Vogue 590 - Misses' Dress and Top

Early 1980s. This pattern was also issued by Vogue as number 8826 with the same cover artwork. Today it shows up frequently on eBay and Etsy.

Born in England on October 8, 1928, Erica Wilson graduated from the Royal School of Needlework in 1948 before moving to the United States in 1954. She became well-known for her newspaper column, books, needlepoint kits (some in association with the Metropolitan Museum of Art) and her television show on PBS.  At that time there were few other books available on traditional smocks and smocking, particularly in the United States.

A similar smock was featured in Wilson's 1981 book Erica Wilson's Needlework to Wear, on pages 50 and 78.

This pattern would have appealed to Wilson's fans during a period of nostalgia for "traditional" crafts. Folkwear published their English smock pattern at about the same time as the Vogue pattern.

While the pattern is for a women's garment which Vogue refers to a dress or top, originally this garment was called a "smock frock." Smock frocks, some of them beautifully embroidered as well as smocked, were worn by agricultural laborers in parts of England during the nineteenth century. As farming became increasingly mechanized throughout the century, smock frocks would have been unsafe to wear around agricultural equipment and eventually became obsolete. (1)

A surprising number of the nicest smock frocks eventually ended up in museums. Subsequently, smocking itself has had periods of popularity over the years, often for children's clothes. I recall having a smocked dress when I was a small child.

The Vogue pattern hews pretty closely to traditional smocks' construction composed of rectangles of fabric. The shaped yoke and sleeve are seen in some later traditional smocks and for a modern wearer provide a slightly better fit through the upper body.

In addition to the construction instructions, extensive instructions are provided for the smocking and the embroidery.

This printed pattern is unused.

(1) The best recent work on the history of the smock is Alison Toplis's The Hidden History of the Smock Frock. 

Vogue 1468 - Bicentennial Dresses

1976

There is a little bit to unpack here, starting with how I did, then didn't, then finally did acquire my copy of this pattern.

I'd been watching for this pattern for several years before a copy finally came up for auction on eBay at a price I felt was reasonable.  I placed my bid and won.  And then I waited.  After about a week, the seller contacted me and apologized.  She'd gotten her wires crossed and sent my pattern to the winning bidder of a different pattern.  This person was so enchanted with this pattern that she hadn't bid on that she refused to return it.  So, the seller returned my money and I was back to watching, watching, watching.

The irony is that in my personal opinion this is by far the ugliest of the Bicentennial costume patterns out there.  Even the patterns sold in the newspapers tried a little harder than the Vogue design team responsible for this one.

Back in 1976, the pattern companies really didn't have historical patterns of the caliber of the best patterns that are available today.  They offered costume patterns with varying levels of historical accuracy.  Typically designed for use in local pageants, parades, or theater productions, the designers had to meet the needs of people with limited time and budget, and possibly only basic sewing skills. 

In a sort of perfect storm of awfulness, 1976 was period when 100% cotton or linen fabrics were hard to find, with local fabric stores selling mostly polyester blends.  If you think this was deadly for the ladies' costumes, talk to gentlemen who marched in the stifling heat of July 4th parades in bright red 100% polyester broadcloth coats.  (A few years earlier, in 1961, some of these same gentlemen probably sweated through dark blue or grey polyester broadcloth as they commemorated the Civil War.  It's my belief that these experiences helped spur the research into greater historical accuracy that continues to this day.)

But in 1976, every town was going to celebrate the Bicentennial and by gum, we were going to dress the part, whatever vaguely historical part that was.

The Vogue design team seems to have checked boxes for "mob cap" and "fichu" and "square neck" and then gone out for a long lunch.   On the way back to the office they must have seen a Laura Ashley dress and decided that was that.  Even one of the interior illustrations evokes the Edwardian sensibility so central to Ashley's designs.

This printed pattern is unused.

Vogue 3578 - Cat Costume

Late 1920s.

These early Vogue patterns are scarce, but they do show up now and again.  According to Butterick's corporate history, by the 1920s, each Vogue Pattern Book (published six times per year,) featured over 350 patterns.   Although we tend to think of Vogue as a high-end pattern brand, from the beginning they offered a full range of patterns, including underclothes, utilitarian patterns for garments like smocks, and costume patterns for both adults and children.

Pencil marks on the layout diagram show that the maker was carefully keeping track of the pattern pieces.  No fabric recommendations are given, but the illustration hints at a fuzzy fabric - inexpensive cotton flannel would no doubt do for the budget-conscious.

I particularly like the mitts that finish the look.

Of course this would be a fine Halloween costume, but also consider that Wanda Gag's Millions of Cats was published in 1928. Imagine if you will, an entire second grade class dressed as cats for a school pageant adaptation!  (What could possibly go wrong?)

Vogue 8364 - Skirt

 1954

There isn't anything particularly unusual about this skirt pattern.  However, along with the released pleat at the center back to accommodate striding energetically across the greens, the designers have provided an attached "saddle" pocket for your tees, divot tool, and lipstick.

This is somewhat similar to the earlier Pictorial 7559, though in that case, the pocket is detachable.

This pattern doesn't appear to have been used.

Those of us who spent time in the Philadelphia area will probably feel a little nostalgia for the old John Wanamaker department store.  By the time I knew Wanamaker's in the 1970s, the sewing department was gone, though only 75 miles upstate, I patronized the yard goods department in little Hess's department store until the late 1980's.

Vogue 8053 - Hooded Coat or Smock

Late 1930s.

There is something very appealing about the illustration.  Our model is having a nice walk in the country on a sunny, blustery day.  Her rather more refined older sister is back at the house, arranging flowers for the dining table.

The pattern retailed for forty cents, good value for a garment that can be made up as a smock, jacket, and beach cover-up.  Although Vogue is marketing this pattern as "Easy to Make," they still offer you the option of putting in a lining.  And if you're not entirely confident of your sewing skills, you can get their sewing book right at the pattern counter.

I picked up my copy for $5.00

Blue chalk smudges are still visible on most of the pattern pieces, though not on the piece for the sleeve band.

If you've not seen vintage sewing patterns before you may be surprised to find that they're unprinted.  Vogue is somewhat unusual in perforating the name of the pattern piece - usually only the pattern piece letter or number is given.  All perforations have specific meanings, though the meanings aren't necessarily the same from one pattern company to another.  Unprinted patterns were produced as late as the early 1950s, even though McCall and Pictorial Review had both offered some printed patterns in the 1920s.

Vogue 5770 - Women's Smock

1931

Vogue patterns from this era don't show up very often.  Vogue has always marketed itself as a fashion leader, yet the design of the envelope, while perfectly adequate and informative, doesn't have the lovely style that McCall had adopted a few years earlier with their smock.

It's also surprising to see Vogue producing a pattern for a utilitarian garment.   But what a wonderful design they've produced!  The bound edges provide a very neat finish, as do the bound button holes

The tone of the instructions is that of a careful teacher with very high standards.