A color watercolour drawing of an imaginary sewing pattern cover. The top in rounded red and white writing says 60s Miss. Taille. Size 10. Pattern Patron. Underneath is a drawing of a women who looks like Jackie Kennedy wearing a burnt orange dress. The fabric is textured and she is wearing low heeled shoes. The logo says Designed And Made In Hull.
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Fashion History: Marjorie Field, Fashion Flats, Fashion Illustration and The House of Mirelle

June 21, 2017

One of the most enjoyable aspects of having fashionable conversations is the associations they bring.

They can be personal – recollecting the occasion an outfit was worn at, historical – what was happening in  the world at the time, or creative and cultural – what it said about the fashion industry, for instance.

A few weeks ago, having a conversation about a burnt orange cotton dress made in Hull in the early 1960s , made me think about textile and fashion illustration all over again.

If you’ve read the original blog post you’ll know that while it was being described, it was drawn in front of my eyes like a Disney animation – one of the old Disney’s that were drawn and painted by hand.

My sketch of Louise's burnt orange dress. Pretty near to the real thing.
My sketch of Louise’s burnt orange dress. Pretty near to the real thing.

Here’s the original sketch I did straight afterwards.

I was close, but there were differences between how I’d drawn the dress and how it was in reality.

The textile effect – a raised textured cotton in burnt orange wasn’t easy to reproduce.

The sketch is far away from what these days are called fashion flats – technical drawings of a clothing item.

 

 

Fashion flats – technical drawings 

 

Fashion flats are the drawings you find on the back of sewing patterns.

They are simple black and white line drawings that have no extraneous detail.

They describe the way the pattern pieces fit together in a technical way, like the pieces of a puzzle.

The illustrations on the front of sewing patterns may seem more free and expressive and they are, but if you look closely they have more in common with the technical design on the reverse than the expressive illustrations that come from a couture house.

Dressmakers, home sewists and couture workrooms

Simplicity 3914, an early 1960s misses dress pattern echoing the style of the burnt orange dress.
Simplicity 3914, an early 1960s misses dress pattern echoing the style of the burnt orange dress.

 

 

 

 

 

The sewist or dressmaker making up the pattern is doing the job that in a couture house you’d give to the workroom.

Filled with skilled hands  with different areas of expertise the people in a workroom would make up the blocks to create the pattern, cut the fabric, and then do all the stitching and finishing.

Workroom staff interpret and complete a couturier’s design so a designer can be as free and expressive as they want in their fashion illustrations.

Home dressmakers need to ‘see’ the design and the technical specifications because they are doing it from start to finish on their own.

That’s mirrored in the style of illustration on the front of the pattern – although artistic it says quite clearly what the outfit will look like when it’s done.

Fashion illustration at The House of Mirelle 

Vintage fashion design by Jaques Fath.
Vintage fashion design by Jaques Fath.

Doing this sketch reminded me of a conversation with someone about The House of Mirelle.

Their mother, Christine, had worked at Mirelle in the late 1940s – 1950s.

Christine was a designer. She’d attended Hull School of Art and by the time The War finished, she’d graduated with a portfolio of sketches and designs.

They were not only beautiful to look at and an indication of her huge creative talent, but were a snapshot of the style of fashion illustration at the time.

Marjorie Field – 1940s Fashion Designer 

Marjorie Field fashion illustration, 1940s. Image courtesy V&A Museum.
Marjorie Field fashion illustration, 1940s. Image courtesy V&A Museum.

Take a look at this gorgeous drawing from the designer Marjorie Field, from the 1940s.

It says everything about the prevailing expectations of beauty and the style of the late 40s and early 50s.

It shows that ‘beautiful’ meant being slender and tall. Despite the effects of textile and fashion rationing,  drapey crepes and rayons were very popular and they suited these slender lines too.

Christine’s sketches of clothing from the same era were created to this ideal. The women in them were also tall and slender, the lines were graceful and flowing and the dresses were figure hugging and clingy.

They say everything about how fashion and beauty were intertwined and fashion illustrators were taught to express this stylistically in art school.

Early 1960s Fashion Ideal – Jackie Kennedy and Audrey Hepburn 

Fast forward to the early 1960s when the burnt orange dress was made and the ideal of women’s beauty and the prevailing fashions had changed enormously from then.

Jackie Kennedy was pictured regularly in the international press and Audrey Hepburn was too.

Jackie Kennedy - understated early 60s chic.
Jackie Kennedy – understated early 60s chic.
They changed the perception of beauty and fashion had altered with it.

Audrey Hepburn’s gamine beat-look inspired the teen generation and Jackie Kennedy’s understated chic summed up the precision and culture of couture at the time.

Illustrating the burnt orange dress 

The burnt orange dress was made in the start of the 1960s by a Hull dressmaker working from home.

Louise cannot recall much more about the process of the dress being made nor where the dressmaker worked, but for a while we wondered if it was someone who had once worked at The House of Mirelle.

This is entirely possible as there were many dressmakers in Hull at the time. Those who worked in the many retail outlets and fashion houses often took in dressmaking commissions to make more money outside of the 9 to 5.

When skilled dressmakers left work to get married or start a family, it was common that they continued making up outfits from home.

Sometimes those outfits were made to a pattern the customer brought with them and sometimes they were made from one the dressmaker already owned.

Stylistic adjustments were added or taken away and the skill of fitting and creating to a customers demands were similar to the bespoke service that was found in fashion houses. Because of this, it was a highly skilled profession.

I wondered what the burnt orange dress might look like if it was a sewing pattern…

In honour of the dressmaker’s skills I got out my sketch pad and, inspired by Jackie Kennedy, started again.

I’d been advised that the sleeves were shorter than my original sketch and the skirt was too but the neckline was spot on.

In this drawing I worked on the princess line and back with a shallow ‘V’.  The textured cotton was raised, like bricks and that must have shown in the orange cotton.

I kept the style tight and more reserved just like Jackie ‘O’ would be.

Finally, I added a “60s Miss” title and a stamp saying “Designed And Made In Hull” and with that the imaginary sewing pattern envelope was complete.

Voila!

We may never know who the Hull dressmaker was that created the original dress, but this pattern envelope honours their work forever.

Here’s to the unsung heroes of dressmaking at home!

© House of Mirelle 2016

 

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