Completing Vogue 1556
The pattern and alterations
I admit I paid quite a lot of money for this iconic 1963 Yves St Laurent Vogue Paris Original pattern from a specialist supplier in Canada, but I don’t regret it. I have now made three dresses with this pattern – in linen, wool and now in pink silk – and I love them all. The pattern is an elegantly shaped shift dress from one of my favourite designers. It is very stylish while also being very simple, just the right length, with a perfect neckline. It is not difficult dress to make up. And because I had used the pattern twice before, I felt sure that I not need to adjust or alter for fit.
The pink dress is my first version with sleeves, and sequins are proposed by the pattern with drawings and instructions. So, this time, for my SWAP 2016 sweet pea collection, I just made it up, as designed, without incorporating any changes of my own.
Materials
I used a remnant of thick pink silk with a sheen, plus sequin fabric. I did not underline the silk as it was heavy and stable enough. I lined it with a good quality, blouse-weight pink silk. I used big cream coloured press studs to fasten the top yoke at the back, and an invisible zip (although a lapped zip was specified). I used an iron-on interfacing for the cuffs and hem band.
Construction
I have already outlined how to sew with sequins if you ever want to spend a long time flicking bits of plastic into your carpet. I found one stuck to the baby’s back and one jammed into my Kindle. We will be finding them for weeks.
Verdict
Despite lots of anticipation and hard work, I am not happy with this dress. In fact I finished it for the 50th birthday party, but I didn’t wear it in the end. You remember how unsure I was of the pink and white colour scheme – thinking it would look too sugary? Well I think it does. Like a big pink blancmange with piped, whipped cream around the base and on the top. Also, and this is because the fabric is rather stiff, it looks too much like a column. Sarah’s sequin dress is made from wool, and my two previous V 1556 dresses were made of softer cloth – French linen and 100 per cent wool, and I think this fabric is less suitable for the dress. It doesn’t flow around the body in the same way.
I am therefore planning some alterations. I think I will remove the sequin hem (thereby shortening the dress), take a little bit of the side seam in around the waist line, consider a back dart. I may change the cuffs as well to reduce the sequins.
Finding shoes to go with vintage outfits
One of the most challenging aspects of making vintage dresses and suits is what shoes to wear with them. I wrote a whole post about this once.
I often keep an eye out for 1960s shoes in charity shops and on the internet but have rarely been successful with this. You need to get the right size and colour so it is very hit and miss, and I don’t really want to wear someone else’s shoes (I have bought new or nearly new though).
For ages I have suggested to everyone I know in the fashion world (I don’t know more than one or two) that a modern version of some of the classic shoe shapes would surely sell well. I have put together a couple of pictures to show the type of styles I believe would be popular.
I am just being nostalgic for the type of shoes my Mum used to wear and that I associate with a more stylish age? Or is there something inherently elegant about these shoes? Unlike today’s monstrosities these have low heels. High enough to look feminine and elegant but perfectly nice to walk in. Foot shaped shoes in neutral colours rather than horribly uncomfortable shoes that steal the show. In the sixties the dresses, coats and jackets did the talking. These days the clothes are often bland and black; shapeless and unbecoming, so the shoe has become the centre of attention.
For me the use of a little fabric or metal decoration on the front, a squarish, or almond-shaped toe, and a low or kitten type heel make the foot and leg look longer and more elegant without much compromise on comfort.
Recently I was pleased to see some developments on the shoe front that made me happy. Both Office and Topshop have this season introduced some very retro type low heel pumps. Including in silver and gold. Made in Spain from very soft leather I tried on the silver ones and bought a pair. Worn with 1960s or 1970s outfits these shoes will go perfectly without hogging the limelight. In fact last Friday I wore mine with my Birkin flares and felt fantastic.
Should you dress your age?
I saw 70 year old Goldie Hawn on Jamie Oliver the other night and I was shocked. Not by the fact that she has aged, but how unnatural and unpleasant she looked. I remember her from Rowan and Martin’s Laugh In.
