the 1940s. The skirt has a slight swing in keeping with the slightly A-line shape of 1940s skirts.

I used draping to create a highly structured bodice more suitable for 1950s styles along with a pencil/sheath style skirt. The only thing I did not like about the 1950s style bodice was that it was too, too structured for me. I created a bodice with a vertical dart above and below the bust. The fit was balanced but I did not care for how pointy and emphasized the apex was.

Some disadvantages to draping a style or a sloper

It can be tricky to add style ease to a design made using a sloper. In draping, too, adding a pinch here and a tuck there will change the fit of the garment once the toile is made and fitted on the person or form.

I have seen videos on YouTube where those demonstrating how to drape a sloper on a Misses 8 recommend that the finished garment be labelled a Misses size 6. I didn’t want to go in that direction so I decided to go back to the flat pattern making method I learned at the French Fashion Academy.

Draping still has many advantages. It is a wonderful learning process. Flat patternmaking offers many advantages, too.

Spending three months practicing draping made me very aware of the kind of silhouette I wanted the new size 8 patterns to have. There would be a basic pattern with fitting details but overall a softer effect. For this reason, I created a fitted bodice with only one vertical dart below the bust. The shoulder dart in the back bodice was eliminated. And the fitted sleeve was drafted and adjusted so that there is much less ease to work into the armhole. For the fitting shell, there is less than 7/8″

Fitting Shell vs. Sloper

A professional dressmakers form has some style ease added into it. A sloper for a Size 8 will result in fashions for that size 8 but it may not have ENOUGH style ease to accommodate a range of body types within that Size 8. This is why I decided to go back to the French Fashion Pattern Drafting System.

In the French Fashion system a Fitting Shell is created after taking body measurements. No ease is added. The flat pattern is drafted and the fitting shell tested. It has to fit the form or person like a second skin. When all is corrected, the fitting shell pattern is a blueprint of the form;s or person’s body.

When a pattern is created for a particular style, design ease is added to some of the body measurements. I have found that adding 3″ each to Chest, Bust, and Hips; 3″ to upper arm circumference; 1-2″ to wrist circumference; and 1-1 1/2 inches to waist circumference produces comfortable garments with a good fit. Other garments like coats and suit jackets may need more ease.

This means every style has to have the basic patterns drafted with the style ease added in. It is more work but the results are much more accurate for me. In 2024 I begin drafting and making designs using the patterns based on the measurements used to create the fitting shell.

I offer these photos of the fitting shell for copying. You may reproduce and grade the pattern for your own use. Please test each time making a muslin toile.

Notes about using the Fitting Shell

This fitting shell was created using the Standard Measurements for Misses Size 8,

–There is no style ease added.
–You need to add 1/2″ to 1″ seam allowances. Wider seam allowances make it easier to make adjustments if have to let out the seams.
–Match points are marked with a “+”.
–To sew the sleeve: Use a double row of machine stitches all around the cap. When basting the cap to the armhole, match the “+” marks and the dot on the cap to the shoulder seam. Draw up the stitches and distribute ease around the cap then baste to the armhole.
–The skirt length is 25-27″ for typical 1950s fashions. Add a two inch hem for the fitting shell.

Photos of the Misses Size 8 Fitting Shell

Please Note: a few adjustments were made after these photos were taken. i did not make another fitting shell because the adjustments are minor. This was a working version, of the fitting shell which is why you see the pen marks on it.

Misses Size 8 Fitting Shell

I release these photos into the commons. They may be copied, sized in your graphics program, graded and used for whatever purpose you choose.

Merry Christmas!

Wishing you a beautiful, magical Christmas!

Keep that joy, light and love within your heart every day of the year!

Late 1950s Cocktail Dress: style and garment construction analysis

Introduction

I purchased this dress during the Covid-19 Lockdown of Spring 2020. At the time I was teaching myself Precision Draping, a vintage draping technique created by Nellie Weymouth Link. Through that self-learning I was becoming very aware of the effects dart manipulation had on creating vintage looks. I bought this dress as a study piece.

No specific decade was assigned to the dress. After studying the construction I estimate it was made late 1950s-early 1960s. I say that because of the lapped zipper application at center back. Many of the early 1950s dresses I have as study pieces, have lapped zippers in the side seam. Another indicator of time period is the skirt length. At the height of the 1950s skirt lengths were to mid-calf. As the 1960s began hemlines rose to an inch or a few inches right below the knee. This skirt comes to about 1 1/2″ below the knee when I am wearing it. I am 5′ 5″ tall.

The dress is shown here on my 2019 Wolf Misses Size 8 dress form. This dress may have been custom made. The waist is situated an inch above the dress form waistline. The bust apex is also slightly higher than the apex on the form.

I want to share the inside details with you because they offer a wealth of information about how dressmakers and home sewistas constructed their clothing during the late 1950s-early 1960s.

