Dressmaker’s Library: Gertrude Mason’s Pattern-making Book

I bought this book through Amazon under the title “Pattern Making: Drafting 1930s Lingerie, Blouses, Skirts & Sportswear Fashions” by Gertrude Mason. The book was originally titled “Gertrude Mason’s Pattern-Making Book” and published in the U.K. in the 1930s. Ms. Mason was, according to the title page in the reprint I purchased, “a lecturer demonstrator in needlework, dressmaking and tailoring under the Board of Education, The Birmingham Education Committee and the Kent Education Committee.”

This book may have been part of demonstration materials or course materials for Ms. Mason’s work. In a demonstration or class, there would be hands-on exposure to fitting challenges or times when the resulting pattern did not conform to the examples given in the book. Explanations would be provided. That is why I think this book was intended for such use. It is not the kind of book that makes fitting and altering the results easy for the beginner. This book also lacks a personal touch that would guide the patternmaker along the way. There is little introduction or explanation at the start of each chapter. Instead the reader goes right into instructions for drafting each pattern. The approach is step by step, along with clear illustrations of the resulting pattern. However, at no time are any comments or notes given to explain what should be done if the resulting pattern does not turn out as illustrated.

My review is based on my personal experience using the drafting system and pattern transformations in this book. I followed the chapter on taking measurements using my Wolff professional dress form size 8. The basic patterns for what is called The Magyar and the simpler wraps turned out acceptable, but not outstanding. The results were very loose and could easily be made using a modern day sloper and transforming for a mounted (a/k/a grown-on) sleeve. These early patterns are all unfitted, boxy and without darts. Tucks, pinch pleats, and shirring could be added as shown in the illustrations, but no written instructions are provided.

I then tried drafting the basic skirt pattern using the measurements from my Misses Size 8 dressform. Following the instructions I ended up with a very large back dart on the skirt. I divided the width into three separate darts. Still the skirt did not fit well across the front. The front ended up not being dartless but needing one dart on each side of center front. The resulting skirt was wide at the bottom but did not have the flow and movement of a modern A-line or flared skirt.

There must be adjustments that could be made but overall I did not find the effort worthwhile. I used up a lot of pattern paper and muslin to test the results of this patternmaking system. I could have adapted my modern slopers. Each chapter has a set of measurements used as an example for drafting each pattern. The calculations for each step are also provided. The basic body measurements used in the book are close to a Standard U.S. Misses Size 8. I may revisit this book and use those measurements to draft the patterns. I could then alter the toile to fit my modern Wolff size 8 dress form. From that I could make a sloper. That is one route others can take if they are interested in standard sizes and slopers.

This book does have value for the historical information it provides. Also the illustrations of the transformations can serve as a guide to drafting or adapting any modern patternmaking system to get similar results. In the end, I think it is more important to achieve perfect fit with a vintage look than having to use a vintage pattern drafting system that results in poorly fitting clothes or results that can be easily reproduced with a modern drafting system with perfect fitting.

The Linda Walking Skirt and Short Dolman Sleeve Blouse, 1940s style

Introduction

Last Spring I began development of a walking skirt and short dolman sleeve blouse based on two vintage pattern illustrations. I studied the wardrobe basics of 1940s everyday women’s wear. Clothing in the early to mid-1940s had to be functional. Fabrics, threads and notions were not easily available due to rationing. All resources, including textiles, were prioritized for the use by the troops and initiatives to move the American people towards victory in the war. This meant great sacrifice and rationing of many necessities.

Americans received ration coupons for clothing, food, shoes and other items needed for daily life. To get a new blouse, for example, so many ration book coupons had to be used for the purchase. One had to be very careful with how they used their allotment of coupons. When they were gone, there was a wait until the government issued new ration books.

This is why many everday clothes of the WWII period and shortly thereafter had a minimum of details. Everything had to be functional. Because of this simplicity, it was important to buy clothes that fit well and were well made. They had to last for a long time.

Development of the outfit

I took inspiration from two 1940s pattern envelope illustrations. The pattern was developed using a Misses Size 8 sloper developed through Precision Draping. Further draping was done on the basic blouse to develop the dolman sleeves.