Obviously being an actress in the public eye and being classed as one of “the world’s sexiest women”, can be a heavy burden. But apart from the plastic surgery, botox, dental work, etc the main problem here is, I think, that she feels the pressure to freeze her look as well as her smile. Today’s clothes, hair, eye make up etc are almost a parody of what she got away with in the 1960s. Perhaps if she didn’t dress as “Goldie” no one would even recognise her.
My husband often says “It’s not the age, it’s the mileage”, comparing himself to a car. To an extent this is true – some people squeeze three lifetimes out of their life, while others waste their time. Age is such a slippery concept – personally I avoid thinking about it too much but there is certainly a view that clothing, like lifestyles and style, should be “age-appropriate”. I often enjoy the clothes featured in the Guardian’s Fashion for All Ages pages as they show models of different ages wearing a trend – white, long coats, sequins etc.
I once wrote about how to look younger.
Turning specifically to the ” age appropriate wardrobe” I would oppose the concept. If you look at what is offered for women in their 50s and 60s there is often an assumption that will want to avoid fashion. I would say age is completely irrelevant. What matters, at any age, is
- Your clothes are ones you like and feel good in – partly this is about your wardrobe personality
- You have an individual look that suits who you are and what you do
- Your clothes fit you well – neither too tight nor too loose
- They are stylish and fashionable, but they don’t have to be bang-on, cutting-edge fashionable
- You can wear vintage, and items you have had for years but make sure this doesn’t convey a “don’t care” attitude
- Wear clothes that work with your own colouring and when putting outfits together make it interesting (not just dark trousers and a plain jumper for example). An outfit implies some thought, co-ordination, putting elements together such as tights, shoes, jewellry, spectacles, hairstyle, so that the overall look is pleasing
- if you want to wear “young” styles such as mini-skirts, shorts, cropped tops, baggy jumpers, skinny jeans etc, ensure that they are adapted to your shape and style
Specifically there are a few things you might want to consider post 50
- Your colouring may change a little in terms of losing some of its vividness. This is why dyed hair can look so “inauthentic” in older people. However this doesn’t mean you need to wear beige – in fact, don’t wear beige without some colour.
- You may be better off financially and able to afford better quality fabrics and clothes (and quality over quantity may work better)
- You will know from trial and error (or through style and colour analysis) what suits you best – you can avoid some of the mistakes of your youth
- You will probably have more self confidence than a younger person and this should come through in how you dress, and may lead to greater experimentation and daring. Not everyone wants the dramatic and artistic looks (or hat-plus-red-lipstick) promoted by Advanced Style, but some of these ladies in their 80s are inspirational.
Ladies of Advanced Style - Here are some attractive actresses who are past “retirement” age. They all look great – healthy, happy, fresh and authentic.
Sewing with a Plan 0.14 Vogue 1556
As mentioned yesterday I couldn’t get started on my purple suit. I turned my attention instead to the YSL Vogue 1556, which I had been leaving to the end of the SWAP, but then I thought I might make it up for a birthday party we are attending on Sunday evening. Our friend Richard is 50, so wearing a 50 year old dress seemed like a good idea.
You helped me on deciding on the length. Then I asked about colour – the side of the cloth that was a stronger pink, or a lighter pink. (Incidentally this was my most commented on post ever – choosing between two shades of pink – what does that tell you?) The thing was I was torn. I could see the advantage of both. But in the end I went with the majority. The deeper pink it is. But it may be a bit too contrast-y. Pink and white are associated, for me, with marshmallows and sugared almonds – a bit too sugary sweet.
Construction
My SWAP plan this year deliberately includes challenging fabrics – and one of them is sequins. I have never sewn sequins before, but one of my motivators for SWAP this year is to improve my sewing technique.
