La Mode nationale, no. 7, 19 février 1898, Paris. Nos patrons découpés (Grandeur naturelle). Capuche, sortie de bal ou de théâtre, & cravate fantaisie. Bibliothèque nationale de France
Explications des patrons découpés:
Capuche sortie de bal ou de théâtre. (Theater or ball hood)
Ce modèle de capuche est très pratique tout en étant très élégant pour sortie de bal ou de théâtre. (This hooded model is very practical while being very elegant for going to a ball or theater.)
Il se fait en 3 morceaux. (It is made in 3 pieces.)
No. 5. — Fond (en entier); se taille en linon et se recouvre de faille ou satin. (Background (in full); It is cut from lawn and covered with fault or satin.)
No. 6. — Passe (en entier); se faille également en linon, se soutient par des laitons et se recouvre comme le fond avec de la faille ou du satin. Ce morceau se rattache au fond à FGH. (Pass (in full); is also made of lawn, supported by brass and covered, like the bottom, with wool or satin. This piece is basically linked to FGH.)
No. 7. — Bavolet (par moitié); se taille en faille ou satin, se double de surah avec ouatine entre étoffe et doublure. Ce morceau se raccorde à la passe à I, au fond à J. (Bavolet (half); can be cut in faille or satin, doubled as surah with wadding between fabric and lining. This piece connects to the pass at I, basically at J.)
Cette capuche toute montée se double de florence, se garnit de ruchés de mousseline de soie, un ruban entoure le bavolet et sert de bride. (This ready-made hood doubles as a florence, is trimmed with silk muslin ruches, a ribbon surrounds the flap and serves as a strap.)
Avec 1 mètre de faille en 0m.55, 6 mètres mousseline de soie sur 0m.05 et 1m.20 de ruban no. 12 l'on peut confectionner ce gracieux modèle.
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Cravate de fantaisie. (Fancy tie)
Cette garniture, tout à fait nouvelle, peut se faire en mousseline de soie et faille, taffetas ou satin. (This completely new trim can be made from silk chiffon and faille, taffeta or satin.)
Elle se compose de 4 morceaux. (It consists of 4 pieces.)
No. 1. — Cravate; se taille double sans couture. devant. Cette garniture s'agrafant derrière, elle se taille en toile gommée ou toile de tailleur et se recouvre d'un plissé de mousseline de soie dépassant de 2 centimètres le pointillé marqué sur le patron. (Tie; fits double size without sewing. in front. This trim is stapled behind, it is cut from gummed canvas or tailor's canvas and is covered with a pleat of silk muslin extending 2 centimeters beyond the dotted line marked on the pattern.)
No. 2. — Draperie; taillée en faille, taffetas ou satin. Ce morceau descend de long du pointillé de la cravate, il s'y raccorde à ABC. (Drapery; cut in faille, taffeta or satin. This piece goes down along the dotted line of the tie, it connects to ABC.)
No. 3. — Pan du même tissu que la draperie; quelques plis le rétrécissant dans le haut. Il s'ajuste à la cravate à AD. (Panel of the same fabric as the drapery; a few folds narrowing it at the top. It adjusts to the tie at AD.)
No. 4. — Passe; ce morceau cache la couture du pan et de la cravate; quelques plis l'ajustent. Elle se raccorde à la cravate à D, au pan à DE. (Pass; this piece hides the seam of the tail and the tie; a few folds adjust it. It connects to the tie at D, to the tail at DE.)
Il faut 0m.50 de soie en 0m.55, et 0m.30 de mousseline de soie sur 0m.30 pour faire cette jolie fantaisie.
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Fantasy adventure-ish vibes 🌿🍂 Blouse by La Femme en Noir, dress from Holy Clothing, capelet from the Hot Topic clearance rack years ago, noose earrings by The Deadly Stake, ivy bag by Folkowl.
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Not Going Anywhere Fast in 1950, Vogue 1964
This 1950 ensemble with sleeveless dress and matched caplet captures the other skirt silhouette introduced by Christian Dior in 1947: the long and narrow. We tend to think of the long, wide skirt as the New Look of the post-war era, but Dior also offered long, narrow skirts that year as well. Both had the small waistlines and soft shoulders you see here in a Vogue Pattern re-issued in modern sizes.
I was intrigued by the shape of this dress The bodice has a deep horizontal tuck whose purpose seems two-fold: decoratively, it both echoes the deep stitching that holds the capelet’s self-lining in place and makes the waistline seem even narrower as the eye notes the pleat is wider than the bodice where it hits the skirt (that portion is gathered).
Then, the skirt of the dress has deep pleats at the waistline which create more space for the body and seems easier to wear. But look at the sketch of the pattern piece, and you see that the pleats are not meant to add walking easy. Instead, the skirt narrows from those pleats at the waistline down to the low hemline.
Looking at the fashion illustrations, we can see that walking was never the point. This ensemble was a dressy afternoon outfit, or an evening out ensemble. Think concert, cocktail party, dinner out. See the large, black hat and long, black gloves, the corsage, and pearls around the neck to the right, and the long white gloves worn with a veiled hat and again pearls on the right. Standing, chatting, flirting, and sitting were the main activities, not walking, which is why this is not a practical day ensemble with walking ease, but one where the waist pleats help show off the small waist and the roundness of the hips. A quiet, but effective means of drawing attention to the figure.
Find it at your local fabric store, or online here: https://simplicity.com/vogue-patterns/v1964
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La Mode illustrée, no. 36, 3 septembre 1899, Paris. Toilette d'automne avec petit collet. Modèle de Mlle Louise Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney
Description de la gravure coloriée:
Robe en drap gris clair, et soie noire, repsèe, à côtes; celle-ci est employée pour la quille plissée de la jupe, traversée par des cordons de soie grise, qui retiennent la jupe de drap; même garniture sur le corsage, garni d'un plastron plissé, et de revers brodés; sous ces revers, on agrafe le petit collet à revers, qui pose sur les manches plates, garnies de revers noirs; col droit, et ceinture en soie.
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Dress in light gray cloth and black silk, repsèe, with ribs; this is used for the pleated keel of the skirt, crossed by cords of gray silk, which hold the cloth skirt; same trim on the bodice, trimmed with a pleated plastron, and embroidered lapels; under these lapels, we fasten the small capelet, which rests on the flat sleeves, trimmed with black lapels; straight collar, and silk belt.
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