McCall 3363 - Men's Office Coat

Latter part of the 1920s.

Home sewing patterns for men's coats this early are sufficiently scarce that I almost always bid on them when they show up on eBay.  This one was described in the auction listing simply as a men's coat, and the photograph was so fuzzy that I couldn't read the description, so it wasn't until the pattern arrived that I realized I had something even a little more scarce: a pattern for white collar work wear.

It's easy to imagine this coat made up in white poplin or Indian Head for a doctor or dentist.  Indeed, we can get a sense of some earlier sartorial problems with dentist's coats, from the book Dental Office and Laboratory, 1906:

"The 'crying need' of the dentist who would be decently dressed in his office is an office coat.  This should be of linen, duck, or similar material; washable, and plain even to the absence of pockets.  Those now in general use, decorated as many of them are with four pockets, a belt and four sets of frogs make the wearer look like a ring-master just escaped from a dog-circus."

But it turns out that the term "office coat" is much richer.

From Good Housekeeping, 1888, we see that, much like the housewife's apron, the office coat was not meant to be seen on the street:

"...Mr. Willis came up to us, asking Mrs. Wheeler if the letters were ready for the post.  On being told they were not, he changed his office coat for another, and went out."

In the magazine Success, Volume 6, p. 313, in an article by Orison Swett Marden, 1903, the office coat appears to be defined only by use rather than any specific attributes. It's a little hard to parse out the rules, but note that a young man is expected to arrive at work dressed in a good suit, and then don an office coat that will take the brunt of attacks by fountain pen or stamp pad ink, dust, abrasion, and splintery desk corners.

"Young men on the floor, and in the office, should dress in plain worsted, serge, or cheviot suits, made up with single our double-breasted jackets, preferable of one material.  Extreme cuts, turn-up trousers, and other peculiarities should be avoided, and an office coat, which may be any that is at all presentable, should be worn during the day.  It is a rule that all men in the office must wear coats, and those who hope to get along in this world will not defy the conventionalities in order to be comfortable."

From A Dictionary of Men's Wear, by William Henry Baker, 1908, we get a tongue-in-cheek sense of humor, but also an interesting insight into how men abuse their clothing.  Remember that at this time alpaca is a relatively inexpensive suiting fabric:

"Office coat, usually an alpaca sack c., unlined, broadly any old c. not fit to be seen on the street, but good enough to wipe pens on."

From a periodical of the National Association of Letter Carriers, 1914, describing postal uniforms in other countries:

"Netherlands...The assistants receive...a linen office coat."

From Arnold Bennett's novel These Twain, published in 1915, in which a man's wife comes to his office to bring him an office coat which she has either made or modified:

"Edwin now tried on the new office-coat with the self-consciousness that none but an odious dandy can avoid on such occasions.

'It seems warmer than it used to be,' he said...

'Yes,' said she.  "I've put some wash-leather inside the lining at the back.

'Why?'

'Well, didn't you say you felt the cold from the window...?'"

By the 1920s the office coat has a distinctive social meaning.

Here is the recollection of how a promotion meant a change in dress, from the American Printer and Lithographer, Vol 73, 1921:

"The most proud experience was my first promotion from a 'jour' to a stock-man in the foreman's office, with the privilege of putting off the apron and wearing an office coat!" 

But there was bitterness as well.  In the story "With the Odds Against Him," in the Yale Literary Magazine in 1921, the office coat is used to illustrate the stalled career of a man no longer young:

"Mr. Audrey had not remembered his impending birthday until just as he was donning a linen office coat a few minutes before nine, and he stopped short in the middle of the operation.  Tomorrow he would be forty-six years old!"

Also in 1921, an intriguing insight into the social power of clothing from Munsey's Magazine.  This one is worth reading through, because the dress-suit in question actually belongs to the office-coat guy, who lost his self-confidence when he lent his suit.  (Spoiler alert: there is a happy ending.)

"He's a dress-suit gentleman and I'm an office-coat guy..."