I didn’t do much research before I started. I watched a dull youtube video of how to make a “cool” sequin maxi skirt. It suggested a zig-zagged elastic waistband and a glued hem! OK for a quick party outfit, but this is couture! My sequin cloth has a nylon tulle base onto which the plastic sequins were attached with a fine, nylon thread. Each thread can be cut to remove the sequin in one piece. Also you can cut or sew through the sequins if required.
In making the dress I largely relied on the original Vogue pattern instructions. But first I looked at my favourite blog as Sarah Sheehan had already made this dress.
“Underlining gives the dress that typical Sixties weight; I … used the Bemberg lining to underline the sequin fabric, but I think it could have benefited from something a little heavier. The dress fastens in the back with two separate closures: a lapped zipper for the body of the dress and buttons or snaps for the yoke. I had a lot of fun putting in my first lapped zipper. The pattern gives special instructions for the sequinned version of the dress: snaps for the upper back instead of buttons. I recommend using sturdy snaps—the light ones I used are prone to popping open. As special fabrics go, sequins are fairly high-maintenance. The sequins needed to be removed from all seam allowances and their attaching threads caught by the stitching. This could be challenging when hand-sewing the backs of the contrast bands, but the results are worth it, I think.”
Sarah has a wonderful, almost academic, understated writing style, and her blog is in a class of its own. But she is right about high-maintenance special fabrics. Sequins are like fussy, prissy little ballerinas – they need individual attention. They don’t stand in line but mess about, flipping from one side to the other. The key to sewing with sequins is to remove them from the seam allowances. What about darts? With the back dart I removed the sequins, then hand stitched the dart. The front dart is taken up in the yoke seam. But all the seams allowances that join sequins to silk had to be striped too. Sometimes I could pull out the threads from behind; sometimes I seam ripped the attaching threads; sometimes I snipped off the sequin. There was no quick way and it added considerable time to the project. Also my house in knee deep in sequins.
If you sew with sequins here are some tips.
- Practice on some sequin fabric first – cutting, removing the sequins, pressing, applying interfacing, hand sewing, machine sewing
- Don’t use your best scissors to cut out
- It is hard to be accurate eg notches are just about impossible.
- Cut out as well as you can using the lines of sequins as if they are the grain.
- The sequins should go across (rather than up or down the body)
- I used a mix of tailors tacks and washable felt tips to mark the pieces
- Thread trace the seam lines in a straight line, obviously going around some sequins and under others
- Clear the sequins from the seam allowances before you sew so you can just sew the tulle.
- Clear the darts too – ideally choose a pattern with the least possible darts
- The problem with removing the sequins is that it will be uneven so you just have to do your best. If the sewing machine needle pierces the odd sequin and catches it in a seam it is not the end of the world. You don’t want bare patches
- Tack the sequin piece to the fabric so that you have a nice, clear line of stitching
- Consider sewing by hand for greater accuracy and to ensure the seams are as invisible as possible
- Press well, concentrating on sinking in the stitches in the non-sequin cloth first.
I have still to add the sequin band at the hem and line the dress. I hope to get it finished in time for the party. I will go to the ball. I even have some new shoes!
The Pierre Cardin suit – having second thoughts about Vogue 1636
I am about to move on to this 1966 Pierre Cardin pattern, but having laid out the purple boucle wool that you can see on the right, I am having second thoughts. Here are my concerns
- The skirt and jacket are cut on the bias
- I don’t know what to trim the purple fabric with – white? silver pu? silver leather?
- Due to the wonderful pointed front on the jacket it is not as versatile as more traditional shapes and won’t combine as nicely with other SWAP outfits
- I like the blouse but the shoulders are very cut in which again is rather nice, but not really suitable for work except on a very hot day
- A slight feeling that I ought to make this suit in a different fabric – possibly with a check to make the most of the bias, or a more vibrant colour.
Here are two Cardin dresses from the 1960s with a more extreme cut-in shoulder. It is a flattering look that I feel I could get away with – but not at work.