Bodice Front: Bustline Darts and Apex Point

There are 2 darts shaping the bodice front. The darts meet very closely at an apex point slightly above where the apex point is on the dress form. On the form the length from neck to apex point is 10 inches. On the dress the apex is about 1/2-5/8 inch above that. I can only think that the dress was designed based on the bullet bras or balconette bras of the time period. These were highly boned and made to uplift the bust very high, so that it would be visible against a low cut neckline. The neckline on this dress is not so low, so I think the point created by the two darts is intended to draw the eye further upward. It creates interest at the bust and lessens the ability of the eye to see that the wearer is short waisted.

As you can see in this closeup, the two darts converge at the apex point of the bust. There is a horizontal dart beginning at the front side seam. The vertical dart originates at the waistline, and goes up to the apex. From the apex it angles upwards. I think this bodice might have been adjusted for a customized fit. The angled portion above the apex could have been created during a fitting. The only other explanation I have for this unusual vertical dart is that another dart may have existed at the neckline. It was closed and transferred to the vertical dart. The neckline might have required contouring so that it fit better. Both on the dress form and myself the effect of the vertical, angled dart does not look flattering up close. Not even my underwire push-up bra makes the bodice look good! That is how high up the apex is!

Sleeve: Short Mounted Sleeve with Gusset

Short mounted sleeves with a gusset were used for the dress. The point of the gusset begins a little above the waistline. The point and corners of the gusset are very neatly sewn. You can get a better idea of how neat the sewing is by looking at the lining.

This type of sleeve gives a very close fit under the arm. It may have been chosen because the upper part of the sleeve is cut in one with the bodice at front and back. In wearing this dress, I loved the look but not the restriction on my movement. If I raised my arms very high or very often, the entire dress moved up with them. There is not enough room to move very freely or with a great scope of movement.

The darts of front and back skirt are not as long as darts on modern skirts. They are also positioned more to the side seams than close or on the princess lines. The front darts are about 2 1/2″ each, the back darts 4 1/2″ each. The effect is very rounded. Again, this indicates to me that the dress was custom fitted.

For flat patternmaking I use the French Fashion Academy Method by John Klamar. In that system the dart placement for the first dart is center of each skirt panel. This means half distance from Center Back and half distance from Center Front.skirt. The second dart is 1 1/2″ from the center of the first dart. Dart lengths are longer, too. The entire effect is more elongated and, I think, more flattering when the basic skirt is made up.

Closure: Center Back Lapped Zipper

The zipper closure at center back is beautifully finished. The addition of two bows at the waistline and top of the zipper adds yet another unique touch to this dress. The folded band over the waisline is hand sewn into place. It creates the look of a belt. The zipper even has a fabric loop and hook at top.

Finishings: Seam finishes, hems, bra strap holders

The dress is completely lined. The skirt lining hangs freely away from the bodice and is machine hemmed. The rest of the dress was hemmed by hand at skirt hem, sleeves and where the lining is attached to the neckline facing. Seams were pinked. The bra strap holder was made with the lining fabric.

What is the story with the darts?

I wondered why so many darts were used at the bustline, and why the darts at the hipline created a more rounded effect than I am used to seeing, even in vintage clothing.

I recently bought a reprint of a late 1950s sewing book entitled Sew The French Way by Line Jaque. I do not have any information about the author except that the book was originally written in French. In this book Line Jaque provides fitting instructions that are outside the norms of commercial patterns. The emphasis is on using as many darts as needed to achieve a good fit.

There are illustrations showing the kinds of dart placement found on the skirt of my cocktail dress. The lengths recommended in the book are the same as the dart lenghts for the skirt of my dress. I found this very interesting, too, because Line Jaque states it’s not necessary to have skirt darts align with bodice darts. Everything must be placed for the best fit possible.

Here is another illustration from the book showing the bodice of a dress with long mounted sleeves that have a gusset. Note the skirt darts. I hope this analysis has helped further your understanding of vintage garment sewing construction and design details.

Fantasy draping: release your creative visions!

One way to develop your creative visualization and draping skills is to play with fabric! That is what I did during a break from my housework this morning.

To enter into the spirit of fantasy draping, buy large lightweight scarves and a yard or two of lightweight, soft fabric. These can be a poly charmeuse, poly crepe back satin, a light weight cotton chambray or batiste–or if you can afford it–a 1-2 yard length of a silk blend or a few very large silk scarves.

I have not tried heavier weight fabrics as I am not feeling very inspired by denim or tweeds at the moment.

Hold the fabric in different positions over the dress form. Try to have a conversation with the fabric to learn what it wants to do. You may discover that the cross grain looks better than the lengthwise grain, or a bias cut really takes your vision to a new high point.

Here are the results of letting my imagination take wing for a few minutes. These are not meant to become a finished evening gown or cocktail dress. Rather, this exercise is meant to help me develop a feel for handling the fabrics and learning what they want to tell me.

I recommend this activity as a way to heighten your abilities and expand your understanding. I describe this as fantasy draping because I can get as outrageous as I want and not worry about final results. This is all a way to see how far the fabric will let me go and how it will look.