Tuppence Ha'penny

The Colour of Nude

2012-02-17T08:41:00.004Z

Peach dress by Daisy and Stella
A recent post on the etsy blog, The problem with nude got me to thinking about the colour occasionally termed "nude". Back in 2010 Michelle Obama wore a frock which some journalists unthinkingly described as "nude", later hastily switching to "champagne" when they were taken up on it ("skintone? Whose skintone?").

Bisque sweater set by DearGolden Vintage
"Nude" and all its pals apply to a tone that's loosely defined (it can be peachy, a cream shade, beige or pale taupe), but roughly equivalent to caucasian skin. As such the terms are are inherently racially exclusive, so perhaps they should be relegated to the scrapheap along with the once-acceptable "nigger brown"? The latter was formerly in common use - I've seen it crop up a good half dozen times and I don't even have an especially large collection of 1910s-20s fashion ephemera.

Buttercream dress by The Greedy Seagull
To be honest I've never much liked the sound of most of these colour names anyway - nude (too prim), skintone (too clinical) or flesh (too carnivorous). I rather prefer prettier-sounding terms like peach, champagne and taupe. In fact I think it seems like the perfect opportunity to reintroduce some of the evocative shade names I've found on vintage stockings - names like Spark O' Spice (my favourite!), Shellblush, Persian Glow, Myst Cuban, Allure, Copper Beech, Calypso and Amber Fox. They paint a spectrum of neutrals from Peach Petal and Alabaster through Sugar Beige, Bamboo, Desert Gold and Cafe Glace to Auburn, Brandy, Sienna and Wild Mink. I say we bring back colour names like Sundream, Sahara, Rosedew, Russette, and Honey Beige. Some might wonder how you would assign a specific colour to Whisper or Romance, but surely it's no more arbitrary than assigning a colour to "nude".

{Sewing for Beginners} Taking The Easy Route

2012-02-16T12:32:00.004Z

Every time I complete a sewing project I get commenters saying they would love to learn to sew. Sewing really isn't as hard as you might think - at least until you get to more advanced techniques and tailoring. So, as a far-from-expert myself, I thought I'd present a beginner's guide to sewing - in the hope that I can encourage some of you to get started.

Personally I'm a fan of jumping straight in and learning "on the job". My first dress was a 1930s unprinted pattern - it took me literally months to complete (I didn't have a sewing machine at the time and worked on it sporadically, at my sister's house), but the techniques I learned on that one project include shirring, gathering, topstitching, buttonholes, collar, hemming, pleating, darting, inserting a zip, and setting in sleeves. I love that it was a huge learning experience for me, but if I'd actually known anything about garment construction I might have gone for a simpler pattern - only I didn't know at the time how to tell which patterns were easier or more difficult than others. So, for those of you who would prefer something slightly less daunting for your first project, I bring you the Tuppence Ha'penny Guide to Taking the Easy Option.

Case Study: Vogue 5869

Why it's easy: Princess seam panelled construction is straightforward to sew. The sleeveless version eliminates the fiddly setting in of sleeves.

Although I've often seen skirts suggested as beginner sewing projects, I actually think dresses can be easier because I find waistbands a little fiddly. Sheath dresses are probably the easiest as they don't even require attaching bodice and skirt, but sewing a waistline seam is far from tricky. The looser, relaxed fit and minimalism of the 1960s lends itself particularly well to easy sewing, but a cap-sleeved 50s party frock or 30s sundress can be equally straightforward.

Case Study: Fashion Pattern 2858

Why it's easy: You can see from the construction diagram that the dress is assembled with just a few simple seams, no gathering, darting or complex setting in of sleeves. This would be an ideal beginner pattern, except for the scalloped edge on the sleeves.

For the easiest possible construction, you'll want to minimise the techniques required. Sleeves are fiddly components to sew, so if you're after something simple to start with, look for patterns with no sleeves, cap sleeves or kimono (cut in one with the bodice) sleeves. If you do want to have proper set-in sleeves, I find gathered puff sleeves the easiest to sew as you don't need to worry about the seam being perfectly smooth.

Case Study: Simplicity 4897

Why it's easy: The dress is cut in a simple shift shape with no waistline seam. Shaping on both dress & jacket is achieved by way of simple side darts, and both have kimono sleeves.

Collars aren't difficult exactly, but they can be a little fiddly. Much easier are simple open necklines (if it's a side-closure pattern, wider necklines which you can pull over your head are best as they don't require an additional little neckline zip). Equally, buttons and buttonholes aren't really that complicated (especially if your sewing machine has a buttonhole attachment), but they do add an extra layer of complexity, so if you want to simplify as much as possible you may want to avoid them.

Look for patterns which include facings (that's a semi-lining, usually required round the inside the neckline so you don't have raw edges or visible stitching on the outside) - they're easier to deal with than either full linings or using bias binding.