The dresses below show the use of contrasting colours by Cardin in the 1960s (colour blocked) . I love these looks and the strong colour palettes used. My purple looks a bit muted next to them (although the model picture for Vogue 1636 is shown in a soft light orange)
Finally here two final references. The first picture shows a Cardin suit from the same year made up in a purple check and it is easy to see the bias in this colourway. The light pink skirt and the base of the jacket in the second picture is also cut on the bias. I started a Cardin suit from the same year – 1966 – and while I made the skirt and wore it for a while I took it to the Charity shop after Christmas. I can’t say I really like wearing a bias cut skirt. So I never progressed to the jacket (which is very similar to this light pink one).
I haven’t decided against this suit yet. I do love it. I love my fabric too. I am itching to get started. It is radical but also quite conservative – which makes it very me. And yet. This may not be right outfit for me. I am going to delay getting started on this. I have sent for some silver leather swatches and I may make up the blouse for fun in another piece of fabric. Oh gosh. I would ask for advice but I on this occasion a split opinion will only reflect where my mind currently sits.
If I dump it I need another three piece set, and I will have to substitute another blouse pattern for the painted silk. Not too big an issue as I am doing draped blouses this term at Morley.
The Eames exhitbition
There is a good exhibition on at the Barbican at the moment (but not for much longer!). It features the life and works of Ray Eames and her husband Charles. Their distinctive style was established early on – he the all-American guy with broad shoulders, chiseled jaw and natty bow tie; she with high-necked blouses, voluminous gym slip and an up-do – sometimes with a straight fringe. They designed their own home, the IBM Pavilion at the New York World’s Fair in 1964-5, and of course chairs.
There are lots of chairs at the exhibition (which did not permit photography), but you know these chairs don’t you? You can read a bit more about the Eames here and you can buy a modern version of their chairs too, if you want.
It certainly was fascinating to see the development of the chair being made from bent, shaped plywood, to fibreglass, to more ornate luxury versions. i liked the way they stuck with the idea of a cheap, stackable chair; comfortable and mass-produced, but also a thing of beauty and elegance. I like that they kept on working on the chair, trying new ways of making it – sometimes with three legs, sometimes with a rocker, sometimes padded in leather – always with a view to producing a modern classic that anyone could have in their home. They made a few chairs for children. Plus this multipurpose toy – known simply as “Toy”. It consists of four squares, four triangles and some connecting rods. The child or adolescent could make different items from the shapes, and use their imaginations to play at theatres, shops or castles. Although the panels were quite flimsy I liked Toy and felt it provided inspiration for dress designers. Or quliters.
Ray was really an illustrator and graphic designer. She designed a few outfits along the way, including the black, full-skirted dresses with a square neck that she loved. Artists do seem to have a distinctive way of dressing, don’t they? The pattern on the right was a textile design typical of the period, by Ray. The design museum in London also has more information and examples of their work.
These days plastic chairs and standardised designs are ubiquitous; split screens, computers and multi-sensory experiences seem commonplace and obvious. We who were brought up on Habitat and later Ikea take this cheap, packable furniture for granted. At the time, however, this highly creative pair were at the cutting edge. The span of their interest and achievement is impressive. Even if her dress designs do look a bit like Stephanie’s SWAP plans!
Buying fabric on the internet
I have two habits.
First I invariably start a project with fabric, rather than a pattern.
Second, I buy fabric in shops, markets and warehouses (rather than on the internet).
These habits are because I am rather particular about fabric especially its composition, colour, weight, quality and handle. In shops I generally take the roll of cloth to the mirror and drape a metre or two over my body and take a good look at what it does with my shape and colouring. Then I usually buy either 2 or 2.5m.