The blouse features a shoulder dart, short dolman sleeves and a round neckline. As I developed the pattern and tested the toile, I learned that I needed a shoulder pad to support the shape of the sleeve on the shoulder line. Omitting the shoulder pad caused the sleeve to droop and the entire blouse looked tired. My solution was to purchase very thin, regular set-in sleeve shoulder pads and use them for the blouse. I had to experiment with the placement until they looked just right. In the end, the shoulder pad extended about 1/4″ past the shoulder line. The shoulder pads are about 1/4″ thick.

I lowered the neckline of the blouse so I could wear a locket or chocker with the blouse if I wanted to. I selected a very silky, dotted print. To create some visual interest I used 1/2 wide white buttons sewn on with red thread. The contrast worked with the red background and the white dots on the fabric.

I think that 1940 walking skirts are much more figure flattering than pencil skirts. Most 1940s skirts curve over the hip and slightly extend out from there to the hemline. This is not the cookie-cutter A-Line skirt of the 1960s. This is more a slim skirt with a nice built in movement. The skirt moves very nicely when walking. I added kick pleats in front and back to get the most movement out of my skirt.

Fabrics, sewing and finishing details

The front facing of the blouse is in one with the blouse front. A separate facing piece is used for the back. The fabric is very slippery and needed gentle shaping for the neckline and blouse front. I cut the cotton batiste used for the interfacing on the true bias. This worked well with the fluid properties of the fabric. Seams were stitched together, pinked and then stitched again away from the edge. All seams were pressed to the back. Wrights Flexi-Lace was used to finish facing, sleeve hem and blouse hem. The entire facing was slant stitched by hand to the blouse using a fine hand sewing needle and small stitches that were not too tight.

The bias cut batiste interfacing has 1/2″ extra past center front. This creates a soft roll on the front of the blouse. The sleeve edges have a 3/8″ bias cut interfacing that extends past the hemline to create a soft fold when hemmed. The sleeves also are finished with Wrights Flexi-Lace.

The skirtis a lightweight blend that needed body to support the kick pleats. For this reason I choose to underline the skirt. Seams were pinked and straight stitched 1/8″ from the edge. The edges around each kick pleat and the hem are finished with Wrights Flexi-Lace. To add some visual interest I backed the kick pleat insert with the blouse fabric. On the back of the skirt I placed the size and designer labels on the kick pleat. The kick pleat is catched stitched to the underlining at the top.

The skirt has a side lapped zipper application that is hand stitched into place. The waistband uses Banroll to maintain the shape.

The dolman sleeve has a low armhole opening. This blouse is very comfortable but the bra shows just a little if the arm is raised. If this is a problem a camisole or slip can offer some more coverage. Personally this does not matter to me, as I do not think that many people are going to be looking under my arms and into my blouse.

Since the fabric was very slippery, easing the facing into the proper position created problems. I had to place the blouse inside out on the dress form. Then I pinned and basted the facing into place and after that the hem.

The finishing touch is a custom made label and size label. This always gives me a great sense of accomplishment. I recommend getting your own custom labels for your own creations.

Photos of me wearing the Linda skirt and blouse

Linda was a popular name for girls in the 1940s. I chose this name because it conveys a sense of the everyday which this outfit is meant to do. The emphasis is on fit and a flattering result. I am delighted with this vintage inspired outfit because it can work today and any day in any year.

The finished pattern diagram is available in this posting. It may be copied and sized in your graphics program. I release the pattern into the commons for anyone to use. Always test the pattern and make adjustments where needed.

How to draft a Sheath Skirt Sloper

These pattern drafting instructions were given to me by a student who attended the Traphagen School of Design in the 1980s. It was a private design school in New York City. The instructions are very simple when you take the time to read them through before you start drafting your pattern. Make a muslin to test the fit before using this as the basis pattern for any pencil skirts or other designs based on the basic skirt sloper. The basic sheath skirt (a/k/a pencil skirt, slim skirt, wiggle skirt) has not changed. This pattern can serve as a sloper for vintage or modern skirt designs.

