#anAWWyear - March 1948: Craft

At the end of my last post, I said that the fashion would be continuing this month, and that is because  March 13 1948 was a Special Knitting Issue. 

To start, let us look at the outfit on the cover of this issue, because I'm going to confess that 1940s would not have been my first guess for the decade of this outfit. This could easily pass for several later decades, and I love having the reminder of what really casual outfits could look like. This sweater is the 'Swagger Sport Shirt' by Pierre Balmain, who we are told is "famous in Paris for his casual sports clothes". 

Outfit on the cover
 Australian Women's Weekly, March 13 1948 

It is also a good example of how colour and styling can change one's opinion - the same sweater, styled differently, and in a black and white photograph, has far less impact and I would have passed straight by it. 

Believe it or not, the same sweater as above
Australian Women's Weekly, March 13 1948, p 37

There are instructions for about ten cardigans and sweaters in this issue, several of which are quite standard. I like this checkerboard design, although wouldn't wear it myself.  Of note, the 'New Yorker' twin set, shown here in the yellow top and rust coloured cardigan over it in the (the middle and lowest photos on the right hand side) is designed for the "not-so-slim" and has a bust measurement of 42", which while still terribly inadequate for me, is unusually large for the free patterns that tend to be in vintage magazines. 

Just some of the knit patterns in this issue
Australian Women's Weekly, March 13 1948, p 9

There was no craft I actually tried this month - partially because I've been having a renewed attack on unfinished projects in my stash, and partially because nothing really appealed. There was one crochet project, this unusual purse with a cord decoration, but said decoration was a little too snake like for me (I have a phobia) so I'd never include it in my collection.

Australian Women's Weekly, March 6 1948, p 37

There was also instructions for this embroidered cushion, but I suspect if I made another cushion my husband might complain. We have... quite a few already.

Australian Women's Weekly, March 20 1948, p 36

I've actually been surprised by how many issues don't have any craft projects. If I get the time, I might see if there is a seasonal pattern to when they have them. Or maybe the editors were well aware that their 1948 readers had a limited amount of time!

#anAWWyear - October 1947: Craft

October 1947 was a bleak month on the craft front as well - there was this rather neat knitted sweater pattern, sadly a bit beyond my knitting skills, but nothing else to actually make. 

Knit sweater, described as "a smart, useful adjunct to your summer wardrobe" .
Australian Women's Weekly, Oct 4 1947, p 48.

In the same issue there was a short article about the colour and design classes being run at the N.S.W. Society of Arts and Crafts studios, which I enjoyed especially for the photographs run alongside the article. 

Picture of students at work in the design classes.
Australian Women's Weekly, Oct 4 1947, p57

My eye was also caught by this great advertisement for Semco printed designs, which gives some lovely examples of the types of designs which were being sold that year. 

Semco advertisement
Australian Women's Weekly, Oct 4 1947, p 47.

I own some vintage Semco designs, for hand embroidery. I've shown them off on instagram but not here on the blog. The designs are... if not outright racist, then at least designs which embrace pejorative cultural stereotypes.

Semco design, "Mexican". 

Semco design for a cheval set, "Romany"

I find "Romany" less distasteful, because at least it is trying to evoke a more romantic and pastoral image. The embroidery in the above pictures was done before these two came into my collection, and I've dithered about whether I would actually complete them.
I decided to finish "Romany" for my craft this month, and I plan to use the pieces to decorate an apron - using the two smaller ones as pockets on the skirt and the longer one as or across the bodice piece.

I've finished the embroidery on the two smaller pieces and have done the majority of the background embroidery on the larger piece - only the wagon and the woman to complete.

The two smaller pieces will make generous apron pockets. 

Mostly done. 

Once I complete the whole apron, I'll show it off here! I shall call my cultural stereotype apron.

#anAWWyear - September 1947: Craft

This post, the alert will spot, is actually being posted in early October, and that is because I fell victim to ambition- I was absolutely determined to finish a particular one of the September craft projects before I blogged about all of them. Sadly, the month ended before I could manage it.

Being a crocheter, September 1947 had a few solid crafty offerings for me. This traycloth, designed to be worked up in join-as-you-go motifs in fine cotton thread, is apparently able to be mastered by 'even those who are just beginning to crochet'.

Delicate crochet traycloth.
Australian Women's Weekly, Sep 20 1947, p53.

While this sort of thread crochet isn't something I can use in my life right now, I did want to test out the motifs, so I made a square of four in a heavier, green crochet cotton as a sample.

My test version, in a heavier cotton.