WIth the pant suit I had the fabric. I bought a lovely piece of heavy cocktail-dress silk – sweet clear pink on the one side, with a very light pink on the underside. Stiffish, with a sheen, but supple and pliable too. It was damaged with a square sample cut out of it, and aged, yellowing Sellotape marks where this end of roll had been attached to the cardboard tube.
But I got a sense of regret when I laid the fabric out ready to cut into. I had always seen this fabric being used to make an YSL evening dress. Furthermore it was not entirely suitable for a pant suit as there was no stretch in it – ideally tight “slacks” need the benefit of a little elastane in the mix. Additionally while pink was my preferred shade (to coordinate with my sweat pea collection) I had acquired some interesting greenish trim that suggested a turquoise or green colour might be better. So I put away my shears and put out a call for fabric suggestions.
What a wonderful bunch you are.
I had lots and lots of great suggestions. Wool Challis (SJ Kurtz)! Silk Dupion! Cotton sateen! Shiny mohair wool (like a Mod suit)! I also had lots of merchants mentioned including Whalleys and several eBay purveyors – thanks Demented Fairy.
As I said I normally start with fabric. I can always find (or make) a pattern to go with it. It’s not hard to go from the fabric to the outfit, I find. The other way round is complicated.
My brief is
- a firmish, mid-weight fabric with a little heft
- 2-5% elastane
- ideally silk or another natural fabric
- a cool pink, or turquoise, or possibly silver
- a brocade is a possibility
- an eveningwear fabric
- a bit of shimmer – not a high shine, but not matt either
- appropriate to the 1960s style
- not too expensive
I found it hard to identify something that met all the criteria and many of the helpful suggestions hit two out of three requirements.
Readers – I explored all the internet had to offer and decided, as advised by many, to get some samples. Which I will now share with you!.
First I tried stretch silk from Pongees. These are satin fabrics which include some elastane. The colours are good, (although a number of the shades I asked for are out of stock). But I think the fabric is too thin for the task. While the company charges only postage if you ask for more than three samples they did not send a price list which was poor. The prices are not mentioned on the internet either, so I wrote asking for the price but didn’t hear back. Maybe if you have to ask you can’t afford it. Verdict – nice fabric, great colours, good stretch, maybe a bit too shiny, a bit too thin and no idea on price.
Harrington’s has a similar selection and I have used them before and would recommend. Silk Route was recommended by x, and I like the site. However like many of the silk suppliers there is an assumption that you are making a wedding dress and there is something about the price, slowness of the customer service and lack of price transparency that is irritating. If you are making a wedding dress Beckford silks, and Bennetts Silks have nice sites.
The next company I approached was Tutus and Textiles. I don’t have any call for a tutu, but if I did I would go to Suzanne in Scotland! This is an interesting site and I liked quite a few of her products. I decided to order some stretch faux dupion (polyester) in silver grey – the shocking pink was out of stock. She came back quickly to tell me the silver grey was almost finished. Nevertheless she sent me a sample, free of charge, and despite it being “faux” I really liked it. I asked her if she could get either bright pink or turquoise and she is consulting her supplier. Verdict – good stretch, good sheen, right weight, OK colour, not sufficient avaiable.
I looked carefully at one of my favourite suppliers Cheap Fabrics, but they had nothing in the stretch department that fitted the bill.
I looked at Croft Mill fabrics but they didn’t have anything appropriate.
I wanted to use Dragonfly fabrics as they are a nice company but they didn’t have anything. Then I saw in their sale they had a cotton sateen at about £6m. I thought this might work if I couldn’t do better. Here matched with my vintage trim. Verdict: Nice colour, sufficient stretch, no sheen, and a bit flimsy.
Finally I went to a company that I have not used before but many bloggers have mentioned, Stone Fabrics in Devon. They had lots of possibilities on their website under stretch fabrics. Here is what I got for the price of a stamped address envelope. Verdict: They all have a bit of stretch, but none has a sheen, none seems to be special enough for evening wear or this project. I might settle for the pink pique as the weight is good and the colour is nice. But I think I will wait to see what Mrs Tutu has first.