Case Study: Butterick 7050

Why it's easy: It's a jumper dress, so no sleeves to worry about. The simple wide neckline is easy to sew, and the pattern includes facings. The skirt is flared from the waist. This type of skirt is slightly easier to put together than gathered skirts as there's no "drawing up to fit", it's just simple, flat seams all the way.

The choice of fabric is another consideration. For easy of sewing I'd recommend a simple, firmly-woven cotton: it's inexpensive, so perfect for a trial project; doesn't slip or stretch, making it easy to pin, cut and sew; and doesn't fray badly. Slippery silks and rayons, though delightful for a drapey 1940s number, are a little harder to control when sewing, so best saved for a later project.

Case Study: Advance 2737

Why it's harder: While the gored skirt is simple to sew, the bodice features gathering combined with curved, topstitched panels which is a more intermediate, multi-stage technique. The sleeves are darted and set-in. This pattern is also suited to a drapey fabric, which can be harder to sew.

So hopefully I've given some of you prospective seamstresses a better idea of what makes an easy pattern easy, so you're in a position to make an informed decision when pattern shopping! And do let me know in the comments if there are any other topics you'd like to see me cover in my Sewing for Beginners series.

Was this helpful to you?

Wear What You Love

2012-02-15T09:01:00.003Z

It makes me sad when I get comments from people saying they "wish they could wear vintage" or "have nowhere to wear it", because that's exactly what stopped me from following my heart for so long. I suffered for a long time from low self esteem, and felt that I didn't deserve fabulous clothes (though of course I never articulated the thought at the time). I spent years in a style wilderness, and although I did have occasional rather dashing moments, I fantasised about wonderful clothes that I had "nowhere to wear".

When in my early 20s I briefly dabbled in pin-up modelling my interest intensified, but I still didn't take it further. Even as I started selling vintage clothing, though I loved playing dress-up for photo shoots I still didn't have the courage to wear it on a day-to-day basis.

Until the time I had something of an epiphany and realised that no "courage" was required. I could wear vintage, I could wear twirly dresses and frothy petticoats and satin pencil skirts and dress like a pin-up if I wanted, there was actually nothing stopping me. And, well, as you know I've never looked back since! That's why I so want to encourage anyone who feels drawn to vintage not to be held back by a lack of confidence - because it doesn't require confidence, all it takes is the decision to wear the clothes you love.

If you love it, wear it, and it will bring you happiness.

Carefree Valentine

2012-02-14T13:51:00.002Z

I like Valentine's Day. It gets a lot of flack for being over-commercialised (what holiday isn't?) and creating forced romance, but I just think it's a nice idea. Just like Mother's Day, Thanksgiving (for those of you across the pond), VE Day and many more, it's a day dedicated to showing your appreciation. And for me, it's a reason to embark on an ambitious sewing project. And also an excuse for chocolate fondue.

So, if you follow me on twitter you'll probably have noticed my incessant updates on the progress of my Valentine's Day dress and be wondering what all the fuss was about. Well here we are, the big reveal... ta-da!

I gave hints to the inspiration, but I wanted to keep it a secret until I unveiled the finished dress. It was, in fact, the dress worn by Ginger Rogers in one scene of the 1938 film "Carefree". I first came across it on Wearing History (almost precisely two years ago, it appears!) and it immediately went onto my wishlist.

As such it's been a very long time in the planning, so when I was drawing up my schedule for this year's sewing I determined that this dress would finally be made, and allocated it to February (figured Valentine's Day was as good a deadline as any!).

I didn't want to make a precise replica; I gave mine a sweetheart neckline (more flattering than the jewel neck of the original) and 3/4 length sleeves (as I wanted it to be a bit warm), and replaced the pleated skirt with an A-line style. Because I had in my head how I wanted it to look, I used a whole selection of vintage patterns to translate my design into reality. The skirt is from McCall 4280 (ah! Yokes and shirring - my two sewing obsessions), while the bodice is cobbled together from Butterick 7432 (the pinafore/jumper dress pattern I used for my 2010 Christmas dress) with a substantial FBA, a re-drafted neckline and sleeves borrowed from yet another pattern.

It's made up in wool crepe (which I've had in my stash for like a year, destined for this project), and the heart applique is in wool felt. The satin-stitch embroidered arrows took two full days, and isn't quite complete - I want to add another arrow on the sleeve like the original, but I need to buy a smaller embroidery hoop to do it. The stitching doesn't bear close inspection, but from a distance I think it looks rather good. I even quite like the inside - the thread ends like a hundred tiny fireworks!

I hemmed it (this morning!) with bias binding, and blind-stitched by hand (I always hand sew my hems). I would have used black hem tape, but I didn't have any; what I did have was this fun gingham bias binding I bought recently. I rather like the cheeky touch of colour.

