Making Vintage Wedding Dresses E-Book

Ciara Phipps

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Veröffentlichungsjahr: 2017

Beschreibung

From the heavily beaded tubular dress of the 1920s through to the body-skimming shift dress of the 1960s, this book looks at and celebrates the historic shapes, detailing and romance of vintage wedding gowns. Equipped with instructions, patterns and photos, it explores the history of wedding wear and explains how to make a vintage wedding gown inspired by historical fashions and trends. A beautiful and practical book, it will inspire everyone who wants to express themself through timeless and elegant styles. Step-by-step instructions are given for making each dress and are complemented by close-up photographs of historic details and decoration. This beautiful book will be of particular interest to wedding dress designers, seamstresses and brides, vintage enthusiasts of 1920s-60s and theatre designers. Beautifully illustrated with 105 colour close-up photographs of historic details and 21 patterns with step-by-step instructions.

Leseprobe

Making VintageWedding Dresses

Inspiring Timeless Style

Ciara Phipps and Claire Reed

THE CROWOOD PRESS

First published in 2017 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

This e-book first published in 2017

© Ciara Phipps and Claire Reed 2017

All rights reserved. This e-book is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of thistext may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 313 4

Frontispiece: Close-up of knots on 1940s knot-front wedding dress. (Photo: Tessa Hallmann Photography)

Dedications

To my late mother Dorothy Phipps I dedicate this book. Her passion for, and her ability to create romantic, elegant and timeless wedding gowns ignited my passion to research, explore and write about them.

To the memory of my mentor and dear family friend, Yvonne Wallhauser ‘Vivi’, who taught me everything I know about the art of the couturier and whose exquisite skills with a needle I can but dream to emulate.

And for Dad, who would have been so proud.

To all brides-to-be, for your excitement, giddy anticipation and eternal style we dedicate this book to you.

Contents

1 Introduction

2 1920s Wedding Dress and Step-by-Step Guides

3 1930s Wedding Dress and Step-by-Step Guides

4 1940s Wedding Dress and Step-by-Step Guides

5 1950s Wedding Dress and Step-by-Step Guides

6 1960s Wedding Dress and Step-by-Step Guides

7 Caring for your Wedding Dress

Acknowledgements

Bibliography

Index

Chapter 1

Introduction

1

Making vintage-style wedding dresses is a hugely exciting and fulfilling experience. Either for yourself or as a commission for someone else, making a wedding dress inspired by historic fashions and trends allows you to express yourself through timeless and elegant styles. This book explores the history of wedding wear, with instructions, patterns and photos; it looks at and celebrates the historic shapes, detailing and romance of vintage wedding gowns.

1940s Utility Clothing Scheme wedding dress. (Photo: Tessa Hallmann Photography).

Weddings are amongst the most memorable and defining events of our lives. They conjure excitement, anxiety, anticipation and passion and allow the couple involved to indulge their imaginations in a manner and style of wedding that is befitting of their personal preferences and tastes. Whatever size of wedding you might choose, however elaborate or understated it might be, the most captivating visual element of most weddings is the bride. The bride’s dress will be the focus of much attention throughout the day, and it is because of this that vintage wedding styles still enthral and enchant given their timeless and classic appearance. Wearing a dress you have commissioned or made yourself will also add to the magic of your dress, providing it with a deepened level of meaning and personal attachment. An outfit you will cherish forever.

As a garment, the wedding dress is saturated with emotions and meaning. This dress is worn for an event that is still deemed one of the most significant in a person’s life, steeped in tradition and spirituality. The wedding as a construct is loaded with social expectations and religious significance for many couples, which demonstrates the importance that is placed on this garment. For many people, it will be the most expensive and significant outfit they will ever purchase, which is why they can spend so much time seeking inspiration and ideas from all around. Few other garments require or receive as much thought or consideration as the wedding dress does. As a unique garment, selecting or making the wedding dress or outfit is a rite of passage for the bride-to-be. Bridal outfits can tell you so much about the person who wore it, the society and culture in which it was made, and the economic context of the time.

To assist the maker, this book has explored the history and context of historic wedding styles, designers and ceremonies from each of the eras covered in this book. This is done to provide you with a good grounding for what you could achieve by using one of these patterns, why you might choose to wear a vintage inspired wedding gown, and how designers and the wearers of the time translated these styles.

This book sets wedding gowns in a historical context by exploring both the ready-to-wear bridal market and the role couture fashion houses played in the developing styles and status of wedding gowns. It will look at the importance of royal weddings (and the court dressmakers associated with these weddings) in influencing and inspiring prospective brides, and explore how the relationship between bridal fashion and high fashion has fluctuated over the decades. The vastly changing silhouette will be investigated through the periods covered, providing the reader with a clear understanding of how shape and silhouette have changed and how they might work with such silhouettes for their own dress.

