Vogue Patterns Magazine December 2018/January 2019 Sampler

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THREADS FOR THOUGHT

Hereditary Sewing

The threads that connect us

BY VANESSA NIRODE

I can't actually remember a time when I didn't know how to sew, when I didn't speak the language of fabric, when I couldn't look at a garment and see its history, the steps taken to make it into the thing that it is. There must have been a period when I didn't know these things. If I think back far enough, I can picture my mother's Singer sewing machine in its wood cabinet, down in the laundry room next to the closet door that concealed the hot water heater. The ceiling of the laundry room was outfitted with clothesline and my father's dress shirts occupied the real estate above the sewing machine. I remember sewing, bent over the machine, shirtsleeves brushing the top of my head when I straightened up. I think I remember mom showing me how to thread a machine but after that, my memories simply jump to the sewing part. Are skills like that hereditary? I've often wondered as much. Or is my failure to recall my sewing beginnings just the result of faulty memory?

42 DECEMBER 2018/JANUARY 2019


SUIT YOUR SHAPE

Flattery Will Get You Everywhere A crash course in sewing to suit your figure type BY DARYL BROWER

n an ideal world, sewing your own clothes should give you everything you want: the perfect fit, the per­ fect fabric, and a look you love. In real life things don't always go so smoothly. Everything may be made to measure, but since you can't actually try on the garment to see how it looks before you start stitching, it's hard to know if the style you've chosen will flatter your figure.

To do this you need to determine your figure type. Most of us fall into four basic profiles: triangle, inverted �� triangle, rectangle or hourglass. Vogue Patterns includes figure flattery symbols (see the key below) on every pattern envelope and catalog page, indicating which figure types are suited to the style. Within these categories we can be trim and slim, wonderfully voluptuous or somewhere in between. To determine This shape can be thin and boyish or which category you fall into, strip down heavy and boxy. The shoulders and to your undies and take a good look at FIGURE IT OUT hips are balanced but there is no curve yourself in a full-length mirror. Focus The first step to sewing fashions that to identify the waist. The key to flat­ your attention on the proportional dif­ flatter is a realistic assessment of your tering this silhouette is to draw atten­ ferences or similarities in the size of body type. I for one would love to step tion away from the waist. Avoid wide out in the super sleek shapes that my tall your shoulders, bust, waist and hips. Do belts and cinched waists. you have wide hips and a small upper and willowy sister-in-law wears so well, body? Are your shoulders broad in but at 5' 3" with a waistline somewhat YOUR GOALS comparison to your hips? Do you have compromised by the birth of two kids ■ Add interest at the necklines or little or no waist definition? Determine and a weakness for Hershey Kisses, I'm shoulders. whether or not your body proportions fairly certain they won't work for me. ■ Avoid drawing attention to your are narrow, average or wide and then At some point you've got to own up to waistline. decide which figure type you most your less-than-model-perfect body and ■ Lengthen your look by creating closely embody. If you find this diffi­ embrace what you do have by choosing vertical lines from top to bottom. cult, ask a friend to provide an objective fashions that play up your strong points assessment. and gloss over the trouble spots. TOPS, SHIRTS AND JACKETS Jackets and tops that skim over the waist adding horizontal interest at the INVERTED TRIANGLE-Larger bust and or broad shoulders neckline are your best friends. Square with narrow hips. and scoop necklines, wide collars, boat­ necks and cowls will all draw the eye up TRIANGLE-Small bust and or narrow shoulders with full and away from your waist and widen hips and or thighs. your top half. Capped, puffed and dol­ man sleeves are also flattering. Keep RECTANGLE-Balanced on top and bottom, but boxy, with hemlines above or below the waist and little or no waist definition. use layers, wraps and ruffles to break up the boxiness of your upper body. Opt HOURGLAS S-Equally balanced on top and bottom, with a for jackets with single-button closures trim waist. and back away from boleros and other squared-off styles.

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VOGUE PATTERNS 16



Previous page: Libby Payne, 1945. This page left: Libby’s sketch for her kelly green dress with hand-made belt buckle. Right: A Johara ad from Mademoiselle, 1940. Below: Style #862 for Bobby Brooks was one of Libby’s most successful designs, 1951-1956.

DECEMBER 2018/JANUARY 2019 37




All the elegance of 1947 with the dressmaker details you still love today. Self-covered buttons and incredible back pleats give this dress a classic appeal. V9346, Misses’ 6-22. 4-ply silk reversible satin back crepe, Blue Star Silk Corp. Fur stole: Sondra Roberts.

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