Introduction

Swing dresses, bias cut gowns, tailored suits, blouses that aren't shaped like sacks, where have all the good patterns gone? They just don't make 'em like that anymore! They had such interesting styles back then...wouldn't you love to have a finely detailed blouse like the ones in the fifties? How can I make one like that? Why not use older vintage patterns? They're out there, in garages, in second hand stores, on e-bay, everywhere if you know where to look.

Vintage patterns are everywhere and they are better if they are used than if they just sit around collecting dust in some attic. Many of the cuts and styles are similar to those found in modern patterns; but with extra details such as darts, tucks, gathers, gored skirts...they are visually more complex and interesting than many of today's patterns. Many are just as fashionable as the styles found in expensive boutiques.

Some companies offer their own older designs in "vintage" lines, but the selection is very limited and these patterns can be prohibitively expensive. Unfortunately, the styles are quite limited to garments that are considered timeless and classic by today's fashion standards and quite boring. The solution is to collect and use vintage patterns. It's not difficult, although there are few things you'll need to know along the way.

Finding Old Patterns

Start with your friends and family and see if they have any old patterns that they want to get rid of. Ask them to ask their friends and families. I collected many of my favourite 1960's and 1970's styles in this manner. Go to garage sales, thrift shops, vintage shops and antique stores. Many stores have "wish lists" where the proprietor will keep an eye open for certain items. Print up a flyer requesting old pattern stashes and place the flyers in fabric stores that have bulletin boards. Place the same flyer on a bulletin board at a local senior's center.

A few words about ebay---many people have good luck with e-bay, so I won't give an all encompassing thumbs down, however I find sellers of vintage patterns on e-bay tend to overprice their patterns. Patterns from the sixties and seventies aren't rare and are seldom worth the prices that are charged. Also I've found the patterns are incomplete. Many sellers have no idea what to look for in sewing patterns and wouldn't know a complete patterns if it bit them in the...ahem, let's just say many are not knowledgeable sellers.

When you find patterns be sure to pay a fair price for them. Newer patterns are worth less, to be sure, but certain patterns are always worth more regardless of age. Vogue couture patterns are always worth more and you should expect to pay more for these. And of course the older the pattern, the more it's worth. Patterns from the thirties and twenties are becoming more and more scarce, so the price you pay should reflect that. Don't try and rip off people!

So what's a good rule of thumb for prices of patterns? Eighties patterns should be bulk priced, I usually pay 7.00 per ten patterns, and 2.50 to five dollars for special designs. Seventies patterns are worth less because there are so many of them. The 1970's represented the last gasp of the home sewing era. More patterns were produced for less money to try and entice the shopper who could find a better selection of clothes at the stores for less money. Fifty to seventy-five cents per pattern for 1970 to 1976 and .75 to 1.00 for the later part of the decade. Once again, special items will be worth more. Something else that should be included as a special item would be items like licensed dolls, toys, things that are representative of a certain time, such as Hollie Hobbie dolls from the seventies or Strawberry shortcake dolls from the eighties.

What Should I look for?

Once you begin to find patterns you'll notice that many people keep everything from pajamas to evening gowns. Unless you have plenty of space for storage, you might want to specialize and edit out many superfluous patterns.

Decide what your main interest is and keep your collection focused on that. I try to focus on styles of dresses, suits and separates that are indicative of the era and not always available now. Vintage patterns in the current catalogues are often the type of garment that is considered classic, something that never went out of style. I like patterns that aren't classic, ones where I look at them and say, what were we thinking? I have a Men's Nehru suit from the sixties, some of those boxy Jackie Kennedy suits from the early sixties, circular felt skirts from the fifties, those type of items that represent at-the-moment fads and fancies.

There are many areas a collector could focus on. Some collect dolls and stuffed animal patterns, some collect a certain era or decade, some specialize in dresses only, others in men's wear, or lingerie... the possibilities are endless.

