Browsing Tag:

1920s

Anatomy of a 1920s Pattern

As we approach 2020, there has been a marked uptick in interest in the 1920s. (How many Great Gatsby parties have YOU been invited to for New Year’s Eve? Remember, ain’t no party like a Gatsby party until there is a sizable body count!) I’ve been beefing up on my 1920s dressmaking for a couple years now, and I wanted to share an original pattern with you.

There were variations between the pattern companies, but this Pictorial Review pattern is pretty typical of the era. The pattern is only provided in one size per envelope, and the pattern pieces are unprinted tissue. There is no separate instruction sheet – all the instructions given are what you see on the pattern envelope. There is actually quite a bit of information provided, but it is certainly much less than modern sewing patterns contain!

Pictorial Review Pattern 1973, c. 1924
Pictorial Review 1974, Envelope Back

The front top of this pattern envelope gives the size (Bust 36″), the price, a sketch, and a basic written description of the garment.


Underneath the sketch there are yardage requirements listed for different widths of fabrics and it tells us that the seam allowance for all seams is 3/8″, and then a visual construction guide for the pattern is provided. The pieces illustrated represent all the pattern pieces provided inside the envelope, and there are notes labeling what the pieces are (Front, Back, Sleeve, etc). This construction guide also numbers all the notches which shows how the pieces fit together – notch 3 on the skirt front matches to notch 3 on the skirt back, indicating that those seams will be joined. Less obvious are the armhole notches – notice that the front armhole has notches 11 & 12, and the back armhole has notches 13 & 14. These notches correspond to notches 11, 12, 13 & 14 on the sleeve cap (both the long and short sleeve versions). ALWAYS mark your notches when cutting out your fabric, as this is how you’ll know how the pieces fit together!


On the back of the envelope, it tells us a bit more about the symbols used on the pattern pieces. Large (O) perforations (like on the long sleeve) indicate the grainline. Three (TTT) notches show where to place the piece on the fold (like at Center Front or Center Back). Some of these symbols are more relevant during the cutting phase, and others are needed during the construction phase.


Next up, we have the cutting guide. This shows us, in diagram form, which pieces to cut on the fold, which ones should be cut separately, and the grainline alignment of the pieces on the fabric.


And finally, we have our written cutting and sewing instructions. I’m sure you’ll notice how brief the sewing instructions are, and that none of the stages are illustrated. At the time, it was expected that you would use a separate sewing manual if you needed clarification on any of the steps. Patterns were blueprints for a garment – they weren’t intended to teach someone how to sew.


This pattern showed up in a newspaper advertisement in The Scranton Republican on April 12, 1924. Big thanks to Erin Lufkin to finding this image and confirming the pattern date for me!

The Lost Art of Dress: The Women Who Once Made America Stylish by Linda Przybyszewski

I finished a non-audio book! My first one for 2019! I have a decently-sized, heavily-referenced collection of what I call “picture books” on topics like fashion history & patternmaking, but a number of years ago I realized that I prefer to absorb via audio anything that is primarily text (instead of pictures). I gave away nearly all my fiction books a few years back to a teacher friend for her classroom, because I had already replaced most of them with audio versions!

But even with the recent rise in popularity of audiobooks, not quite everything is available as one, especially for the esoteric fashion texts that I’m interested in. So in comes my resolution to read paper books this year! I’ve never felt like I was “cheating” with audio, but I know I’ve been missing out on some content that I would otherwise enjoy. (Plus, I do love to mark up the margins of non-fiction books, a pleasure which I’ve long missed.)

The first paper book I picked up for this was The Lost Art of Dress: The Women Who Once Made America Stylish by Linda Przybyszewski, which had been languishing on my bookshelf for several years. I started reading it when I first purchased it, but I just didn’t have the mental focus at that time to get through it (oh hai depression! thanks for making my brain not work right in lots of different ways!). But I’m almost glad that I waited to read it until now – you know that old saying “When the student is ready, the teacher appears”? That’s EXACTLY what happened.

Obsessed with the Women’s Institute!