And now I'm off to get myself some lunch and one of the heart-shaped chocolates the chap gave me. Here's wishing you all a happy Valentine's Day - mwaahhh!

{Style Inspiration} Wallis Simpson, Style Icon

2012-02-12T14:01:00.000Z

I for one am looking forward to seeing Madonna's "W.E." - entirely for what I've heard are some lovely costumes. In anticipation, I thought I'd share a few pictures of the lady herself, Wallis Simpson. However you may feel toward her personally, there's no denying she was impeccably stylish.

Love chocolate and powder blue.

Powder blue, perfectly complemented by yellow accents - and Edward's orange & yellow ensemble.

Looks like a fabulous novelty print - wonder what it says (source)

Ahh, sweetheart neckline with dress clips! And those puff sleeves...

Interesting braided (?) detailing (source)

Copen blue and deep rose.

Love the gauntlet gloves and clutch purse, too!

White and green ensemble (source)

Elegant simplicity in a tailored suit.

Rocking the houndstooth check, with interesting detailing down the front of her blouse.

Her iconic wedding dress, in powder blue.

New and Coming Soon!

2012-02-11T23:26:00.004Z

Some new goodies going into my etsy shop this week include (clockwise from top left): 1970s peach cableknit sweater dress; Amazing 1940s nipped-waist suit jacket (been in my wardrobe for ages, but as it's too big for me it never gets worn, so it's time to let it go); 1940s homemade novelty paisley print swing dress; 1960s lilac boucle handknit pin up sweater; 80s-does-50s 100% wool plaid wiggle skirt; 40s style rayon jersey swing dress. Also vintage fully fashioned nylon stockings, stylish record bags lined in a variety of vintage, vintage repro and modern fabrics, and of course crazy shoes and shoe clips.

Come, browse, buy, and help me pay this month's rent (eek!)

Miss L Fire New Season Collection

2012-02-10T15:16:00.001Z

Oh my! Miss L Fire uploaded pictures of their upcoming new season collection to their facebook page yesterday and I am in LOVE. I've yet to own a pair of their shoes, but these designs make me determined to change that. Here are my favourites:

"Gabriella" has lovely detailing on the vamp.

"Carmen", because we all know what a weakness I have for shoes with cherries on - and I think these would be a perfect summer shoe.

They come in pink too! Decisions...

Classic midcentury style in "Betsey" - I don't own any green shoes yet...

And lastly, the shoes I must own. I've been searching for the perfect day-to-day red shoe and I really think "Sonny" might be just the ticket (they come in navy too, which I'm also adding to the covet list). I need these shoes.

To that end, I'm selling a pair of late 40s Lilley & Skinner black suede ankle strap peeptoe heels - best fit UK size 5 1/2 to small 6 (EU 38-ish / US 8-ish) - email for more details if you're interested.

Spoonflower Art Deco Contest

2012-02-09T18:09:00.004Z

Wow, I placed FIFTH in the Spoonflower contest with my Flapper Fans design. I'm inordinately excited and want to send a massive thank you to all 602 of you who voted for me! All the top ten designs are gorgeous (and many more which didn't place in the top ten are equally fab).

Here's how my design looks printed on quilting weight cotton (might have to adjust the mint green as it turns out a little washed out - what do you think?)

Vintage Dangle Pins

2012-02-07T09:21:00.001Z

Since you appreciated my fun ice skates dangle pin yesterday, I thought I'd share some other vintage dangle pins. I collected all these images from ebay - some would be quite easy to recreate from a regular pin and some plastic (or wooden) charms.

A Stroll in the Snow

2012-02-06T10:31:00.000Z

Well although I kind of screwed up the placement of this hat (subsequent experimentation led to much better placement), a quick facebook/twitter poll voted in favour of going ahead with this snow day outfit post all the same.

It snowed steadily most of Saturday evening, laying down a carpet a few inches thick. And, rather like sunshine in summer, there's no telling when we might see it again so it's more or less a British custom to rush outside to appreciate it. We took a stroll down the nearby canal towpath, through the park and back home to cups of tea and biscuits. But I know you're not here for updates of my day's activities - you just want to see my amazing 1940s princess coat and ice skates dangle pin! Isn't it just the cutest? As you may be aware I love collecting vintage kitsch plastic brooches, and this one might be my favourite. The original leatherette 'cord' on the brooch snapped last winter, and I recently (finally) got around to replacing it.

1940s-50s ice skates dangle brooch, ebay (I think); Blouse, charity shop; Skirt, hand-me-down from a friend, re-hemmed by me; 1940s coat, ebay; 1930s-40s hat, US ebay; Gloves, can't remember; Shoes, New Look via charity shop.

{Style Inspiration} Colours of 1940

2012-02-05T10:16:00.000Z

Just a quickie Style Inspiration Sunday before I go out to play in the snow! These are all from the Sears catalogue from Autumn/Winter 1940.