There are some patterns out there that aren't worth collecting. Patterns such as Simplicity's line of "Jiffy" patterns have remained unchanged since the sixties, the only change is that every so often the picture on the envelope is brought up to date. The old "Jiffy" caftan has remained unchanged since the mid-forties, so there's really no need to consider it a collectible. I also wouldn't waste time and energy on basic items such as pajamas, robes, and nighties. Again, those patterns haven't changed much over the past fifty years, except of course the picture on the envelope.

There are exceptions to this rule, bias-cut night gowns from the thirties are highly prized, and the nineteen-fifties saw some elaborate dressing gown patterns, with tiers of diaphanous ruffles, some forming trains behind the wearer. Again, these both fall in the category of a garment indicative of the era.

When you are inspecting the pattern before buying be sure that all the main pieces are there. Small pieces such as facings or tie bands aren't that important and can be re-drawn. But if the main bodice piece is missing the pattern is useless. The pieces should be mostly intact with as few rips and tears as possible. Don't worry if the envelope shows wear, It is nearly impossible to find a pattern envelope in pristine condition. Instruction sheets are important and each pattern should have its instruction sheet. Some older patterns have few instructions printed on the sheet, but they are still important to have. Very old patterns, pre 1920's, occasionally have no instruction sheets, they assumed the seamstress knew how to use them as she was likely sewing from childhood.

Using Vintage Patterns

By now you have likely noticed a few differences between the old patterns and the new. Many old patterns have no markings on them, only holes! Take a deep breath, don't panic, and look at the pattern's instruction sheet, it tells you what they are and how they work.

In general terms, the holes in the middle are grain lines, the circles, triangle and squares in the seam allowances are matching points, the notches on the side are the same as the notches on the sides of todays patterns. There will be small holes in the middle that form letters or numbers, this refers to the instruction sheet where it lists the pieces and the corresponding numbers. Some patterns will have each pieces name spelled out on it in tiny holes.

Why holes? The holes made it easier to transfer markings onto the fabric. Tailor tacks were the preferred method of marking and the holes meant the pattern wouldn't rip or tear when it was lifted from the fabric while the thread tacks remained. Also holes were easier to mark with chalk pouncing. Pouncing is where a little gauze bag of chalk powder is tapped on the patterns over the holes. A little puff of chalk comes out of the bag and stays on the fabric. Pouncing and thread tacking were the two traditional method of fabric marking for many years. The holes accommodated both methods.

When McCall's released printed patterns in the 1940's it wasn't long before they almost cornered the home pattern market. Home sewists loved the innovation. The printed patterns were much easier to understand, and it wasn't long before the other companies followed suit. By the 1950's all patterns were printed.

And about those sizes...The sizes back then don't always correspond to today's sizes. A size sixteen today has a 38 inch bust and 40 inch hip. A 1940's size 16 has a 34 inch bust and a 35 inch hip! Yikes! And as many have discovered, the patterns of the past are also narrower across the back and narrower in the upper arm. The patterns of the past are also made for a different height than today's patterns. The standard for today is 5' 6" to 5' 8" In the forties it was five-four, in the twenties it was five-three. So as we can see, some alterations will likely be needed if you want to make up a garment from your older pattern.

Threads magazine had an excellent article on grading in issue (?research!) that has all the information anyone would need on enlarging a pattern. Using this method means that you don't need to worry about the size of the pattern, you alter it to your own measurements. Find this article and use it if you are not experienced with alterations. Everything you need is in there. I also use the pivot and slide method as I need more of a length adjustment than a width adjustment. It's complex and requires knowledge of pattern drafting, but if you are comfortable with altering patterns and know the how's and why's of flat pattern drafting it's a better method.

Pivot and Slide Method of Alteration.

equipment

1. pattern paper
2. Square
3. yardstick
4. dressmaker's curved ruler
5. pencil (with a thick soft line)

This method, as I said, is for experienced dressmakers who have a good understanding of how pattern pieces are made and how they fit together. There is some free hand drawing, especially in the placement of darts. If you know the how's and why's of dart placement and you are comfortable altering the dart points, then this methods should work.