And a year later in the1922 play "His Majesty Bunker Bean," we find that it is indeed the principle of the thing:

"BUNKER: (Ring, answers) Hello, oh, oh, yes, Mr. Breede, I'll come right over...Wage slave, that's what I am...Got to beat it across to Larabee's office.  More Letters.  (Takes office coat, as he gets to door L.)
BULGER: What's the idea of strippin'?
BUNKER: Don't like to wear an office coat crossing the street.  Principle of the thing, Max.  May be a wage slave now, but if I ever do rise, I won't be a misfit..."

This pattern is unused.

Simplicity 4683 - Men's, Boys' and Women's Apron

Mid 1940s.

This unprinted pattern dates to before 1946, as this is apparently when Simplicity started printing their patterns.

A nice, straightforward apron for the Gentleman and his Missus, who has also made Buddy a spiffy apron for his first Industrial Arts class.  Why the illustrator chose to show the Gentleman wearing a shop apron but gearing up for kitchen duty is a bit of mystery.  And that tiny little cookbook he's holding seems to be awfully entertaining.

Your fifteen cents really bought you a good, thoughtful design.  Note that the Men's and Boys apron is darted at the sides.  This will make the apron set close through the hips, which will probably make it safer by making it less likely to snag, and should also make it more efficient at keeping the wearer clean.

The handling of the shoulder straps and ties is clever.  The straps will adjust to almost any size or shape and don't require any hardware to fasten:

Note that the topstitching around the pockets and the edges make this a very sturdy garment.

No fabric recommendations are given, but the aprons in the illustration surely look like chambray.  Denim would also have been popular, and frequently came in the 35" width called out in the yardage requirements.

Here is the men's apron made up in denim:

Here are the side darts from the inside:

And here they are from the outside:

The instructions call for a small patch of fabric to be sewn in as a backing for the button holes on the sides.  You can see that I've sewn down the patch and stitched a rectangle to outline the buttonhole.  The button holes were worked by hand.

And in the event this apron ever wanders away, I've "branded" it.

In the future, I'd probably use a good-quality twill tape for the straps, rather than making them myself, since folding those narrow strips of denim resulted in a certain amount of questionable language as I repeatedly steamed my fingers.

This denim is wonderful to work with.  Made under the SAFEDenim brand, it's made entirely in the United States by farmers who are trying to produce a sustainable product.  Cotton is demanding of the soil and can require enormous amounts of pesticides, so producing this denim requires a lot of commitment from the farmers.  I don't know where you can buy yard goods, but if you're willing to commit to a 30 yard bolt, you can buy it from the web site.

You can get a free pattern for a very similar apron from the James Thompson web site, makers of my preferred pillow ticking.  (This apron would also look great made up in ticking.)

Originally posted on June 8, 2011.  Additional material added to show the men's apron made up.

Women's Day 5024 - Two-Piece Apron-Dress

January 1952

There is a lot of common sense in this ensemble designed for housework.  Both the skirt and the tunic wrap to the back - the skirt ties and the tunic is closed with snaps, so no need to work button holes.  Wrap garments are handy because they open flat for easy ironing.  Having a separate tunic and skirt allows the maker to make up enough multiples so that she can more easily put together two clean pieces when either the tunic or the skirt becomes soiled.  Both the skirt and the tunic have good, deep pockets.

In some cases Woman's Day patterns were co-branded with Advance, and the layout sheet for this one looks like Advance's work to me.

I didn't realize until I saw this pattern that Woman's Day was the house magazine for A&P stores.  A&P  apparently sold the magazine in 1958.  I have fond memories of A&P; I recall that they smelled of laundry detergent and freshly ground coffee from the coffee grinders at the ends of the check-out lanes (When I was a very small child I found the grinders a little frightening - there was no telling when they might unmoor themselves, run amok, and attempt to eat small children.)

This unprinted pattern has been used.

Pictorial Review 3160 - Ladies and Misses' Apron, Cap, and Cuffs

Mid 1920s.

Suitable for both nursing and general household service.  In some cases pattern companies showed maid's uniforms in their catalogs, usually toward the back of the publication, after the night clothes and under things.  It's a little startling to spend time poring over illustrations for patterns of elegant tea gowns and just a few pages later to find yourself in the territory of bungalow aprons, step-ins, and maid's uniforms.