Measurements Needed

Center Back Length (from center back waist to desired length of skirt)
Center Front Length (from center front waist to desired length of skirt)
Back waist measure (from side to side seam at back)
Front Waist Measure (from side to side seam at front)
Hip Measurement – 7 to 9 inches below waist-use widest circumference. Add 2″ of ease to measurement.
Lower Edge of Skirt (this measurement is determined by the hip circumference plus 2″ ease

Important Note: Look at the complete diagram. The rectangle runs from point A back to point A front at waistline. Point B back runs to point B front. Point A to B in the back and Point A to B in the front is the skirt length. I found it easier to start with a large rectangle where A-A and B-B equals the complete hip measurement plus 2 inches of ease. So draw A-A for the waist. The draw A to B for center back. Draw B to B for lower edge. Then from B in lower edge of front draw a straight line up to A front.

Then proceed to step 2.

1. Draw a line from A to B equal to desired length of skirt measurement.

2. Square a line up from A and B equal to 1/2 ofequal to 1/2 of B (lower edge) and mark center C.

3. A to D is 7 to 9 inches below waistline. This is the hipline level. Connect D on center back to D on center front. Mark Center E.

4. Measure from point A at center back to 1/2 of back wait measurement plus 1 1/2 inches for two waistline darts. Mark point F.

5. Measure from point A at center front to 1/2 of front waist measurement plus 1 1/2 inches for two waistline darts. Mark point F.

6.. Square a line up 1/2 inch from point F to G on both front and back. Mark point G.

7. Shape curve of hip from point E to G on back and front.

8. Shape front waistline from A to G. Shape back waistline from A to G.

9. Plan the position for a 3/4″ wide dart to correspond with the waistline dart position of the back bodice*. Make dart 6 inches long.

10. Plan the position for the second dart 3/4″ wide and 5 inches long. This dart should be the center from the end of the first dart and the side seam at the waistline.

11. Plan the position for a 3/4 inch wide dart to correspnd with the waistline dart position of the front bodice*. Make dart 4 1/2″ long.

12. Plan the position for the second dart 3/4 wide and 4 inches lont. This dart should be the center from the end of the first dart and the side seam at the front waistline.

13. Cut out sloper. This sloper must have 1/2″ seam allowances added at waistline, side seams and center back. Add hem allowance at bottom of skirt. The hem for the basic skirt is usually 2″

Photos of me wearing the Pat Perkins 1950s dress and my 2021 version

Please note: I forgot to button the second button on the Alice Elizabeth dress when putting it on for the photo. Also my version of the dress was created for a Misses Size 8. I did not alter the pattern or the dress because this is part of my portfolio, not my personal wardrobe.

The Pat Perkins dress is a little short in the waist for me. otherwise the fit is very good. There is a 2″ style ease at the waistlisne which makes putting on the dress very easy. I wore the dress all morning and found the side zipper did not bother me at all. Going forward, I will use a lapped zipper in he side seam for my next 1950s style dress. I think I made too much work for myself going with snaps from waist to knee.

The side seam zipper lies flat. It does not affect the hip line or bodice side seam. I think this is because the fabric is a lightweight cotton. This was an amazing purchase, The dress is in such good condition. I feel so fortunate to have it both to wear and use as a study piece for learning more about vintage garment construction.

Free Pat Perkins 1950s inspired Repro Dress Pattern

Introduction

Left: First sketch. Right: Finished dress.

I am releasing my pattern for the Alice Elizabeth dress into the public domain. You are free to download and size it up or down in a graphics program. You can alter the design. I also give permission to use it privately or commercially.

This is a basic pattern that you can use as the basis of your own rendition of the style.

Please refer to the following posting for further details and as a guide to whether or not you want to make the dress with closures like I used or that are on the original 1950s dress.

Pat Perkins Everyday/House Dress Circa 1950s – Analysis

Alice Elizabeth dress – Construction details on my interpretation of the Pat Perkins dress

This pattern was created using a combination of draping and flat pattern making based on the 1947 technique, Precision Draping. A Wolf Form in Misses 8 was used. The resulting dress can be labelled a Misses 6/8.

The pattern is showed on a cutting mat using inches. All pattern pieces do not have seam allowances.

Bodices

Six-gore Skirt

All-in-one sleeve

Top collar, under collar, front interfacing

Alice Elizabeth: My version of a 1950s House Dress by Pat Perkins

Introduction

The dress pattern and design is based on a 1950s house dress by Pat Perkins that I bought during Lockdown 2020. I wanted to create a basic pattern to dervice this and future retro inspired clothes I make. I bought the dress from a vintage seller on Etsy and posted a detailed style analysis . I had plenty of time during lockdown to learn about different vintage draping and patternmaking systems. I chose to teach myself Precision Draping from the book of the same title by Nellie Weymouth Link.