The motif pattern is indeed quite simple, the joining is easy, and the joined motifs absolutely must be blocked. This has been, and it still needs an iron and perhaps a starch. 

There is also a fantastic two page feature on 'crisp lace accessories for spring' 

This lace jabot will 'revive' a frock or suit.
Australian Women's Weekly, Sep 6 1947, p45

It features a jabot and three different bows. I made the butterfly bow and you can blame the jabot for why this post is so late. 

These are mislabelled- the top one is actually the butterfly bow, as is easy to guess.
Australian Women's Weekly, Sep 6 1947, p45

The butterfly bow - indeed all the bows - are designed to lie flat to be starched and ironed and then are gathered together with a crocheted tie with a button or snap to form the blow shape. I know I crocheted my tie. I blocked it. But somewhere between choosing a button and going to sew the button on, it disappeared. So my butterfly is still in its flat state at the moment. I am searching some more before I admit defeat and crochet another. It has also not yet been starched. 

My flat butterfly bow, waiting for its centre tie,
which may or may not be somewhere in my laundry

I worked up the butterfly in no. 60 crochet cotton and a 1mm hook. This still feels quite big, but it is meant to be a statement piece - the article says that they 'may be placed in lapels or at the yoke of a frock with good effect' or would be 'a smart finish for a belt' so they can't end up tiny.

The jabot, shown made up by the AWW above, and as an artist's impression worn on the second page of instructions (and below) is made in three rectangles of a lace pattern and then pleated onto a neckband. 

Such a chic jabot!
Australian Women's Weekly, Sep 6 1947, p47

I worked this up in an unlabelled cotton thread from my stash but I'm fairly sure it is also a no. 60 cotton and a vintage hook labelled 'Milward' on one side and '4, Made in England, 20' on the other which measures between 1 and 1.25mm on a hook gauge.  It is supposed to be made up in a finer thread (ideally I would have used no. 100) but again, I'm trying to stash bust with this yearly project and not buy supplies.  This is one panel.

One panel of the three needed for the jabot.

If you look at the start of the panel, when you've only completed a short depth, it looks effective to use as an edging.

I think this would look nice on vintage style nightwear, as a sleeve or neck edging.

I only got one and a half panels completed, but I'm going to keep going and finish this one!

Rounding out our September craft is a rather odd craft project, the "reminder of how much we used to smoke" handbag.

Novelty handbag. Yes, it is.
Australian Women's Weekly, Sep 20 1947, p45

Made up of a cigar box and a heap of burnt matches, there was no way I would be making this one, but I thought you'd appreciate seeing it as much as I did.

Now onwards, to October!

#anAWWyear - September 1947: Fashion

I'm starting September with fashion again. I was overwhelmed with choice this month, and I'm worried this post will get quite long!

I'm going to start with some cunning "Paris styles... at budget prices". The Women's Weekly were not only making reasonably priced versions of these dresses available to buy, they were also making patterns available to the home dressmaker.

Australian Women's Weekly, Sep 27 1947, p43

That blue and white dress gingham sundress looks almost too simple to be Dior. I feel you could wear that anywhere in summer and feel stunning.

The drapey green dress by Marcel Rochas has the most beautiful neckline. I don't know how it would work with a larger bust, but I'd be willing to risk it if I could still get the pattern for 3/6.

Dress by Marcel Rochas
Australian Women's Weekly, Sep 6 1947, p9

One of the things I find fascinating about pages like this is seeing the fashion illustrations right next to the models, because the clothes do sit that bit differently. 

More gorgeousness, by Dior and Carven
Australian Women's Weekly, Sep 6 1947, p8

In a page on handbags, I was captivated by these unusually shaped bags - the copy seems to suggest these are intended to be more casual beach bags, but made up in the right materials I think that hexagonal drawstring bag could look very smart.

Beach bags from Paris
Australian Women's Weekly, Sep 13 1947, p39

There weren't many things that appealed in the fashion patterns service this month; the 'afternoon dress with an elegant drape' pictured below is one of the only ones I wanted. The detail below also shows the top of a three piece casual beach outfit.

Fashion patterns to send away for
Australian Women's Weekly, Sep 13 1947, p30

I've been considering a pair of culottes or wide shorts as a summer wardrobe piece, and I found myself returning to this picture of women working in Britain's hayfields. The silhouette of these outfits appeal. And always nice to see some examples of real outfits being worn.