A few years earlier in 1916, the publication Journal of Home Economics published an article entitled "Costume in the Cookery Lab," which documented the results of a 1915 survey of clothing or uniform requirements for students at colleges offering Home Economics programs.  At that time some departments recommended specific commercial patterns that their students (all young women, one imagines) could use.  Further research may reveal that nursing schools made the same sort of recommendations.  The Journal indicates that at two institutions, their students made aprons in their sewing classes.  While the students may have made their own, they may also have purchased the pattern, fabric, and findings and had their clothing made by a family member or a local dressmaker.

Pictorial patterns are wonderful quality. They come pre-cut, printed, and perforated, making them very efficient to use.  This pattern has been used.

Butterick 1847 - Women's and Misses' Coverall, and Leggings

Mid 1940s (World War II.)

Here's the description from the back of the envelope:

A Jumper Style Coverall, designed to give the full skirt protection that much farm work and gardening requires.  Roomy pockets are conveniently placed.  The front opening makes it easy to put on and take off. Knee-length leggings are included.

One of the problems that the U.S. Department of Agriculture (USDA) had to contend with during both world wars was a shortage of agricultural labor.  Men who didn't enlist were recruited to work in industries supporting the war effort, making them unavailable to work their own farms or to work as hired hands.  Women stepped up to fill the short fall, sometimes by enlisting in the Women's Land Army, often by taking on more responsibilities on their family's or local farms.

Overalls for women started to be marketed during World War I,  and women had started wearing trousers in public in the 1930s, generally as sporty wear, so by the start of WWII the idea of women in trousers wasn't entirely new. Yet the USDA seems to have felt there was a need to offer some support for women who needed to do dirty agricultural work but weren't ready to wear trousers or overalls.  A sturdy apron and leggings were apparently seen to be a workable solution.  Here's a terrific image of women at the USDA designing work clothes for women at this period.

Many thanks to Jim Christensen for pointing out that this very ensemble was described and illustrated in Clarice Louisba Scott's book Work Clothes for Women, issued by the USDA in June, 1942.

By WWII "coverall" is a fairly common term for this type of apron.  ("Overall" seems to have been used in Great Britain.) Patterns for leggings for girls show up throughout the '30s and '40s, usually as part of a winter ensemble including a coat and hat.  This is the first time I've seen a leggings pattern for women.  The option to use 1/2" studs (snap fasteners) is uncommon.

This is an unprinted pattern and does not appear to have been used.

Originally published on 21 January 2011, updated with additional documentary evidence on 23 January, 2011.

Simplicity 4626 - American Red Cross Uniform

No earlier than 1942, as this is when the older style veil was replaced by the trimmer coif illustrated here.(1)

The description reads:

American Red Cross Volunteer Special Service Corps, Washable Uniforms for Administration, Staff Assistant, Production, Braille, Canteen, Home Service, Hospital and Recreation and Paid Staff Workers (Except Hospital Workers).

The uniform on the right would appear to be that of a Gray Lady (part of the Hospital and Recreation service.)

Even though commercially produced uniforms seem to have been readily available, the Simplicity company must have thought there was enough of a demand for a pattern to make this one available, as well as number 4694, home nursing pinafore and canteen apron.

Here's an example of a commercially produced uniform in the collection of the University of North Carolina.

No fabric recommendations are given, presumably because the ARC would have issued their own specific instructions on this.

(1) Shirley Powers's web site, http://www.collectarc.com/ was very helpful here.

Butterick 2000 - Intern Shirt

Early 1970s.

This one is not what it seems to be.  Yes, it's occupational clothing, but it's not inspired by Butterick's marketing research that indicated that women interns of the 1970s (still a fairly small cohort at this time) wanted or needed to sew their own shirts - either strictly professional or in the weird ruffly version.

Although this isn't stated anywhere on the pattern, I believe that this is a tie-in to a medical drama television series called The Interns, which ran in 1970 and 1971.  The series itself was a spin-off of an apparently mediocre movie of 1962, also called The Interns.

Dr. A. would appear to be modeled on Sandra Smith, who played Dr. Lydia Thorpe.  Here's the only (regrettably muddy) image I was able to find of Smith in this role.