Bluebirds of Happiness

2012-02-03T09:11:00.006Z

This 1950s dress was one of the two bargain knit dresses I found on etsy in the autumn and has become my absolute go-to this winter: I've been wearing it a lot, and you can expect to see more of it. It's super comfortable, nicely fitting, cosy warm wool, and so easy to wear - just pull it on and grab a couple of accessories (or a lot of accessories - I don't do minimalist - Coco Chanel would not approve) and I'm good to go. If only it had three-quarter length sleeves it would be perfect. It's not actually a V-neck (it's almost a sort of soft nehru collar), but I've tucked the collar inside to turn it into one.

I teamed it with a 1950s felt picture hat in navy blue (hat hair: braided updo - my usual default of a bun doesn't work for this hat as it sits quite far back on the head and the bun interferes with the placement), which I decorated with my Now Voyager blue bird fascinator, clipped onto the hatband.

Also, I must share my wonderful jewellery with you. I bought myself this set absolutely ages ago, but it's never made it into an outfit post. Reverse-carved lucite jewellery was wildly popular in the 50s, and flower brooches are pretty common - my mother has quite a collection that she amassed during her years as an antique dealer. However, to find a motif other than flowers is more unusual - so bluebirds? Awesomeness. A matching set, what's more, is quite a find. And at a budget-friendly price, I couldn't resist.

It's absolutely bally perishing out, so while I would have preferred to take more pictures I'm afraid I had to call it quits after about ten, of which these were the ones that turned out acceptably (that is, the ones in which I look least like I ate all the pies).

1950s knit dress, etsy; Reverse-carved lucite jewellery set, etsy; Vintage belt and scarf, both from Mummy via my sister; Hat, Pineapple Vintage; Bird clip, Now, Voyager; Gloves, can't remember; 1950s handpainted basket handbag, etsy; Shoes (Clarks), charity shop.

The Art Deco Collection

2012-02-02T09:01:00.005Z

When Spoonflower announced Art Deco as an upcoming theme for their weekly fabric contest, of course I had to enter a design! I was inspired by the Stehli Silks Americana collection to create a "double-layer" novelty print - that is, one that looks like a common-or-garden geometric from a distance, then reveals more detail when you look closely. I'm afraid mine isn't nearly so clever or creative as the Stehli Silks designs, but I'm nonetheless pretty proud of it. It's based on the classic Art Deco wave/scallop pattern, which I've made up of an array of flapper fans decorated in Art Deco designs. Although competition is stiff, with the number of talented designers on spoonflower, I'll love you forever if you take a moment to vote for my entry on the contest page!

I'm actually developing a collection of Art Deco fabrics - the one below was what I originally started work on as my contest entry (based on graphics from the cover of a 1920s The Dance magazine), then decided it wasn't Deco enough and created the Flapper Fans above.

And lastly a very simple Art Deco co-ordinate based on the stylised depiction of Egyptian palm leaves or lotus flowers, again arranged in scallops.

I'm playing with different colourways of each of these, and also working on another two new repros, one of Stehli Silks "April" and another of a stylised parasol design.

Once more, do take a moment to vote for Flapper Fans on Spoonflower. I know the competition is tough, but it would be super amazing just to get into the top ten!

Hat Hair

2012-02-01T08:26:00.001Z

In response to a comment on a recent post, I thought I'd do a quick guide about styling long hair for wearing a hat. Wearing a hat with long hair can be tricky, as the hairstyle needs to work in harmony with the hat, or the hat looks like it's been simply thrown on.

You can find some tips in a 1947 article I posted last year, Your Hat and Your Hair, which offers guidance on styling your hair to suit the style of hat.

I thought I'd share the styles which I've found work well for me with various styles of hat. Most hats look best with the hair around the face upswept, so I usually either twist or roll the front of my hair.

Twisting the front is the simplest and quickest, and works great for hats worn either forward or further back on the head. To make the look, just section off the front couple of inches of hair from the parting. Then you literally just twist the hair - towards the parting - and pin into place with two crossed kirbigrips (bobby pins). I have very thick hair so I don't backcomb or add any product, but if you have fine hair you might find something like a volumising mousse or backcombing helps to give it a bit more body.

Victory rolls is a great treatment for the front section of hair if you don't have a fringe (bangs). It works especially well for a 1940s feel, but doesn't look completely out of place with any look. You can play with the size and position so that they don't interfere with the placement of the hat. My parting isn't static either - it can be anywhere from centre to an exaggerated side parting. Sometimes I even switch it to the other side, if it works better with a hat.

Although I sometimes just roll one side, often I'll do both even if one is hidden by the hat. It can help give 1940s hats a little extra tilt, and the roll that ends up inside the crown also acts as an anchor to keep the hat in place - and provides something for a hat pin to skewer, if necessary.