Detail of photo accompanying an article on volunteer agricultural workers in Britain
Australian Women's Weekly,  Sep 13 1947, p9

There were a few advertisements for clothes and fabric which I wanted to discuss today too. During my thesis research I ran across an article (sadly I can't find the reference right now - all my notes are archived) which was discussing how, with the fall of Paris to the German army in WWII, the pressing question on everyone's lips must be 'to where will the torch of fashion pass?' I had not considered that, post-war, Paris must be working to regain that torch in the public perception. But here is that sentiment being expressed: "Fashion is again queen at the Rue de Rivoli, style centre of a woman's world."

Detail from a Selby shoe advertisement
Australian Women's Weekly, Sep 6 1947, p14

One of the common perceptions of vintage advertisements, which as a historian of advertising I have always felt obliged to debunk where possible, is that such advertising is less manipulative and more straightforward than advertisements since. In truth this is mostly a function of our training as a society in reading advertisements, which allows for more subtlety. Having said that, you do run across advertisements which openly express sentiments that modern advertising only hints. It is no secret that much fashion is marketed to women with the intention of pleasing the masculine gaze - but we rarely see it spelt out quite so clearly.

Fabric advertisement
Australian Women's Weekly, Sep 27 1947, p8.

Although that blue and white dress is rather fetching, with the change of direction in the stripes from bodice to skirt.

What did you think of these highlights? Which would you want to wear?

#anAWWyear - August 1947: Make your own "Vagabond Bag and Beret " and more

Vintage issues of magazines such as the Australian Women's Weekly contain great free instructions and patterns for all kinds of crafts, usually homewares or items of clothing and accessories. Each month I'll be showing a few that are available and also making one or more - preferably ones which can also use up stash, as that is a goal of mine for 2017.  

August 1947 contains only a few craft projects.  For knitters, there is a Knitted Box Coat  which is "made with a firm stitch which gives it tailored lines and makes it suitable for sports wear, for the office, or home". It is written to fit a 34-35" bust. 

Australian Women's Weekly, Aug 9 1947  p51.

There is also a rather neat convertible sewing apron/bag - wear it while you craft, and then it becomes a project bag. The subhead suggests it would make a lovely gift. The fabric is all cut as sized rectangles, and as the different sections - inside pocket, waistband, etc - could easily be made from contrast fabric it might be a useful way to use up some fat quarters and scraps.

Australian Women's Weekly, Aug 23 1947, p53. 

The craft project I chose to make this month was this cute beret and bag set. 

Why yes, my spring wardrobe does need some variety.
Australian Women's Weekly,  Aug 9 1947, p49.

The picture illustrating the instructions wasn't very clear but the vibe was enough to make me want to try.  The copy was full of how fresh and wonderful this pair was, and promised me that the bag would leave me with a hand free.  The instructions said they could be made in felt or fabric, and as I had a length of green felt in the stash I went with that. I am still not sure what makes this a 'Vagabond' bag, as sadly my online search results were made difficult by the bag brand of that name. 

The bag is made from a long rectangle, with pleats added in the short sides. 

My pleat pinned, waiting to be tacked down.

In order to actually get this done (and as the felt wouldn't fray) I decided to hand sew it all so I could do it during times when I was at the park/watching TV/etc and wouldn't need to rely on my increasingly rare time on the sewing machine. 

Once the pleats are in place, the rectangle is folded so the pleated sides are together at the top, and you sew 9 ½ inches up each side. I would recommend slightly less, as Miss 1947 may have had a more slender arm. At that measurement I couldn't easily push the bag all the way to my elbow. It also would restrict the size of what you can put in the bag, as unless I am very much misinterpreting the instructions the only way in and out are through the side holes. 

Sewing up the side seams.

The top is finished with another strip of felt with studs added. I had a minor crisis here, as while attaching one stud the die decided to get so stuck to the stud it would not come off. I had to cut it away and sew together two pieces each with two studs. As a result it looks slightly unbalanced, but I don't mind too much. Much better than it would look with a big silver die base in the centre. 

The finished vagabond bag.

The beret instructions are typical of patterns of this era when they aren't just rectangles - a basic labelled diagram that is not at all in scale. The beret is a high halo style designed to be worn back on the head, and has two felt bows decorating the side. The instructions, once the pieces are cut out, are very simple. It suggested adding a stiffening, but as my felt was solid I decided that applied if one was using other fabric, and ignored it. Perhaps my halo would be crisper if I had not.

The finished beret. 

The inside of the beret's band is finished with petersham ribbon to stop it stetching out. 

Interior view showing petersham ribbon (and a close up of one of the bows)

And in action: 

The bag is designed to hang off your forearm, as shown here.

The beret sits at the back of the head. 

Ready to step out.