I assume that the program attracted a fairly young audience, so this pattern would probably have been targeted toward young women (notice the fairly limited range of sizes.) This gives the whole enterprise an odd cultural tension, as it seems to play to both home sewing, a very traditional female activity, and the career of physician that was beginning to become more widely available to women.  Perhaps dressing up like a doctor was the first step toward thinking that one could actually be a doctor.

McCall 5327 - Child's Jumpsuit and Hat

1976

Children's clothing is a little tricky to talk about because its purposes are different from clothing for adults.  Most important with regard to the time and effort involved in home sewing, children's clothes are more or less disposable because children grow out of them.  It's unlikely that a child will wear out an article of clothing before they outgrow it, so while a home-made garment may have been intended for one particular child, its lifespan will probably extend to that child's siblings, extended family, or even to the larger community as part of a clothing exchange.

How children's clothing is used is also a little different.  There is the clothing children are required to wear for what are essentially adult functions; little suits for boys and dresses for girls that are worn to church, to Christmas parties, and weddings and the like, and which almost always itch or pinch in one way or another.   Pajamas and bathrobes, sometimes sewn annually at Christmas time combine a labor of love with deep practicality, though the recipients may not appreciate this.  Clothing that is appropriate for school (at least during the elementary grades when parents still have some control!) is essentially occupational clothing that conforms to current styles.

And then there are play clothes.  Play, I think, is the truest occupation of children, particularly young children, so it makes sense to provide them with appropriate occupational clothing.

What makes this pattern so attractive is the matching hat - an occupational necessity for all railroaders, regardless of the size of their rail operations.

This pattern does not appear to have been used.

This one is for Jim and Olen.

McCall 8104 - Artist's Smock

1934 or a little later. 

Outside of a few novelty apron patterns which start to show up in the '30s and '40s, this is the earliest "unisex" pattern I've ever seen. (The term "unisex" seems to have been coined, or at least popularized, in the 1960's.)

With this pattern we've come a long, long way from our slightly frou-frou artist of the early 1900's.  I'd be much more inclined to call this a lab or shop coat.  The 1928 book Tailored Garments states that

The making of garments for men...also offers excellent possibilities for the woman who wishes to specialize.  For example, a good business may be build up by making...coats for barbers, surgeons, etc...

The instructions are extremely brief, even for this era.

The pattern has been very carefully cut out and used.

Butterick 4202 - One Piece Dress...Suitable for Nurses or for a House Dress

Mid 1930s.

The design of this uniform is very similar to Simplicity 7006.  While some nurses probably made their own uniforms, I suspect that others may have bought the pattern, material, and findings they preferred and had their uniforms made up by a local seamstress.

Advertising this pattern as also suitable for a house dress seems to me wishful thinking on Butterick's part, as there were much more attractive house dress patterns available.  Patterns for maids' uniforms were generally advertised as such.

These detachable uniform buttons date to about this period or a little later.

Simplicity 7006 - Nurses' Uniform

About 1929.

From the description on the back of the envelope:

A uniform whose trim lines always look smart.  The absence of fussy detail assures perfect laundering.

Style 1: Patch pocket model with tailored collar.  A simple good-looking style.

Style 2: A notched collar model with button-trimmed sleeves.

Style 3: The back view of Style 1

It's entertaining that Simplicity's marketing scheme of "3 patterns for the price of 1" fizzled on this one, with the designers simply unable to develop a viable third style for a garment that really does need to be uniform.

Universal Fashion Company 800 - Working Blouse

This may be the oldest pattern I own. Given the typeface on the envelope, I would date this to the late 1880's or the early 1890's. I haven't been able to find out much about the company, though I discovered it's pretty easy to pick up their trade cards on eBay.

The term "Blouse" when applied to men's garments confuses people, but I believe that it's used to describe any shirt not meant to be worn with a stiff collar. When men stopped wearing stiff collars the term seems to have gone away in men's clothing except for middy blouses; a good example of the kind of linguistic ossification that can occur in closed societies.

The working blouse is a practical garment. It may have functioned as an overshirt, protecting the shirt underneath. The banded waist makes it safe to wear around machinery. Several years ago JoAnn Peterson at Laughing Moon brought to my attention an eBay auction for a 19th century fireman's shirt that could have been made from this pattern, the cut was so similar. And indeed, the working blouse would look splendid in bright red wool!