1930s Inspired Skirt and Blouse: Fitting Toile Completed

Introduction

The fitting toile for my 1930s Inspired Skirt and Blouse is finished. I am now thinking of a name for this outfit. I have to research popular women’s names during the 1930s. When I find the one that resonates with this outfit that will be the name I choose. This usually happens after I have completed selecting accessories and lingerie to complete the look.

Please note that the sloper and the pattern are not copies of 1930s patterns or created using a 1930s patternmaking system. I used a modern patternmaking system to save time and because the resulting fit meets the needs of the modern woman for comfort to move and ease in putting on and off.

Details of the Fitting Toile for the 1930s Inspired Skirt and Blouse

One of the difficult details for me in recreating a 1930s inspired blouse was training my eye and mind to accept a wide, flat fitted collar. On the right hand side of the collar in the photo is the narrow collar I started with. I thought this would look better. As I thought about it I realized that I am thinking too much of the narrow Peter Pan collars of 1950s dresses and blouses. I have experience with those, but not with the bolder, wider styled collars of the 1930s.

To attune my eye so that I created the right width I drafted a wider collar and made a toile from that collar pattern. I then pinned it over the left side shown in the photo. I gave myself time to visually accept the comparisons before making a decision. In time I realized the wider collars felt right and looked better for this style of blouse. So with that the wider flat fitted collar was chosen.

Note: Collar on left is wider than collar on the right. The comparison was made to determine the best width for the overall look of the blouse.

Have you ever noticed how many vintage pattern illustrations from the 1930s and 1940s show blouses with smooth lower portions that look like peplums? Not every blouse with this lower portion that looked like a peplum was indeed a peplum. It was actually a blouse yoke, a feature that is still used in French couture today. The blouse yoke is made from a basic pencil skirt pattern with length equal to distance from waist line to hip line. One or both darts are open to create a very slight flare. The yoke is adjusted during fitting to come a little closer to the hip curve.

The upper portion of the blouse runs from the neckline to waistline. The waist is sewn to the yoke after the bodice side seams are finished. When the skirt is put on, the yoke holds the blouse in place. It also provides a nice fullness and smoothness for the skirt to flow over the hips.

The flounce pattern is derived from cutting a length off the upper skirt pattern. Front and back are evenly divided and opened an equal amount for the slashes. Here is an important tip I learned from trial and error: measure the width of the hem at front and back. They should be equal. Otherwise the flares will look uneven. To get the best and softest flow and movement, cut the flounce at center front placed on the fold of the true bias. This takes more fabric but the result is very beautiful. The flounce can also be cut with center front on the lengthwise grain. There will still be flare but not as much as when cut on true bias.

The skirt will have a 1/2″ to 3/4″ waistband backed with Ban-Rol. This gives a smooth look and fit. The result is that the waistband has an effect similar to a belt. The skirt fits better and the waistband never rolls or bends as it would without interfacing or a non-woven interfacing that is washed or dry cleaned many times.

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)