Simplicity Pattern Catalog, June 1946

I promised I would show snaps from the other 1940s Simplicity pattern catalog I recently purchased, so here we go!

Last time, I shared with you my favorites from the Simplicity 1940, and ended up talking quite a lot about the contrast between the 1940 and 1946 catalogs. Most notably, the 1940s designs are much more complex than those from 1946, with all kinds of pleats, gathers, ruches, and paneling. The 1946 designs are surprisingly simple, most made from the same general bodice and skirt shape, omitting trickier techniques like setting sleeves or insets or shirred panels.

Simplicity 1343, a very simple dress with stitched pleats at the shoulder and applied pockets.

The wedge-shaped shoulder-sleeve combo was big in '46

One of the more complex designs - Simplicity 1289

Also, I have not found any patterns in the 1946 catalog that date back to the 1940, which is actually a little unusual for pattern books. The 1940 catalog had a good number of much older 1930s patterns, but the 1946 book appears to have wiped the slate clean. World War II may have had something to do with that......

Other senses of WWII shadow the pages of the 1946 catalog. The dresses are remarkably simple and economic in fabric cutting. Hem widths are listed on every dress design. The entire book has the undertone of "how to make the most of it," and although I like very few designs in this catalog, I love the can-do-make-do attitude of it all.

The color-block dress is pretty fly - Simplicity 1524

Interesting sleeve seam detail and a paneled A-line skirt. Simplicity 1557

More color blocking and the appearance of a major batwing! Simplicity 1515 and 1447

OK, so this jacket is pretty fabulous!

Smocking and embroidery - embellishments for otherwise simple blouses. These details made them unique.

Bomber jackets are always in style.

I like to track the evolution of underpinnings through the vintage decades. The bra here is more structured than the earlier 1940 design, but the tap pants are basically the same.

I love this illustration because it's pretty racy! Simplicity 1627 negligees.

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Sacque-spiration - Robes a la Francaise to Admire

Hi! We are currently stitching along on our most complex book project, the 1760s sacque. While we can't show you the whole big crazy thing quite yet, we'd like to share with you our references.

Mrs. Cadoux c. 1770, The Tate, N03728

Portrait of a Lady, Francis Cotes, 1768 The Tate (Art UK)

Those of you following on Instagram and Facebook may already know that our sacque is ivory and pink, like the two paintings above. We've somewhat blended these two together to create a massively-trimmed confection, and will include tutorials for pinking, gathering, and puffing in the book.

A few more references, for good measure:

Gown, c. 1760, British, The Met, 11.60.232ab

Mary, Lady Cunliffe by Francis Cotes, Walker Art Gallery, 1768. WAG 1514

Princess Louisa and Princess Caroline by Francis Cotes, 1767. Royal Collection Trust, RCIN 404334

Miss Susanna Gale by Joshua Reynolds, c. 1763-64. National Gallery of Victoria, 158-4

We are nearly done with the sacque, then it's all the fun millinery to go with it. Quite the undertaking, but worth the fuss!

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Simplicity Pattern Catalog, August 1940

Simplicity Pattern Catalog, August 1940

About a month ago I acquired my first vintage counter book - you know, the big pattern catalogs we go and flip through at the fabric stores. I began my obsession after visiting Simplicity back in October and flipping through a couple of their original books. This first catalog, which is not the one I'm sharing with you today, was such a work of art that since then I've been on a bit of a bender, snapping up pre-1950s books whenever I can find (and afford) them.

So far I have two late-30s and two 1940s. The '40s books are both Simplicity, one from 1940 on the dot, and one from 1946. The difference between the two is astounding. I'll show you pages from the '46 later, but today I'll share a few of my favorites from the '40.

The dress on the left with the crazy plaid work is calling my name! So is the dress on the right!

I'm fascinated by the juxtaposition between the 1940 and the 1946 book. On the personal side, there's literally nothing I don't adore in the 1940 book and there's almost nothing I DO adore or even like a little in the 1946 book!

The 1940s catalog is choc full of interesting gathers and shaping like this.

This plaid-trimmed blazer needs to go in my closet right now.

Also of note, the patterns in the 1940 book are pretty complex, despite the "Simple to Make" stamp being tagged on patterns that we today would by no means consider simple projects! Apparently 1946 didn't think so either because their "Simple to Make" patterns are more in-line with ours today - two seams, no armscyes, etc. The 1946 patterns are *so* simple they're boring, but by contrast, the 1940 patterns are so complex they're intimidating. I'm intrigued as to why this major shift occurred....(down the rabbit hole we go!)

Here's and example of what 1940 calls "Simple to Make." Does this look simple to you?

Another interesting note about the 1940 book is that it contains older patterns, like our books do today. There are quite a few obviously 1930s patterns still available in 1940. In the 1946 book, though, everything looks new for that year. This is probably more me not being attuned to the subtleties of the mid '40s year-to-year, but there's also a marked change in the style of the illustrations. Fascinating. Bring on the social context.

A very 1930s pattern still available in the 1940 catalog - a good example of how fashion flows.

A cute late 1930s look still available in the 1940 catalog. 

Of course, the most frustrating thing about flipping through these tomes of focused dress history is that I can't pull open the pattern cabinet at Joanns and help myself to any of these. It's that same feeling of despair that comes with "shopping" old catalogs. There's the joy of online pursuit, though - hunting pattern numbers on eBay, Etsy, and Facebook groups - as well as the challenge of drafting your own version. There's no shortage of inspiration, at least!

There's a small section on undies - mostly slips and negligees, but a few brassieres and tap pants.

This is one of my favorite spreads in the book - there's only one like it, and I'm not sure what it signified - mix and match, perhaps? Individual separates patterns (instead of suits)? Quite fun.

Next time, I'll show you snaps from the 1946 Simplicity catalog and we can compare and contrast. For now, back to sewing!

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The "State of the Book" Address - Updates and Progress

Well it's been a couple months now since we announced the writing of our 18th century sewing book, which now has an official title: "The American Duchess Guide to 18th Century Dressmaking: How to Hand Sew Georgian Gowns and Wear Them With Style."

In the past two months we have been sewing *like mad.* We weren't given very much time to write this thing, to be honest - about four months once the table of contents was approved. The scope is....big, to say the least. We're doing four different gowns in four chapters, and also accompanying those gowns are accurate accessories to make up a complete outfit.

So far we've made two of our four ensembles - the 1740s English Gown and the 1790s Round Gown. It's been quite the adventure, cracking the construction of original garments and photographing every step and stitch along the way as we construct the dresses using all original methods. "Just doing it" is one thing, but having to photograph and explain it in a way that makes sense has been challenging.

Yes, we're teasing you....

As we turn the page on 2017, we're right back at it on the most complex and time-intensive of the chapters: the 1760s Sacque. Luckily, though, there's now three of us on the project - Maggie from Undressing the Historical Lady is arriving this week to double our stitch-speed.

So while we can't show you official-ness from the book yet, we wanted to give you an update and let you know how excited we are, despite the short time frame. In the words of Simon Sinek, "working hard for something we don't care about is called stress; working hard for something we love is called passion."

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