While 1940s hats usually offer the option of having the back of the hair loose (in bouncy curls is most vintage-appropriate - you never see fashion illustrations of the era with hair hanging long and straight), 1930s and 1950s hats are inevitably designed to be worn over close-cropped hair, as was fashionable at the time. I often wear my hair in a tight bun at the nape of the neck, in an easy back roll or sometimes in Casey's romantic braided updo. I confess I'll also often take the easy route and pull it into a low ponytail - not very vintage, but my hair is too thick to fit in one of those barrette things which would be appropriate, so elastic has to do.

Stehli Silks Americana Prints

2012-01-31T10:52:00.005Z

As by now you well know, I'm absolutely nuts for novelty prints - the wilder the better. And (continuing my Art Deco theme) the Americana collection released by the Stehli Silks Corporation between 1925 and 1927 is an absolute bumper crop, featuring some ofo the most avant-garde and outlandish patterns of the day. The collection consisted of a large and stylistically varied group of patterns on American themes, commissioned from prominent artists, designers, cartoonists and celebrities. It was created to prove that America - specifically New York - could be a centre for fashion to rival Paris, and was received with some excitement. A New York Times article in 1925 hailed the collection as "Something new and distinctive in silk fabric designs [...] expressing the virility and color of the New World. The skyscraper, jazz and other modern notes of energetic America will be reflected in the designs."

Some of the most engaging novelty prints are the ones which aren't immediately obvious - the ones that look like abstract geometrics or florals until on closer inspection, like a magic eye picture, their true nature becomes clear. It's these that make the Americana collection especially awesome: an ostensibly abstract swirl transforms into a rollercoaster; a generic Deco floral becomes an umbrella-carrying crowd; a geometric reveals a jazz band or a group of tophatted gentlemen transfixed by a passing blonde. This is the genius of the novelty print.

The New York Times predicted that the biggest hit would be Clayton Knight's Manhattan, designed in a Futurist style "so modern that it suggests a view of all our skyscrapers piled up together, seen from an elevated train rounding a sharp curve".

Manhattan by Clayton Knight

Dresses in Clayton Knight's Manhattan print

April by Clayton Knight (I'm totally going to have to repro/recolour this at some point)

Map of Paris by Ralph Barton

Dress in Ralph Barton's Paris fabric

Tickertape by Charles Buckle Falls

Thrills by Dwight Taylor

Stadium by Dwight Taylor
The collection was intended to be absolutely of the moment, reflecting "the latest whims and fads [...] of the rapidly changing age to which they belong", and some of the designs were inspired by popular culture of the time. Gentlemen Prefer Blondes by the cartoonist Ralph Barton referred to the novel by Anita Loos that Barton had recently illustrated; while John Held's depiction of a jazz band is titled Rhapsody as a nod to George Gershwin's Rhapsody in Blue (which also happens to be one of my favourite pieces of music).

Gentlemen Prefer Blondes by Ralph Barton

Rhapsody by John Held
Celebrity contributors to the Americana Prints included Wimbledon tennis champion Helen Wills, who created two tennis-themed patterns.

Game of Tennis by Helen Wills

Game of Tennis II by Helen Wills

Accessories by fashion illustrator Helen Dryden
Which is your favourite?

Sources: Twentieth Century Pattern Design; Metropolitan Museum of Art; V&A Museum.

{Style Inspiration} John Frieda Hair Tutorials

2012-01-30T12:57:00.001Z

Oops, this week's Style Inspiration Sunday comes a day late - I was away for the weekend visiting my sister and forgot to schedule the post before leaving.

A representative from John Frieda contacted me last week and asked me to take a look at their new set of hair tutorial videos on youtube. A couple have a somewhat retro inspiration, though in a very modern interpretation. Although I don't especially care for this "1950s updo" (which is neither 1950s nor, in fact, much of an updo), the techniques look like they could be applied to a more vintage looking faux bob type affair, which appeals to my current Art Deco mood.

In an Art Deco Mood

2012-01-27T10:40:00.002Z

What with watching The Artist, hanging out at the Hoover Building and working on my entry for the Spoonflower Art Deco themed weekly contest, I'm in a very Deco mood this week. I've just spent a happy hour or so browsing the web for Art Deco inspiration, and I thought I'd share a few favourites with you. For loads more, check out the flickr groups Jazz Age in Print and Flapper Art.

