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.

RetroGlam holiday weekend dress-up fun

Since this is the Labor Day weekend in the U.S., I have more time for dressing up in vintage clothes and sharing online. I also dressed my vintage fashion dolls up. Here are photos from this special day and my trip back in time to the time when my Mom and Aunties lived. Yes, they wore pretty housedresses like the ones by Pat Perkins. For very special occasions they had a sheath dress in a print or basic black. Other popular styles for day into evening had fitted bodices with scoop necklines, fitted sleeves and flared skirts.

1950s Pat Perkins day dress/house dress

This black and white checked dress is by Pat Perkins. The seller on ebay estimated it was early to mid 1950s. I agree with that because there is a side zipper. The bodice opens part way under the Princess Panel on the left so that the dress is easier to put on.

I plan to take detailed photos of this dress and will share a style and construction analysis. My next project will be based on this dress. I will use the new sloper I am developing for 1950s inspired outfits once it is finished.

1950s cocktail/evening dress-unknown dressmaker-custom sized

I bought this vintage dress on Ebay during Lockdown 2020. The seller described the dress as custom made around the 1950s. It is about one size too big for me, but still I enjoy dressing up in it and taking photos in it. I am not sure if this is considered a cocktail dress, an evening dress or a day-to-evening dress. Sometimes the subtler categories for when women wore what kind of clothing in decades prior to the 1970s pass me by.

This dress is exquisitely made. It is fully lined in a matching mandarin orange colored silky fabric. Both the fabric and the lining are either 100% synthetic or a blend. The brocade of the dress is soft and very comfortable to wear. The sleeves are short mounted sleeves with a gusset under the arm. I think in the U.K. the term is “grown-on sleeve”. The dress closes with a center back slot zipper. There are many other finishing and construction details I will share in the future.

When you see a vintage garment you are interested in for study and/or wear, buy it if you can afford it. Once you own it you have a piece of fashion history. You also have a study piece that will expand your knowledge first hand of how clothing was constructed in the past.

Draping the Basic Sleeve

Introduction

I am ready to begin draping a sleeve pattern for my 1950s style sloper in Misses Size 8, and a 1930s style sloper in Misses Size 4.

My Decision to use a different Draping Technique

The instructions in Precision Draping by Nellie Weymouth Link are for creating a fitted sleeve with elbow dart. I prefer making the basic unfitted sleeve without elbow dart since that is the starting point for other sleeves. The basic unfitted sleeve, meaning one without elbow dart, is used as a sloper. From the resulting basic sleeve further pattern development will create a sleeve with elbow dart for my 1950s style sloper. For the 1930s style sloper the sleeve will have a long vertical dart from wrist to elbow.

By having the basic sleeve without elbow dart as my sloper I will save time in developing other variations of sleeves. I have found the easiest and clearest YouTube video after a week of reviewing about 10 videos. Susan Elias’ video shows a precise, detailed and simple combination method for creating your sleeve. The lower part is drafted right on the muslin using just a few measurements. Susan shows how to take the measurements and do the calculations. She also shares tips for making measuring easier and for pinning the lower half of the pattern.

Draping takes place for the sleeve cap. Susan shows this on a toile she has pin fitted and marked up. By seeing her perform the entire process from beginning to end you will get a good idea of what will happen when you start draping your own sleeve. I highly recommend this video for the technique, the clarity and the orderly presentation. I’m off now to start my own first attempt!

Researching and preparing a 1930s inspired pattern sloper

Introduction

I am preparing two slopers this summer. I already created one that I use for 1940s to early 1950s inspired styles. I used that for the Alice Elizabeth dress and the Linda skirt and blouse. I am now in the progress of creating a more structured sloper that I think will work well with the more detailed and fitted styles of the mid-1950s. As a challenge and contrast, I am also researching slopers from the 1930s. The look of the 1930s was very flowing and not fitted the way 1950s clothing was.

My 1940s sloper is available for copying and sizing here. It is a standard Misses 8. The sloper for the 1950s structured fashions is also in a size 8. However, I think the 1930s look is very flattering to smaller sizes so that sloper will be in a standard Misses 4. I do not intend to use drafting systems from the 1930s. Instead, I will drape a basic unfitted bodice and skirt that approximate the look of a set of pattern blocks I located in a small paperback book called Dress Cutting by Margaret C. Ralston. I will draft a fitted sleeve with vertical dart to complete the sloper.