After draping the basic toile on a 2019 Misses Size 8 Wolf Form, I created a sloper on oaktag. I released this sloper into the public domain for anyone to use and improve on. This sloper is the basis of the pattern for the Alice Elizabeth dress.

Dress and Pattern Details

The dress consists of a fitted bodice with two vertical dart tucks on each side of the bodice in front. The skirt is six gores with a very moderate flare at the bottom. The Pat Perkins dress has buttons and loop closure down center front. A metal zipper was sewn into the left seam from 2″ under the arm until the hip line using a lapped application.

I do not like side seam zippers for two reasons. First they can be uncomfortable. Second they interfere with the flow of the underarm seam and skirt side seam. Since fitted clothing often falls on the bias at the side seams the potential for distortion exists. I hand sewed six button holes in the front of the bodice.

My reasons for avoiding buttonholes on the entire dress is that it would spoil the look of simplicity and efficiency the house dress is supposed to convey. I had not thought about using a hidden zipper when the dress was in progress. Now that it is finished I have a hidden zipper in mind for the future. It is a simple application I will detail when it is in progress. I used snaps because the front portion of the skirt looks better. The eye is drawn upwards to focus on the striped buttons and self-fabric belt. I do not care for metal eyelets and prongs in a belt so I used snaps to fasten the belt.

The edge of the front facing, the waistline stay and hem were finished with navy blue Flexi-Lace by Wrights. Seams were pinked. I chose these finishes because they are similar to home based seamstresses used in the 1950s. The Flexi-Lace tape was completely stitched by hand to the waistline seam using a running stitch at the waist and edge for flexibility. I used a cross-hatch stitch to join the stay to side seams and dart tucks.

The dress is made from 100% cotton chambray. It is very soft with a good drape. To support the dart tucks more a small edge stitching was used.

A back yoke was used to eliminate the neckline dart on the basic back bodice pattern. That too was edge stitch. On the inside, the yoke is interfaced and lined. The dart tucks in the back are also top stitched.

The collar is a basic collar pattern with a high stand. The undercollar and interfacing are cut on the bias. The sleeves have all-in-one cuffs.

Accessories

I chose understated accessories in sterling silver to keep to the everyday quality I want this outfit to have. The earrings have a pretty filigree. A small silver necklace, about 16″ long, with tiny beads would also look good with this dress.

Ballerina flats in navy blue complete the outfit. They pick up on the color of the stripes on the buttons. The overall impression of this outfit is meant to make the wearer attractive in a modest, understated fashion just as house dresses were intended in the 1950s.

Pat Perkins Everyday Dress, circa 1950s – Analysis

Introduction

Further consideration of my plans for my next project is needed. The sketch of the chambray shirtwaist dress expresses my idea. However, the details I had envisioned must be changed.

I had planned on having in-seam buttonholes. I have been wanting to try this kind of buttonhole for a long time. I want to see how it will work on light to medium weight fabrics. As I thought about my shirtwaist dress I can see that having a seam along center front will cut into the middle gore of the skirt front. This will add extra weight and interfere with the flare. I plan a six gore skirt for the dress.

Possible solutions for new design details

I decided to analyze the construction details of a Pat Perkins everyday dress I bought on Etsy. Pat Perkins was the name of a dress manufacturer in the 1950s. They provided some of the dresses worn by actress Audrey Meadows in a popular sitcom, “The Honeymooners”.

I found the solution to keeping the flares of the skirt undisturbed. I will have to install a lapped zipper into the side seam. I will use the same treatment as used in the Pat Perkins dress. This means I can use in-seam buttonholes for the dress. However, the buttons will only be used on the bodice. Having a size zipper will provide the means for ease in putting the dress on or off.

Pat Perkins Everyday Dress circa 1950s

The dress has a fitted bodice with two vertical tucks on each side at the front. The short, unfitted sleeves have a self cuff that turns up from the inside. The collar is similar to a blouse collar and has very little stand. The back bodice has two very small tucks on each side.

The skirt i seven gores: 4 in front and 3 in back. There is a slight flare in each panel. The panel at center front has a seam. At the back there is no seam in the center skirt panel.