Deco bridge tally (source)

Love the geometric prints on their clothes, and her rolled stocking tops! (source)

1920s "The Dance" magazine (source)

Check out those pompom shoes! (source)

"Metropolis" movie poster, 1927 (source)

Tennis bridge tally, 1920s (source)

1930s Blaupunkt Radio advertising poster (source)

Brighton travel poster, 1920s (source)

Deco Chicago poster stamp (source)

Royal Mail Line travel poster (source)

1920s greetings card (source)

Vanity Fair magazine, 1927 (source)

The Skirt That Almost Never Was

2012-01-26T13:32:00.003Z

Just a basic pencil skirt, one to replace my trusty Marks and Spencer number when it inevitably wears out. An "instant" skirt pattern. I started this shortly after completing the Apple Dress (autumn 2010), but for some reason I got discouraged (looking over the instructions, I think it may have been that the waistband stumped me) and the project was shelved, half-finished.

When I was drawing up my sewing schedule for the year I determined that I'd complete that skirt and so, finally, here it is. Although it's not quite the wiggle shape that I'd like in an ideal world, it's a very comfortable skirt, and easy to walk in thanks to the back kick pleat.

(that's not me "whipping my hair back and forth", it was the wind!)

Pattern: McCall's 4312 "Instant" one yard skirt

Fabric: Medium weight wool Prince of Wales check.

Alterations: Not much - just making a folded waistband interfaced with petersham instead of doing as the pattern directed, which was to face the waistband with ribbon and add an inner band of belting.

Techniques: Hemming with hem tape (it looks very neat and pretty).

Time to complete: Two years (!!)

Make again? For sure I'll make another pencil skirt (I NEED one in teal), so I might use the pattern again, though I'll probably adapt it to have side seams and taper slightly towards the hem. And make it just a touch smaller on the waist - I don't think I properly account for how snug I like things on the waist.

Hula Hoopla

2012-01-25T08:40:00.001Z

source
Okay so I'm maybe a decade late on this particular bandwagon but let me tell you, readers, I have a new addiction. I took my first hula hooping class (the modern exercise calls itself "hooping" to distance itself from retro kitsch, but I'll stick with the retro kitsch, thanks) two weeks ago, and I am officially hula-hooked! I bought a weighted exercise hoop and I've been practicing daily - trying to avoid hitting the walls of our little apartment. So far I can only move the hoop between spinning on the waist and hips, and do, like, turns and stuff - I'm currently attempting to learn knee-hooping (and have the bruises to show for it).

source
Although hula hooping has origins in the ancient world, the modern hula hooping phenomenon began when the toy manufacturer Wham-O (whose other great success was the frisbee) marketed a plastic hula hoop in the summer of 1958 - they'd got the idea from bamboo hoops used for gym classes in Australian schools.

source
The toy was an instant hit, selling twenty million $1.98 hoops in the first few months of production and igniting a worldwide craze. Within a couple of years sales totalled over 100 million. There were even songs written about it.

source
Do you hula too? Can you do any cool moves?

Vintage for the Full Bust

2012-01-23T08:40:00.002Z

This is a topic I've touched upon before, but amazingly have never dedicated an actual post to.

Dressing vintage can sometimes present problems for the large of boob, with many styles from the 1930s-60s featuring high necklines, ruffles, frills, and all those things we've always been told to avoid like the plague. It's unfortunately very easy for the large-breasted to end up looking dreadfully matronly in styles which our smaller-chested sisters can carry off looking breezy and fresh. So, I've put together my style tips for dressing vintage and avoiding the pitfalls - this is by no means a definitive list, but it's the one I live (dress) by.

The Right Support

In vintage as with any other fashion arena, the right undergarments are of paramount import. I favour bullet bras both for the vintage silhouette and the 'minimising' effect that the shape creates by not allowing the breast to bulge out sideways.

Vintage bullet bras in large cup sizes are near impossible to find, and modern reproductions like What Katie Did only go up to an F cup. The Doreen bra by Triumph gives a good vintage silhouette, I've heard, and is available up to a J cup in some styles.

Choose your Neckline Wisely

You'll probably have read the advice that the most flattering necklines for a full bust are V, scoop and sweetheart necklines. These help break up the expanse of chest. Go for a medium V neck - a deep V is both un-vintage and a little too sexy. The good news is that although a Peter Pan collar is out, sailor collars are a go.

As I mentioned in my knitwear post, vintage and vintage-style knitwear very often comes with a high, round neck. Other styles were worn though, so you don't need to worry about looking inauthentic if you choose something a little more flattering to your figure.

Define Your Shape

Wrap tops and dresses are flattering to pretty much every figure type. They accentuate the waist and divide the bustline - an overall win. A camisole top underneath can be helpful if the wrap doesn't close tightly enough.

Tailoring is also key. Avoid waist-length boxy jackets, which will make you appear square and shapeless - though even shorter bolero jackets can be an exception, as they allow a fitted waistline to show. Choose fitted jackets with a deep V and small lapels, cut to hip length. The length elongates the legs and the V divides the chest.

I'm a huge fan of dresses with a fitted midriff section and pleats or shirring to give fullness to the bust. Gathered and ruched fabric over the bust is flattering because it gives the impression that the garment is looser - the opposite effect of having fabric straining across the chest. Lucky for this style was massively popular in the late 30s - early 40s, and can be also be seen in some shirtwaists of the 50s.