Overall verdict – start with the flipping fabric. There are too many variables to start with a pattern.
In the Pink? Or not?
I am making Vogue 1556 as part of my SWAP 2016. I mentioned this a few weeks ago and asked your advice on the length I should make – full or knee length. Most of you suggested knee length not least because this would make walking possible. So that is what I have done. I have cut out the shorter length. However – and this is where I need some advice – my fabric is nice both front and back, but comes in two distinct shades.
You can see the cover photograph of a black and white silk dress. And on the back another variation – a red dress with red sequin trim. The second photograph is of Sarah Sheehan of Pattern Vault. Both the red and the black do look great, partly because the light reflecting sequins create a subtle contrast.
This week I made up the yoke in the iridescent pink sequins with white backs. I lined it with a light pink silk to try to bring a bit of colour to it. In the photograph above you can see how in different light the sequins look pink, green, yellow and silvery. And you can see the heavy pink silk I am going to use for the dress and sleeves. The cuffs and hem use the sequin cloth.
So my question is “Which side of the cloth do I use?” I am not sure the photographs are a great help as the light seems different between the two of them. But I have pinned the fabric against the yoke showing alternate sides. The finished article will have sleeves in the dress colour.
For the pink
- a deeper, stronger shade – more to my liking
- has a sheen
- relatively slimming
- maybe the pink is a little bit warmer than the sequin pink
- a fun colour, maybe a bit more 1960s
For the light pink
- a better match (if want it to look monochromatic and deliberately chosen)
- possibly more faithful to the design
- satin weave – much shinier
- reflects more light – makes the wearer appear bigger
- elegant, but maybe a bit like nightwear
- might snag?
When I see the very light shade of pink satin I can’t help but think of the not very flattering shiny, light pink dress Princess Diana wore. But then Audrey looks amazing in the light pink Givenchy dress. I guess I am thinking more of the Twiggy look.
I asked my Instagram followers if I should do the light pink or the deeper pink. Here is their verdict (they only saw pictures – I saved the discussion for you!) 18 for deeper pink, 8 for lighter pink.
SWAP 2016 0.13 – Simplicy 1278 – Making Garment 2 – the blue cotton blouse
I wanted a nice fitted blouse for my SWAP to coordinate with my 1960s outfits.
While the predominant silhouette of the 1960s is slightly boxy and shift-like I prefer a more fitted top. So shaped 1950s blouse is nice way to define your waist as it flares out over the hips. It is also a flexible style in that it works both tucked in, and out. The hem is curved at the CF so it looks smart both over a pencil skirt and neat, tucked into to a fuller one (I have both types of skirt in my SWAP collection). Also it offers two necklines; a short or 3/4 length sleeve; and some interesting pleating at the neckline. It has a side zip and a button at CB neckline.
Pattern and Alterations
I use many vintage patterns, usually sold in just one size. I much prefer the specific sizes, even if I need to alter them to fit (you almost always do anyway) as all the features are scaled correctly. And they come already cut out and ready to go!
This is a modern reproduction of a vintage pattern, so we have a culture clash in an envelope! Here the company is committed to the modern approach of “multi-size” patterns. With the multi-size you just get the “smaller” size graded to say 6,8,10 and 12 (UK) and the larger 14, 16, 18, 20. The pockets, collar length etc on the small or large are the same, for example. With the individual sized patterns you usually get a truer design, I find.
So when this blouse arrived (for US sizes 6-14) the packaged seemed rather bulky. The reason is that the company have reproduced the specific sizes and sold you a job lot. There are actually patterns for all these sizes in the envelope. It took me quite a while, deep in tissue paper, to find my six or seven pieces (view C size 10).
The other difference with the vintage pattern and the modern one was the detail on the instructions. Most vintage patterns assume the dressmaker is “advanced” in modern terms at least until the 1970s. The instructions here are very detailed – almost too detailed with a diagram of every single stage. Modern touches are added too – an invisible zip and serged seams.