The book starts with the heavily beaded tubular dress of the 1920s, designed to flatten the bust and increase the wearer’s movement and comfort, moving on to the slinky figurehugging bias cut silhouette of the 1930s wedding gown using fabric to highlight the contours of the female body in an elegant way. It then moves on to the sobriety of the 1940s utilitarian wedding outfit that was forced to ‘make-do’ with the fabric that was available, and dressing it up with perfectly rolled hair, and a glamorously made up face utilizing the burgeoning cosmetics industry. The extravagant and glamorous 1950s hourglass ball gown with a nipped-in waist and frothy skirt illustrates a return to the restrictive femininity of the corseted figure, that dictated the movement and shape of the wearer. The final decade covered in this book discusses the extreme change bridal attire went through in the newly liberated 1960s. From the loosening of clothes, the ditching of corsets and the development of the miniskirt, the 1960s made clear wedding dresses were evolving to push against the traditions of the ‘wedding’ in the form of the body skimming shift dress.

There are elements of wedding attire that remain a constant throughout the decades represented in this book; these are the accoutrements to the wedding dress such as the veil, train, bouquet and the headdress. They are also subject to adaptation and change given changing fashion trends and styles. The benefit the modern bride has is the huge variety of styles, shapes, fabrics and accessories they can call upon to create their ‘dream’ dress. By using historic styles and garments to inspire their contemporary counterpart, the most suitable elements can be chosen, ensuring the garment works for their figure, their taste and their budget. They can express their personal style in a unique way by referring to historic techniques or styles, or by even sourcing and wearing vintage accessories to finish the look.

The dresses included in this book are from the dress and textiles collection held at Southend Museums Service. This collection is vast and varied and includes examples of costume and accessories dating from the seventeenth century onwards. This collection also contains the largest and most comprehensive collection of swimwear in the country. The wedding dress collection is both diverse and dynamic, holding unique examples of wedding attire through the ages from c.1860 to the mid-1990s. These dresses were donated to the museum service and each has a unique story of its own to tell. Given their unlimited access the authors have been able to get up close and personal with each dress explored in this book. By using original garments, the authors have been able to look at these dresses in a different way, investigating the ways in which they were made and how these historical techniques and patterns could be adapted and applied to contemporary dress making. The book begins with the 1920s and moves through to the 1960s. Each decade contains two examples of wedding dresses that can be reproduced or reinterpreted. This provides a good variety of historic shapes, styles and designs to choose from, whilst also focusing on garments that can be translated to contemporary tastes and figures.

The patterns are taken from original wedding dresses, with each dress being carefully measured and the patterns scaled down accordingly; the scale is indicated on each individual pattern. Each pattern is annotated, and grain lines, gathers, balance marks and the original garment measurements are clearly indicated. It must be noted that the original garments were made to fit the individuals who originally wore them, and therefore the patterns are for guidance and inspiration and should be adapted as necessary. Seam allowances have not been included, so this must be considered when laying out and cutting the pattern pieces. Step-by-step instructions for making each dress are complemented with close-up photographs of historical details and decoration to assist the dressmaker. Historical information on wedding wear during each era also provides context for the reader, and a variety of helpful hints and tips on fabrics, trimmings and finishes accompany each dress chapter providing the reader with confidence in their ability to undertake the project. The patterns are aimed at accomplished home dressmakers, or for the reader to bring to a professional seamstress.

The beauty of making your own vintage-inspired wedding dress is the freedom you have in doing so. You have the option to add or take away details as you see fit, and you can indulge your bridal inspirations and influences through your choice of fabrics, materials and embellishments. You can explore and learn historic dressmaking and stitching techniques, providing you with a better understanding of what they did, and why they did it.

With some time and patience, you can create your own vintage wedding dress treasuring and enjoying it for years to come, and potentially creating your very own family heirloom.

How to Use This Book

The dress patterns in this book have been carefully measured and are accurate to within approximately 1.2cm (½″). The measurements are nonstandard, as each dress was bespokemade for the individual bride who wore it and so for guidance they have been compared to current sizing standards as much as possible. It is always good practice to take accurate measurements of the individual for whom the dress is being made and it is also advisable that any measurements are taken with the type of foundation garment that is to be worn in mind. The historical silhouettes reflected in the patterns may require adapting for the modern body shape.

All the patterns are fully annotated with a scale clearly visible on each. Some patterns will have two differing scales to work with, as many of the dresses have very long or full skirts and so it was necessary to scale in this manner to fit the book. It will be clear which patterns this applies to.

Measurements and quantities are given in both metric and imperial sizes to suit individual preferences. The patterns all consist of more than one sheet and this is clearly identified at the top of each pattern page. The patterns are for guidance and will require re-sizing to individual measurements and it is worth taking the time to study the pattern, instructions and the images of the original dresses, which show their construction in more detail. It may, in some cases, be beneficial to create a toile before the actual dress is cut, to allow adjustments and adaptations to be carried out.

The patterns do not have seam allowances incorporated and so this must be allowed for when laying out the pattern pieces. Approximate fabric quantities, based on the cut and sizes of the original dresses accompany the instructions and are for guidance purposes only. It is always prudent to err on the generous side with fabric quantities.