Create an Illusion

Sometimes - say, in winter for example - the idea of wearing a plunging neckline might not be so appealing. But you can still use the principle of breaking up the expanse. Try sweaters with a contrast yoke or false V-neck. Layer high necklines under V or scoop necklines. Break up the expanse of chest with a statement necklace or a scarf.

Find a workaround - or wear it anyway

If you're still desperate to wear a style less suited to your figure, it may be possible to find a workaround. For example, if you've always admired those sweet little Peter Pan collars, try wearing a detachable one as a necklace with a scoop neck.

There are also ways to minimise the unflattering effects of high necklines. Even just having sleeves can make a difference: A sleeveless turtleneck may look gamine and playful on the small chested, but when the bustline is the widest point it only serves to draw attention and amplify the size. Long sleeves help to balance the look. Better still, layer it under a pinafore (jumper) dress.

When it comes down to it, if you love something just go ahead and wear it - rules are made to be broken!

PS: If anyone would like to contribute a guest post on how to flatter a smaller bust in vintage I'd be delighted! I'd have a go myself, but since it's not my area of expertise I'd love to pass the baton to someone better versed in the topic than I.

{Style Inspiration} Elvgren Pin-Ups

2012-01-22T10:41:00.015Z

Pin-up art is usually noted more for the absence of clothing than its sartorial style, but there's actually a wealth of vintage fashion inspiration to be found here.

Gil Elvgren is generally recognised as the greatest ever pin-up artist - he was certainly among the most prolific, active from the 1930s through the late 70s!

Having graduated high school, the young Gillette A. Elvgren had initially wanted to be an architect - an ambition which his parents encouraged - and went to the University of Minnesota to study architecture and design. He also took art courses at the Minneapolis Art Institute, and it was there, in 1933, that he decided to pursue a career as an artist rather than architect.

He graduated at the age of 22 and was hired as an artist by Stevens and Gross, Chicago's most prestigious advertising agency, where he was taught by senior resident artist Haddon Sundblom (famous for his artwork for Coca Cola advertising campaigns).

In 1937, Gil began painting calendar pin-ups, and his career as a pin-up artist flourished from there. Elvgren's artist's eye bestowed his pin-ups with a great sense of colour and style, making them perfect vintage fashion study material. So for this week's Style Inspiration Sunday I thought I'd share some some of Gil Elvgren's best dressed gals.

A beautifully alliterative prim Peter Pan collar and puff shoulders with two-tone peeptoe shoes in 1939

Gorgeous lemon and burgundy colour scheme (and check out those shoes!), 1943

c. mid-1940s plaid jerkin and matching hat

1947 - little black dress (with the padded square shoulders of the pre- New Look period), big red hat.

1948 - classic gypsy blouse, full skirt and sash - clearly a favourite of Elvgren's, and a recurrent theme in his pin-up art. And again, the shooooes!

Go ahead and wear purple and red if you're an Elvgren pin-up! 1951

1953 - a faux V-neck or a V-neck layered over a round? Either way, I love it!

1959 prim pin-up in stripe blouse and red neckerchief.

1962 - sexy secretary style in button-down blouse (note the shape of the collar), red pencil skirt and matching red and white spectator pumps.

Classic nautical style - 1967

Resources: thepinupfiles.com, gilelvgren.com.

I'm Vintage Queen no. 79!

2012-01-20T08:28:00.000Z

I'm delighted to be named Vintage Queen #79 by queensofvintage.com in their list of 100 vintage queens. This is a long-awaited honour for me - I was going to be nominated a queen way back in 2010, but then their editor left and Queens went on hiatus. Happily, editor Lena is now back at the helm, bringing daily vintage news, and finally allowing me to fulfil my ambition. So thanks, Lena and Queens of Vintage!

The Winter Pansies Afternoon Dress

2012-01-19T08:28:00.001Z

I have completed my first sewing project of 2012. I can feel that my sewing skills have improved loads in the year or so since completing the apple dress, though I'm still at a pretty basic level. Anyway, completing this means I can finally tick off a project that's been on my sewing list for, oh, eight months! One reason it's taken so long to come to fruition is that I simply couldn't decide on the "right" pattern for such a busy print. If you 'like' me on facebook you may recall I even considered going down a Mad Men early 60s sheath, but in the end the Deco era won out, and I think this pattern works well.

And yes, the lamppost outside my apartment is my new favourite photo prop.

The pattern instructions were very clear and easy to follow. In fact the only real problem I ran into was that despite doing a bodice muslin I managed to make it an inch too large on the waist, so I had to unpick and re-sew the side seam, which was a little fiddly since the midriff is topstitched to bodice and skirt. But other than that it went together pretty smoothly.