Begin on a large flat surface. Lay out a large piece of paper. I use tissue paper from the moving supply store. I also use paper from junk patterns that I get for less than a dollar at the fabric store. Wedding dress patterns often have miles of tissue paper for very little money.

I begin by comparing my measurements to the pattern. In this example the pattern back length is fourteen inches and I need seventeen inches. I draw a line on my pattern paper. I mark a spot on the top and measure down my back length and make another mark. This is the waist line. I measure across this line one quarter of my waist plus ease measure (For me: 28+2 inches for a fitted style such as this dress) --about 7 and 3/4 inches. At the top I measure across using my back width measurement. For me there is close to a three inch difference. The next measurement I use is waist to armpit for the side seam. And finally I mark the measurement from side seam to center back.

From those marks you can place the pattern at the side seam and work out from there. I trace with my pencil, sliding up the armscye to the shoulder, across the shoulder to the neck. I leave the neck at it's original measurement and alter that in the first fitting. I then go down the center back, and across the waist line. If there are darts I note if they are evenly spaced, for example, if they are all one third of the waist measure or on the halfway mark of the piece and try to place it in the same spot. Then I trace up from the waist to the armpit on the side seam. The end of the dart, if there is one should be in the same place relative to the armscye. In the original, if it's even with the armscye it should also be even with the armscye in the altered pattern.

The front is the same, just keep the bust dart in the same place on the side seam, don't slide it lower down the side seam. The bust point might need to be altered. Hold the finished pattern piece on your body and mark the bust point at the fullest part of the bust. Then mark the dart legs so they go from this point to the dart ends on the side seam. End the dart two inches from the fullest point and redraw the dart. It will need a bit of tweaking in the first fitting.

Cutting and fitting

Make the garment in muslin for a first fitting. Lay out the pieces according to the instructions. Older fabric was often narrower than today's fabric. Before the mid sixties there were no layouts for 60 inch wide fabrics, so you'll have to improvise. It's not difficlt. If there is no layout for the width just lay the peices as if there is a nap and carefully follow the grain-lines. Cut carefully. As this is just a trial garment, mark all pattern markings on the fabric's right side carefully with a pencil. When you sew the garment, place wrong sides together and have all darts on the outside. Don't sew it and then turn it inside out, this places the wrong alteration on the wrong side of the body! It's easier to alter if the garment is sewn with the seam allowance on the outside. Any major alterations should be apparent. If it's too tight or loose, it can be let out or taken in. DON"T OVER FIT! Over fitting is when you obsess over every little wrinkle, and removing one wrinkle makes more wrinkles somewhere else. There shouldn't be any obvious pulls (too tight) --or bags(too loose). Move around in the garment, and see exactly where it pulls (too tight) or bags (too loose) There will be wrinkles if you bend your arm or raise you arm or if you move a certain way, but there needs to be room for movement. If you eliminate all those little wrinkles that come from movement you have something skin tight that won't move when you move. Aim for a compromise; a garment that has ease of movement yet mostly wrinkle free.

The upper shoulder area should get a little more attention while fitting. Many other problems can be solved by fine-tuning the fit in the shoulders. Many bags and pulls lower down can be eliminated by un-sewing the shoulder area and smoothing the garment upward from the bust. Pin the shoulder so it lies on your natural shoulder line. This might bring up the arm hole a bit, but if the side seam doesn't pull up into the arm pit and bind then this isn't a problem.

The raised neckline is a problem. Draw the new shoulder line on the muslin and take off the muslin. Lay the muslin flat and place the pattern on the fabric, lining up the pattern's shoulder with the newly drawn shoulder. Trace the neckline in its new location. Baste the muslin together again and try on. With the garment hanging properly from the shoulders, the garment should fit better almost everywhere else. Good fitting shoulders are actually the key to a proper fitting garment.