The patterns have been aimed at the experienced seamstress, but the instructions that accompany them have been written in as clear and concise a manner as possible, in order to encourage the home dressmaker with a good, general knowledge of sewing techniques. Some of the patterns in this book may appear to be more complicated than they actually are, but by meticulously ordering the pattern pieces and carefully following the step-by-step instructions, creating the perfect vintage wedding gown is very much achievable.

LIST OF ABBREVIATIONS ON THE PATTERNS

CF – centre front

CB – centre back

SS – side seam

SH – shoulder

SG – straight grain

LH – left hand

RH – right hand

Style Guide

Get to know yourself and your shape. You must do some self-analysis before making or buying your wedding dress, as it is essential to get to know what works well for your figure and your shape, before choosing a style. Your wedding is not the best place to exhibit a ‘new look’, but to utilize and promote all your best qualities and more importantly to feel comfortable and at ease. If you are not naturally traditional or formal then why wear something traditional and overly formal? The uniqueness of your wedding allows you to showcase you and your partner as a couple, who you are and what you are about, so there is no need to do anything other. It is your day.

Trying a few dresses on, to get an idea of the right shape for you, is the best way to assess where to start. It does not have to be the perfect dress – or even one you like in terms of its material and decoration – but if the shape is right you can gain an insight into how you look and feel. You may decide a traditional ‘dress’ is not for you and a two-piece would feel more suitable to your style. The dresses in this book could be adapted to different shapes, but the vintage detailing could be carried through to the final piece. Sourcing vintage fabrics or accessories would also allow you to take one of these original patterns and make it your own.

It would be advisable to know your budget and stick to it. When you fall in love with an outfit or wedding dress, the notion of the budget tends to disintegrate; however, it is important to set aside money for your outfit if you feel it is an important element of your wedding day. The beauty of making your own garment or having it made by an experienced dressmaker is that it provides you with more flexibility. If necessary, you can pare back certain elements, using different fabric or details in order to stick to your intended budget. Even if money is not a factor in your decision, having a clear budget gives you a better scope for finding and choosing your garment, as the parameters of a budget narrow down your choice. In a world of options, it is sometimes useful to know where to start.

Having an idea of your limits is also positive in helping you decide what type of wedding dress or outfit you envisage yourself wearing. Religious restrictions, your mode of wedding transport, and the location of your wedding may all affect the type of dress you will choose. You want to be comfortable and confident in your garment.

The White Wedding Dress

Quintessentially bridal in western cultures, the white wedding dress has endured the test of time. The white wedding dress encapsulates a romantic nostalgia for many women. For some, wearing white marks a new phase in their relationship and carries a transformative effect that signifies a new chapter.

Like today, publications or newspapers were hugely important in disseminating information and inspiration, promoting the white wedding dress and its bridal function. From 1790 to around 1810, white was the dominant colour for both women’s fashion and their bridal wear. Both evening and daywear was predominantly white, which ensured the wedding dress quickly followed suit. Fabrics such as sheer muslin were highly fashionable, along with very light silks, fine cottons and linen. The sheerness of such fabrics required the woman to wear an under-dress that could be either white or coloured to show through the over-dress.

The popularity of a silver and white wedding dress among the aristocratic dominated until the 1820s. The feature of versatility was also a popular feature of the nineteenth century, allowing women to repurpose or wear these garments again, which also led to the longevity of the colour white given its re-use. In the early nineteenth century, wedding dresses were described in fashion periodicals as exceptionally elaborate with highly decorative features such as trimmings, lace, flounces and bows.

The wearing of a white wedding dress was dramatically popularized after Queen Victoria opted to wear a white dress for her wedding to Prince Albert in 1840. This led to white being a popular choice for any young respectable woman getting married for the first time. Queen Victoria’s decision to wear white led to this colour becoming the norm for most women who could afford such fabric. Although worn prior to this date, this dress cemented the colour into popular culture.

Queen Victoria’s dress was made was made from a white silk satin fabric and embellished with lace. Victoria decided to use Spitalfields silk from London and Devon-made Honiton lace, in order to support domestic commerce by using only British-made materials. Her economic consideration was also demonstrated by her re-wearing of pieces from this garment in later years. She repurposed the lace from her dress throughout her life and she even wore it for her Diamond Jubilee fifty-six years later. Rather than wearing a crimson robe of state signifying her position within the monarchy, she chose to wear a white satin court train edged with orange blossom, and wore a Honiton lace veil fixed to her head with a wreath of orange blossom.

The other accessories such as orange blossom wreaths to decorate the head, ensuring the ensemble was notably bridal, enhanced this white dress further. Orange blossom was the most distinguished floral adornment within a bridal outfit during the nineteenth century. Sprigs and wreaths of this flower symbolized both virtue and fertility. These flowers, although available in Britain, were often made from wax, cotton or paper.

Chapter 2

1920s Wedding Dress and Step-by-Step Guides

2

• Style 1 - 1920s Silk and Tulle Lace Wedding Dress

(Photo: Tessa Hallmann Photography).

Back of 1920s silk and tulle lace wedding dress. (Photo: Tessa Hallmann Photography).

Side view of 1920s silk and tulle lace wedding dress. (Photo: Tessa Hallmann Photography).