Woman's Day 5107 - Down-to-Earth Smock

February 1956.

On its own, the "Down-to-Earth" smock appears to be a nice utilitarian design enlivened with some easy machine embroidery.  But in this case we have additional documentary evidence to provide some context.

Tucked into the envelope was the page from Woman's Day magazine featuring this pattern.

Suddenly, we have a sense of materials, color use, wardrobe decisions, and an insight into the designer's vision.

"Black-raspberry" denim is much more interesting that the mid-gray of the black and white pattern envelope, and it's interesting to see the smock worn with "licorice" denim Wranglers (note the white top-stitching) and what are assuredly, the late (and much lamented, at least by me) Bass Weejuns.

Margaret Parker Gary writes that the smock is an "exact copy" of a Haitian field hand's vareuse.  Well, maybe.  I've been unable to find compelling visual evidence of an embroidered Haitian vareuse, although I've come across several text references to the vareuse in a general sense.  In his book Haiti, Her History and Her Detractors, published in 1907, Jacques Nicolas Leger describes the Haitian peasant: "On week days his costume consists of a "vareuse" and trousers made of blue denim..." and a footnote describes the vareuse as "a kind of loose jacket with two pockets in front. "  The web site for Haitian Enfance Education reports that for a recent celebration of Agriculture and Labor, parents were asked to dress their sons in the traditional vareuse.  The accompanying photographs don't provide enough detail to distinguish the vareuse.

The term vareuse is used today in France for the "traditional" Breton fisherman's smock.  (See the armorlux web site for an example.) (1)  Less frequently the term is used to describe a military garment somewhat similar to a sailor's middy blouse.

It is the French version of the fisherman's vareuse that Dior adapted for his 1957 "Free Line" collection, according to Daniel Delis Hill, in his book As Seen in Vogue, A Century of American Fashion in Advertising.  If this date is correct we have an interesting example of near simultaneous design, with both Gary (in the New World) and Dior (in the Old World) apparently picking up on the vibe of the larger aesthetic of the folk revival of the era.

Margaret Parker Gary started designing for Woman's Day around 1947-48.  In a 1952 newspaper interview about her work with Woman's Day, Gary states that "You don't have to be rich to be well-dressed."  Gary worked for Lord and Taylor for a number of years before making a big shift in demographics and joining Woman's Day.

While the Down-to-Earth smock is a relatively simple garment, it will take some time to make.   In addition to the machine embroidery and lots of top-stitching, tiny tucks fit both the front and the back into yokes, and the sleeves have rather tricky applied facings.

The photographer, Howell Conant, was a well-known fashion photographer of the day, shooting such icons as Audrey Hepburn and Grace Kelly.

This unprinted patterns does not appear to have been used.

(1) An English cousin of this garment is the Norfolk slop.

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.

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.

Pictorial Review 3701 - Boys' Overalls

After 1907, but probably before the first World War.

Pictorial Review offered this pattern in sizes from 4 through 16 years.   This one is a size 8 years.  Boys older than 16 would be able to wear smaller men's sizes.

These overalls are the right thing to wear when helping to put in the vegetable garden.  It would seem that transplanting flowers, as this young gentleman appears to be doing, is perhaps a more formal activity, requiring a beautiful spotted blouse and a tie.

Pictorial Review patterns were advertised through the Pictorial Review magazine, and like all fashion magazines, the publishers advertised the fashionableness of their offerings.  But clearly somebody felt that a highly functional overalls pattern would find an audience.

A separate layout sheet is included.  The patent date of 1907 is for the layout, not the style.

But the instructions are still given on the front of the envelope.

This pattern was closed with a pin, something I find now and again, most commonly with patterns before the 1920s.

Although the back of the envelope is unprinted, the back of the layout sheet offers some advertising.

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.

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.

Advance 3249 - Overalls

World War II

The image of World War II's "Rosie the Riveter" is so firmly embedded in our culture that the Library of Congress calls their collection of images of women at work during WWII The Rosie Pictures.