Sometimes more room is needed between the bust point and the shoulders. If you have to add to this area, pin extra fabric underneath and make your adjustment. Re-cut the piece using the new shoulder seam, and try on again With this alteration. Once again, many other fitting problems will likely disappear. The illustration is my common alteration. I have very square shoulders and the distance from my bust to neck is shorter than standard, while I need more room mid torso. The other illustration is my mother's; she's shorter yet I have to add to her pattern in the arm area and subtract four inches from the torso.

The sleeve will need a bit of an alteration if the shoulder was altered. Fold in the difference if the armhole was made smaller and slash and spread the difference if it became larger.

When you are reasonably satisfied with the fit, mark the alterations on the muslin and use the muslin as your pattern. You will likely need to cut new facings, trace these from the muslin pattern.

Sewing the Garment

I sew using modern methods. I use fusible interfacings. I use the serger to finish seam allowances. I put zippers in the center back or in the side seam. And I don't feel guilty! The instructions were written for what was available at the time. Zippers are seldom used in older patterns because at the time they were large, heavy, metal things that irritated the skin, turned black in the wash, rusted, and were quite expensive. Some older pattern refer to "slide fasteners" That's the generic term for zippers. The word "Zipper" was still under copyright back then. If the dressmaker of 1945 had invisible zippers, she would have used them. So follow the instructions where they are specific about joining piece a to piece b, and follow where they say gather between notches, but don't follow as closely when they say catch-stitch organdy to facing and turn over raw un-notched edge and hem into place. Use a firm interfacing, fuse it in place, and serge the raw edge of the facing that doesn't attach to anything.

This dress is from a Butterick pattern. I believe it dates from the later half of the nineteen thirties, it has the gored skirt from the era, while the shoulder gathers anticipate the broader shoulder lines of the forties. The bias-cut peplum and sleeve flounce is typical of the thirties. The instruction sheet is still called "The Deltor system" something that was dropped around 1940. It had it's challenges and a few frustrations. I lengthened the bodice by four inches yet it still feels short in the bodice. I realize part of that is because dresses were styled to fit high on the waist back then, but it still feels weird to me. I lowered the neckline, making the v-neck so it showed off a bit more cleavage than a lady of the thirties would have shown. When worked in muslin the higher neckline appeared frumpy and dowdy. I also added bias cut godets to the skirt gores, a modern interpretation of the thirties look. These also made the skirt easier to move in and a bit less restrictive. I also thought the hard edged straight gores looked odd paired with the softness of the gathers and flounces of the bodice.

Other considerations.

Many recommended fabrics are no longer common, and many of today's fabrics didn't exist back then. Stretch fabrics and synthetics were unheard of, and as late as the seventies many pattern for stretch fabrics were cut the same as patterns for woven fabrics. This meant the garment didn't take advantage of the fabric's stretchiness. Many synthetics of the sixties and seventies were of very poor quality and are often not reccomended on patterns envelopes for that reason. The quality of Synthetics has improved since that time. I'm a fabric snob, yet I don't hesitate to use the modern synthetic fabrics.

Don't be held hostage by old fabric requirements. Silks, wools, and linens all can be difficult to care for, many of our modern fabrics are superior in wrinkle resistance, shape retention, stretch and ease of care. If you are making a very special garment, then use the more expensive alternative. Conversely, bonded polyester interlock double knit is no longer available anywhere, and for good reason! Same with many types of nylon fabrics. They were simply horrible, cold in the winter, hot in the summer, practically bulletproof! Unless you like wearing plastic, use modern fibers and fabrics.