The last several months I’ve become pretty obsessed with 1920s fashion, and in particular the work of Mary Brooks Picken through the Women’s Institute. When I first bought The Lost Art of Dress, I had no idea who she was, so a lot of the insights in this book went straight over my head! The Women’s Institute published books and mail-order correspondence courses on subjects like dressmaking and cooking, and the materials published on dressmaking are pretty darn awesome. Many are now in the public domain and can be found for free online, or as very inexpensive PDF downloads from vintage pattern sellers.

The Lost Art of Dress doesn’t only focus on Picken and the WI, however. It gives a broad overview of the role that Home Economics played in the US during the early 20th Century. Women were not welcomed in many academic departments during this period, so they used Home Ec departments as a way to apply their scientific and artistic proclivities in a practical setting. They earned their own bureau in the USDA, where female scientists could find employment working on subjects such as Nutritional Health and Textiles.

For better and worse, these so-called “Dress Doctors” were products of their time, and little attention was paid to non-white, non-European standards of beauty. The Lost Art of Dress does a decent job of exploring that, but now I’m interested in finding another book that goes deeply in to this topic. If you have any suggestions, please let me know!

Przybyszewski lays out many of the ideals promoted in designing an appropriate wardrobe in the first half of the 20th century, and I’m planning to reference her distillation as I work on my 1920s capsule wardrobe this year.

Perhaps best of all, this book is written in an engaging tone and is FUNNY, which is rare for academic texts. I think Przybyszewski understands the strange juxtaposition of the serious and frivolous nature of fashion, and that is not lost in her writing.

Short Hair and Historical Costuming

Avoiding the hair issue altogether at the 2018 Jane Austen Evening by wearing a turban.

I have short hair. I’ve always had more-or-less short hair – the longest I’ve ever been able to grow it was just past my shoulders. I used to try to keep it as long as I could for playing vintage dress-up, but on a daily basis it wasn’t cute. My hair is fine, and thin, and really just wants to be short. (On the plus side, it takes a heat curl really well, so I can work some magic with a curling iron.)

The thing is, until recently I also had a wig/fake hair phobia. Things like fake hair and fake nails just really grossed me out and I wanted nothing to do with them. Which is a challenge when you want to participate in historical costuming, because not only does fake hair make it easier when you don’t have much of your own, but it’s also much easier to plop a pre-styled wig on your head than spend hours leading up to an event trying to do an elaborate, archaic hairdo on yourself.

I think (hope!) that I’ve gotten over my fear of fake hair, but I’ve also been having fun this past year experimenting with short historical hairstyles. I plan to do full outfit posts about all these costumes in the near future, but I thought it would be fun to look at just the hairstyles together. Apologies for the poor quality of many of the images – I don’t usually think my hair is anything special so I usually skip close-ups, so most of these photos are cropped down from full length images.


For Friday night at Costume College, I dressed in a French Empire style called a la victime, which was fashioned after the chopped-off hair that the aristocracy had to endure before going under the guillotine. The image on the left was my inspiration (I can’t find the original image source – if you can direct me to it, please let me know!). The center image is the excellent trial that my hairdresser did for me (the great/terrible thing about short hair is that you get to visit your hairdresser often, and mine has been helping me with some of these unusual styles). On the right is my final version from Costume College, which is probably too coiffed and attractive, and I realize that my hair is technically too LONG for this style! I don’t get to say that often.


This set of images is from a couple different nights at Camp Hollywood. Left and center are from “Cabaret Night”, so in a nod to Weimar Berlin I wore a man’s suit and fingerwaved my hair. The photo on the right is from the very next night, when my husband and I participated in a swing dance tribute performance for the 90th anniversary of the Venice Beach Clip. No way am I ever gonna have hair as long and thick as Genevieve Grazis, and no way am I ready for dancing with fake hair, but I can still do some good curl fluff and wear a big bow for the right effect. As a non-hair-person who has had to become somewhat adept with her hair, it blows my mind to look at this set of photos and see that the exact same haircut can produce such different looks.


Irene and Vernon Castle image source from The Whirl of Life (1915).

This final short hair look was what I wore to the Great War Gallop. This style was loosely inspired by Irene Castle, who led the bob trend by chopping off her hair in all the way back in 1914! Again, for this style, I just used a curling iron all over and sculpted my “curl fluff” into an appropriate shape/silhouette for the period.


Do you have short hair? How do you handle it when playing historical dress-up? Are there other short hair icons I should attempt to emulate?