Here are the screen shots showing the basic block Margaret created from her drafting system. I find it a bit confusing to follow. I am also not sure the fit will be comfortable for the modern women. The sleeve looks very fitted and the sleeve seam is 3/4″ to the front of the bodice side seam. While I love vintage styles I do not think it is essential to go so far to recreate or be inspired by the look. The key for me is inspired interpretation.

Pattern Block from Dress Cutting by Margaret Ralston

The bodice front and back appear to be completely unfitted. In some directions for pattern transformations one dart above the bodice is shown. It might also be a tuck. I assume the bodice block had enough width for this dart-tuck to be created.

The skirt is a rectangle equal to half the hip circumference. It is then slashed and overlapped and the top edge so that the waistline measurement results. I plan to drape a basic sheath skirt. Once that fits, I will distribute the dart ease across skirt front and back waistline. Then slightly overlap the sections. That will produce a slightly flared, straight skirt which is the starting point for the skirt styles in this book. For the bodice I will drape an unfitted bodice. It will go straight to the hip and have the waistline marked off as well. There will be one vertical dart above the bust in front and a neckline dart or two in the back. I’m basing the dart positions on the fitting dress or toile shown in the previous posting.

I think developing different bodice and skirt slopers gives one a more extensive collection of shapes to work from. As I research the 1930s, I’m understanding that for the 1960s an unfitted dress sloper works well. So would an A-Line skirt sloper. Those are the two key shapes for dresses and skirts of the 1960s.

Here are the snap shots of the pattern blocks from Dress Cutting. The last snap shot is a dress that can be made using he pattern blocks and transformation instructions in the book.

Cover of Dress Cutting by Margaret Ralston.

Bodice front and back.

Basic skirt front and back.

Basic sleeve.

Fitted sleeves.

One of the styles that can be created using the block and instructions in Dress Cutting by Margaret Ralston.

The Dressmaker’s Model and Fitting Pattern in the 1930s, Part 1

Introduction

This posting initiates a series on my adventure into creating a 1930s type sloper in a modern day Misses size 4. I think modern sewistas and patternmakers can get a similar look without the expense of a vintage pattern purchase. Nor will there be the many fitting challenges that come with using a vintage pattern. My goal is to simplify a process of creation, not complicate it or make it overly time consuming. I think if enough research is done, it will be possible to come close to the shapes of a basic sloper for the 1930s.

Draping Technique I will use

I am going to use the 1940s draping system called Precision Draping which was developed by Nellie Weymouth Link. The book has been reprinted and is available at booksellers online new or used. While this is not a 1930s draping technique, it is a vintage one. It is easy to learn and provides a good foundation for exploration into the styles of other decades.

Beginning point

As always, research and reading provide insights and ideas. I begin this journey by making available for you a section of Weldons Encyclopedia of Needlework from my very small collection of vintage sewing books. It was published by The Waverley Book Col, Ltd. of Farringdon Street, London, E.C. 4, but no date of publication exists in the book! I estimate that the edition I have was published in the 1930s. As you can see in the illustrations that follow, the silhouette is close to 1930s fashions with longer hemlines and flowing skirts. The fashion figure is also slender and soft. The boxier fashions with emphasis on the shoulder line of the 1940s is not present in the chapter I post here.

We will continue this exploration into the elements of a 1930 sloper and the key takeaways for creating a sloper that can approximate the look in the next posting. For now I hope you enjoy this look into what a sloper and dress form from the 1930s looked like. What is shown here may or may not be typical but it has elements that appear in another flat pattern drafting system from the 1930s that appear in another book I have and will use in this series.

“The Dressmaker’s Model and Fitting Pattern” from Weldon’s Encyclopedia of Needlework

Style lines from a vintage patternmaking handout

In my previous posting, “What are style lines?” I explained what style lines are. I showed how a few style lines can be used to transform a basic skirt and bodice into a vintage inspired fashion from a 1964 magazine photograph.

Today, I’m sharing classroom handouts from a vintage patternmaking book. The style lines used are easy to understand and clearly illustrated on the basic bodice. Based on my knowledge of patternmaking it looks like the “slash and spread” method was used. This means, the pattern was created by tracing the basic sloper. The style lines were then drawn. After that, the pattern was slashed and spread when tucks or gathers had to be created. Other patterns were simply cut along the style lines, like the one for the princess line bodice.