To make the dress easy to put on and off, there is about 3″ of style ease at the waist. The fit near the chest and bust has a little less style ease. This will help me adjust my pattern after using the sloper to trace the basic pattern.

The zipper is machine stitched into the left side seam. There is an underlap of fabric that provides body for the zipper and protects the wearer from feeling the zipper teeth. I plan to do the zipper application by hand and use a lightweight nylon zipper. The one in the original dress is metal.

The dress closes with self fabric button loops at center front. An underlap on the left side of the front bodice provides support.

The belt holes are not reinforced with any stitching. No eyelets were used. The buckle is covered with the fashion fabric. Narrow loops at the side seams are the only support to hold the belt in place. The backing has the stamp “Belt King”. I plan to use a belt kit and eyelets. At the side seams I usually use thread loops.

To lend a touch of support to the back of the dress a long facing is used as part of the collar treatment. I do not plan to use this neckline finishing since my dress will have a yoke.

The seams are not finished. No pinking, no edge stitching. The waistline seam is pressed down rather than up. The hem was turned twice and looks to be hand finished.

Spring!: My recreation of a Vintage Blouse

Introduction

I purchased an early 1960s blouse by the Tropicana company during the furlough from my job due to COVID-19 this past Spring. The blouse provided a fun challenge to me during those days at home. I decided to renew my skills in draping and recreate as much as possible the blouse. As happens, the blouse was not enough. I decided to make a denim skirt to go with the Tropicana blouse and my own version of it.

My recreation was draped on a Standard Misses size 8 form. The resulting pattern was then altered to address my own fitting needs.

The original Tropicana blouse has slits that open from below the waistline.. The skirt and blouse are worn over a white full-slip. The slip provides an extra layer under the lightweight fabric of the blouse. Without a slip or cami, one’s bra will be visible.

The original skirt was altered from a Misses 8 to fit my skirt size which is between a Misses 8 and Misses 10. I have pinned it to better fit the form.

I do not pose for photos in my finished garments. The reason is to keep attention on how I created the look. I want any reader to review my content and consider if these same style elements can be applied to creating a similar style expression for themself.

Comparison: Vintage Original and My Reproduction

An unusual detail of the original blouse are the buttonholes at the back. The first buttonhole is horizontal, the rest are vertical. I duplicated this in my reproduction. The reason the first buttonhole is horizontal may be to ensure this stress point remains closed. The neckline of the original is quite close to the neck. I scooped my version a little more to make the blouse more comfortable. Perhaps the vintage blouse was meant to be worn with a short string of pearls or a necklace on a short chain. I opted for comfort.

Finishing Details

A narrow merrow-type of stitching finished the edges of the hem, seams and facing. I got fancy with my version of the blouse. I used a pink flexi-lace to finish the hems and facing of the blouse. Seams were straight stitched, then zig-zagged together and pressed towards the back.

Little Details

The original and my reproduction have a vertical tuck that ends 1″ below the apex of the bust and about 2″ up from the hem. At the 2″ mark the tuck ends and the slit begins. A bias cut strip of fabric is sewn, turned right side out and hand sewn above the opening of the slit. It is them tied into a bow.

A side bust dart, about 2″ down from the armhole, provides slight shaping in the original. My reproduction goes straight down from that point.

Skirt Details

The skirt is a medium weight denim by Kauffman. I made a kickpleat for the back and draped for a relaxed fit. The denim shreds so seams were finished by straight stitching 1/4 ” in from the edge and then pinking. The hem and edges of the kickpleat were finished with navy blue flexi-lace hem tape. The kickpleat is held in place by small inverted “v” shaped stitching at the beginning of the pleat.

Jewelry and Shoes

Spring into Summer gets humid here in the Tri-State area (NY-NJ-CT) so keeping things simple with jewelry and accessories is important. I chose to work with gold jewelry since there are golden circles that are part of the pattern on the blouse fabric. The tiny heart charm has a diamond chip at the center of an 8 pointed star. The pattern of the blouse does not necessitate a necklace but I’d wear one anyway. The golden bangle was my Moms and my Grandmother wore hoop earrings similar to the ones I chose to complete the look.

Beige sling back shoes help the leg look longer since the eye is drawn upward. The bonus is that these shoes are also one of my choices for the denim chambray dress I intend to make as my next project after completing the basic fitting toile in progress now.