A good rule of thumb is to look for fabrics with similar handling properties as the original recommendations. It the pattern calls for a heavy fabric with body, such as wool or corded silk or cotton, you won't be happy with the results you get using rayon challis. And if the pattern says silk, silk like crepes and rayon, using glazed cotton and fulled wool will not work. If the pattern says corded silk, firm cotton and you use a ultra suede or sueded twill the results will be much nicer as these modern fabrics are similar in weight and handling properties as the originals. And if you use a shiny, drapey jersey on a fitted dress with gathers, you might be quite happy with the results. As I said, use fabrics with similar hand and weight as the recommended fabric.

Storage

It's possible you might never use a vintage pattern, but want to keep them to look at, to admire, to use for inspiration. They will need to be stored properly if they are to last and not fall to pieces. Up to time of World War Two patterns were made on different papers, often with a bluish of greenish tint. Before World war One they were made of a heavier tissue, some on what we would consider "good" paper. Both these papers were alkali milled, which means they show little in the way of yellowing, drying, flaking or deteriorating. Patterns produced since then are made with cheaper acid based papers and quite literally, they rot. I have some that are so brittle and fragile that they fall apart when I touch them. The newsprint instruction sheets are worse, as they were made with the cheapest grade paper available. Some preservation and archiving work will need to be done.

First, it is impossible for the average person to de-acidify paper. The technique is chemically hazardous, requires specific ventilation and protective breathing masks, and is prohibitively expensive. Unless you are an archive or museum, it isn't worth the expense of de-acidification. Having said that there are a few things the rest of us can do.

First and best is to move patterns into acid free archival quality envelopes and store them in archival quality boxes. Place them somewhere dry, dark, and neither hot nor cold. Also, tissue pieces can be placed between pieces of acid free archival tissue, used to preserve antique textiles. If an instruction sheet is so brittle that it snaps when touched, the only option might be professional lamination. It can be expensive, but a pattern without it's instruction sheet is useless.

As mentioned before, store everything with care. Use proper archival boxes and don't place in unheated, uninsulated areas. Don't set them on the floor in the basement or in the attic under the eaves. Place them where they will be cool, dry and away from light. The light is quite harmful to fragile papers and accelerates the acid deterioration process.

And Finally...

• Vintage SewingThis site is a treasure chest of vintage sewing manuals, including pattern cutting, millinery, dressmaking guides, all from long ago. The oldest text is from the 1800's, the newest from the 60's. And it's not a place that sells books. All the books listed are in readable form right on the site! You can read the from the frontispiece to the index and everything in between. I can spend hours there, learning little tricks and tips from long ago. If you really feel the need to learn what a "regulation placket" is and how to make one...it's on this site. Excellent primary resource.
• The Frock To really see how spectacular Vintage garments can be, visit The Frock. They sell vintage garments in excellent condition. From what I understand many stars buy their vintage gown from here for things like the Oscars and Grammies and such, so it should tell something about the prices. There are a few garments that cost this family's entire year's salary. The finest gowns, dresses, coats, and capes are all available on this site. I love it to look at the spectacular garments and draw inspiration from them. Excellent resource for all sewists.
• Lavolta Press Lavolta publishes an excellent book about vintage fashions for collectors and wearers of the garments. It has instructions on reproducing a garment from the garment and restoring old clothing. It has information useful for anyone who loves vintage clothing. They also have several superlative books featuring historical patterns: Edwardian, Mid Victorian, late Victorian, and Restoration. These patterns are next to impossible to find so this is a valuable resource for re-creationists and others. All are available through Amazon.com Warning: They are NOT available through Chapters.com in Canada, only Amazon.ca. All are worthy additions to anyone's sewing library.
• Rusty ZipperRusty zipper is an on line e-tailer of vintage fashions. I use them to help me place a correct date on some patterns. They have a huge selection of old items, including many highly desirable and hard to find collector's items. I've bought a few things from them and have no complaints about their service. If you're a "Seinfeld" fan they have one of the funkiest selections of "Kramer" shirts I've ever found.
• Vintage CatPatterns, patterns and more patterns. Everything from the 1800's to the 1980's. Men's women's and kids and everything in between. A cool place, even if you are just browsing through.