I estimate that these pattern transformations are from the 1940s.

What are style lines?

Introduction

The basic pattern, a/k/a sloper, is the blueprint of a person’s body. It is a one dimensional representation of the measurements of the body used within a pattern drafting system. Or, the dress form itself is the basic pattern in three dimensional form. It represents the standard size or the size of the person for whom it was custom made.

The process of working the basic pattern into an individual style is called pattern transformation. Style lines are used to map out how the emerging style will look. They are drawn onto the basic pattern. Alternately, style tape is pinned to the dress form to show how the garment pieces will look. This helps the draper know where to mold the fabric and how the garment piece should look.

Analyzing an outfit and seeing the style lines

A knowledge of the different forms sleeves, bodices, skirts, collars, pants and dresses can take helps in analyzing an existing style. Rough sketches help clarify if one is seeing the style lines correctly or misinterpreting a photograph or sketch someone else has made. Of course the best way to analyze a garment is to see it in real time. That is not always, possible, though. When one is inspired by a vintage style sketching and studying photos is one way to help in the recreation or updated expression of that style.

An economical way to practice visualizing and understanding stylelines is to have a library of basic bodices, sleeves, skirts and slacks printed on 8 1/2 x 11 paper. With colored pencil or pen these copies can have style lines drawn over them. Immediately you can see the blueprint for the pattern transformation. Which darts and seams the style lines intersect with also comes to the fore. It is possible to get a better idea what needs to be done for the actual transformation.

Example of a style analysis and practice transformation

This photo comes from a 1964 edition of the Saturday Evening Post. Fashions from Hong Kong were featured. This cocktail outfit consists of a silk sheath shirt and unfitted, sleeveless blouse.

On copies of a basic bodice and basic skirt, fronts and backs, style lines are sketched and notes added to better understand one possible way to recreate, or at least interpret, the original 1964 fashion.

I hope these suggestions help you in your next vintage inspired style recreation or adaptation.

Work in Progress: New Misses 8 Sloper

Introduction

I have begun draping a new Misses Size 8 Sloper that is slightly different than the sloper previously completed and now available for your use to size in a graphics program. The earlier sloper has worked well but I want to create another one to check the differences in fit.

This project got its start with the pencil skirt pattern. The skirt currently available is slightly flared and more suitable to 1940s styles. For many 1950s styles a slim pencil skirt is needed. So that is what I draped. I then went on to drape a fitted bodice with darts above and below the bust. I also draped a fitted sleeve with elbow dart.

The curve on the pencil skirt breaks at the abdomen instead of the hipline. I want to see if this results in a better fit for the skirt. A fit that is attractive but not too tight. I’m hoping that the skirt will have more comfort and room to move. Not everyone has a smaller abodomen-larger hip measurement. It can also be the other way around! I look forward to seeing if this small difference results in a more flattering fit.

I drape in tissue paper using the Precision Draping technique created by author Nellie Weymouth Link. The tehcnique can be learned through her book of the same name. I will post photos of the progress and look forward to sharing the finished sloper when completed.

Photos of the pattern in progress

Original tissue paper drape is copied again to tissue paper. I call this the second pattern and it will be used to cut a full toile.

Tissue paper drape after marking. Next step is to press the paper. Then trace to a clean sheet of tracing paper.

A tracing of the drape was made to clean tracing paper. The fitted sleeve pattern needs a light pressing. Next step: cut the sleeve on fabric and add to the bodice.

This pattern is the result of testing the fit using the second tissue pattern paper. The results were good so the tissue was copied to dotted pattern paper.

Dressmaking Past & Present: Tailoring a dressmaker’s suit-Tips from Coats & Clark in the 1940s

Introduction

Dressmaking Past & Present is a new feature at Pour Moi. Fashion History provides us with inspirations for our personal style. Understanding and learning about techniques used in the past and the present helps us find a variety of methods for possible use in our own projects.

This week, I put up some scans from a small booklet published by Coats & Clark in the 1940s. Dressmaker’s Suits have some tailoring but not to the extent that a fully tailored suit does. Here are some recommendations from the booklet that can help the dressmaker achieve the look in each illustration.

“Tailoring” by Coats & Clark – Tips for sewing a dressmaker’s suit