The other thing – because this is a modern pattern – was that Pattern Review and a wide range of blogs gave more detail – what a luxery! I rarely have this bit of help as many of my makes are fairly obscure vintage patterns that are rarely blogged or written up. For this reason I always try to write-up my experience in the hope that it may help others. But on PR most modern patterns are covered, which is a boon if you buy modern (or modern reproductions, like this one). Most of the reviews warn that the pattern “comes up small” and that the collar is tricky. OK!
Helpfully the finished pattern bust size is included and it contains about 4″ of ease, which I consider too much for a fitted pattern. So I have gone down a size. But the hips are bit slim for me so I cut the blouse slightly wider at the hips. And I added 1.5″ to the length of the torso.
Fabric and materials
I used a nice remnant I got at Missan in the summer. It is a good quality shirting fabric, in a lovely shade of purpley blue. I decided to use an iron-on interfacing as the hem and necklines are faced. I used a mauve invisible zip and found two small covered buttons in a light blue. These fitted the collar perfectly.
Construction
It was interesting to construct a vintage blouse with such full and carefully illustrated steps. I am so used to using my own patterns, vintage patterns with fairly brief instructions and a high level of assumed knowledge, or patterns with various pieces or even the instructions missing – it felt very relaxing to follow a pattern with 39 steps! All of them carefully thought through and accurate. I was almost able to go onto automatic pilot. This is one of the few garments I have ever made with no mistakes, unpicking, scratched head or guess-work. It was nice and would like to thank Simplicity for making it such a pleasure. There are also quite a few little tips and suggestions which are rather nice.
Conclusion
A nice, wearable blouse with a vintage vibe. The pleats and folds into the neck-band are feminine and pretty. With view C, the lower neckline, I don’t think the back opening is necessary. If I make it again I will cut the back piece on the fold. Also the “cut to size” only works for the back piece meaning all the fitting is done across the back – it would probably be better if you are adding two sizes (at the hips) to be adding one size at both front at back.
One, two, buckle my shoe
Have you ever tried to buy a buckle? Despite the explosion of interest in dressmaking this is a product that is not easily available today. I tried a few haberdashery shops and market stalls, and came away disappointed.
If you look at buckle use on the internet you will see some lovely examples, this one by Karen, for example. She told me she had been sent the buckle as a gift! And Ooobop has used a lovely one on her turquoise dress. But most bloggers explain the buckle was in Grandma’s button box, or found in a second hand shop.
When I made a 1940s coat it needed a matching belt and I managed to buy a leather one at McCulloch and Wallis. When I made my blue SWAP skirt I needed a belt buckle for the back.
This time I bought one on the internet, via eBay. I got about 12 for £4, plus postage. Unfortunately some of them arrived broken. I felt a bit upset about the iridescent blue one as it had been a bit of a favourite.They broke because they are made out rather thin plastic that I think is known as bakelite.
However the silver one was perfect for my skirt and I pleased it was exactly the right size, phew. I think it looks like it comes from the 1960s whereas I am guessing most of the others come from the 1930s-1940s.
I only wanted one buckle but I bought a few because they are very lovely items. Here is a nice job lot that I turned down (at £20) because I just don’t need that many. You can see that metal, mother of pearl, leather, wood and horn were all used traditionally. Some of them have a pin in the middle so that they can fit multiple sizes (but made to measure clothes can just have one buckle hole!). I would love these beautiful items to have wider use. They really need to be deployed on fitted dresses with a fabric belt. I think they probably look best on skinny girls but our young women just don’t wear that sort of thing anymore, do they? I suppose there may be other purposes for them, but I can’t think of one, beyond keeping them in a box and admiring their lovely shapes, colours and materials.
Do you see yourself finding a role for these little beauties or is the buckle dead?
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