But where did these women get their work duds?  For the most part, they probably did what many of us still do today - they wore men's clothes.

However, Advance thought it was worth offering an overalls pattern for women.   Nothing fancy about this pattern; only one view is given.  Yardages are given for only 36" and 39" width fabric, common widths for denim.

If you couldn't find a pattern locally, Montgomery Ward could supply you.  Here are three patterns they offered at 5 cents each (very reasonable; note that the Advance pattern would set you back 15 cents.)

Ward's would also sell you your fabric, having employed some patriotic copy editing to what were, for the most part, standard fabrics:

The Advance overalls in a size 18 will require 3 1/4 yard of 36" wide fabric.

If making your own wasn't an option, Wards offered a nice line of women's workwear featuring a "Victory Volunteers" emblem.  These bib-top overalls were described as "a sensible choice for your wartime job" and were offered in three qualities:  Best quality came in gunpowder blue twill jean for $3.77, Better quality came in navy and white pin check for $2.95, Good quality came in blue Sanforized denim for $1.95 and didn't have the emblem.

Everybody got to participate in marketing the Victory Volunteers effort:

I couldn't get a clear enough image to insert here, but there were even Volunteers for Victory paper dolls!

Wards would also sell you Sanforized denim overalls.  Although these were marketed for "Victory Workers, Farm and Factory," they may have been part of their standard line and not specific to the war.  The description tells us that these will "take countless washings and ironings" and that they have "metal buttons for a smart, workmanlike appearance."

Not all women worked in factories; many did agricultural work, either on their own family's farms, orchards, and ranches, or through organizations such as the Women's Land Army.

Women riveting ships together or working in the fields probably didn't have time to sew, but their mothers or aunts might have helped out. 

Yarn companies produced a variety of booklets of items to knit for military men and women, but the folks at Chadwick's Red Heart Yarn remembered the civilian women with their booklet Women's Sweaters - America at Work and Play.  The cover model is their Victory Girl.

This practical cardigan was offered as well.  While having a sweater you've knit yourself gives a nice sense of accomplishment, we shouldn't overlook the benefit of the soothing, repetitive nature of knitting, particularly during a stressful period.

Church World Service 20 - Men's Work Clothes Set

Before 1963

This pattern was produced by McCall for Church World Service (CWS).  McCall has a long tradition of cooperative ventures; see their pattern supporting the Red Cross during WWI, Red Cross Pattern 35, Taped Hospital Shirt.  It would be interesting to know if McCall produced the CWS pattern gratis or simply at cost.  It would also be interesting to know if McCall did the pattern drafting or if CWS hired this out on their own.  I'm guessing that the somewhat amateurish illustration was produced by someone at CWS.

A section on the instruction sheet explains the goals:

PATTERNS FOR DIGNITY

Personal dignity and self-respect -- these are the things you provide for refugees, disaster victims and other needy persons overseas through the United Clothing Appeal of the Churches.

New clothing, in the styles requested by our friends abroad, will represent in a most meaningful way the Christian concern and compassion of the American churches for those who desire above everything else to stand on their own feet.

The pattern reflects a time when women (always the primary consumers of home sewing patterns) had the time and the skills needed to sew for others.

This set of work clothes has been simplified in ways that meet the specific needs of both the seamstress and the recipient.  Note that the sleeves are just hemmed, because setting in cuffs takes time and can be fiddly to do well.  A hemmed sleeve that is too short might be unattractive, but it won't flap and get in the way an unbuttoned cuffed sleeve does and can be easily rolled up. The shirt front is closed with gripper snaps, quicker than having to make button holes and sew on buttons, and as long as the snaps don't pull out, maintenance free for the wearer - no buttons to lose and have to replace.  The elastic waist bands in the slacks and shorts will assure a broad range of fit.  Although the pattern doesn't call this out, made up in cotton broadcloth, these clothes could be used for pajamas.

Church World Service is still in operation.   A few simply drawn patterns for infants clothing are available, but for the most part the expectation is that donors will supply purchased clothing.

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!