Pattern: Butterick 2592, from 1943. I have a weakness for patterns with shoulder gathers and fitted midriffs! Though disappointingly it doesn't make me look as svelte as the models on the pattern envelope.

Fabric: Liberty cotton/wool blend with a Deco-esque pansy print. The colours are a little obnoxious up close, but from a distance they blend nicely to burgundy. The fabric has a nice drape, though probably not quite enough for the gathers in the skirt, which really call for a lightweight rayon crepe de chine.

Alterations: Full bust adjustment (I'm not sure it was strictly necessary and I'm slightly worried it makes my boobs look enormous - but it does mean I can actually raise my arms above my head, which I can't in many of my vintage dresses!). I gathered instead of darting the sleeve caps to give the shoulders a touch of puff. I also straightened off the bottom edge of the midriff section (but didn't properly adjust the skirt accordingly - I tried, but didn't do it right - which is why the gathers fall a little weird).

Techniques: Using bias binding to face the neckline and sleeve hems; Hemming with seam binding; Interfacing the midriff (with curtain lining, since that's what I had hanging around - I use it for muslins) to stiffen it slightly.

Make again? Although I'm pleased with it, I probably won't use this pattern again any time soon - I have too many other patterns waiting to be turned into garments!

The Hoover Building

2012-01-18T08:43:00.001Z

As I discover more of our little corner of west London I thought I'd share one of the most amazing buildings local to me (and to Perdita): The Hoover Building, factory headquarters of Hoover vacuum cleaners from the 1930s. Completed in the early 30s, it was one of several high Art Deco buildings designed by the architects Wallis, Gilbert & Partners. Over the coming months I'm hoping to visit some more of their creations - in fact there's a whole Golden Mile of Art Deco architecture to be discovered, though this is perhaps the finest example.

During the Second World War the factory was given over to war production, manufacturing electrical equipment for aircraft and tanks. It operated 24 hours a day, with employees working shifts. The buildings were painted and camouflaged with netting to avoid being spotted and bombed by German aircraft. During the blitz a lookout post was set up on the roof.

The building is constructed from a special kind of concrete that doesn't discolour with age but stays gleaming white (I seem to remember reading about it in a Bill Bryson book recently), with accents in classic Deco green. The dramatic grand entrance is decorated with brightly-coloured faience in a design inspired by Egyptian motifs - all the rage throughout the Deco era. Isn't it incredible? It's just fabulous - I wish I could show you all the amazing details - the sunburst design on the side doors, the curved cornerstone with radiating tile decoration, the lotus blossom inspired floodlights (which illuminate the building soft green at night).

In honour of the architecture I tried to put together my most Art Deco looking outfit, but I don't really have anything 1930s. I thought this asymmetrical jacket had at least an air of 30s style about it, but clearly I need more 1930s clothes.

Another of Wallis Gilbert & Partners' architectural triumphs, the Firestone factory, was scandalously demolished in 1980, after its greedy, disgusting, dispicable owners heard it was going to gain protected listed status which would have saved it. It makes me sick to think of it. Luckily it seems that at least the event spurred the council into action, and the Hoover Building was granted listed status the same year.

Randomly, Tesco supermarket gave the site a new lease of life when it purchased the building in 1989. Working closely with English Heritage, they restored the main building and built the supermarket behind it in matching Art Deco style (they did a grand job!). The main building is all offices, currently unoccupied and available to let (do you think if all the vintage girls of London pooled our resources we could have a huge vintage office complex to share? How awesome would that be?!).

The lettering on the building facade originally read "Hoover Limited".

Outfit details: Hat, etsy; Jacket, hand-me-down; Ice skates plastic brooch, ebay; Tweed skirt, Hobbs c2004; Shoes, charity shop (originally New Look); Leather gloves, Christmas present from Mummy; Necklace, birthday present many years ago from my sister.

I was thinking the Hoover building would make a wonderful set for a Poirot episode, only to be told that it was indeed once used, for the 1989 filming of "The Dream" (also called "What Comes of Dreams") - the same episode, coincidentally, as features Miss Lemon's most famous cardigan. There are exterior and interior shots (though many of the interior shots are clearly in a completely different building), including one of the night-time illuminations.

The Leopard Hat Maketh The Outfit

2012-01-17T08:18:00.000Z

I fell in love with this hat by my newest sponsor Fairheads Headwear as soon as I saw it - it reminded me of the leopard tilt hat worn in the femme fatale illustration I posted way back. This outfit started with the hat. They often do.

I picked out my white and turquoise polka dot 1940s blouse, because I love turquoise with brown, but when I'd put the whole thing together it was a bit too brown/neutral - it felt like it needed more of the blue. So I went through my small collection of scarves and pulled out this - which is actually the sash I made for the dress I wore to my sister's wedding (which reminds me, I never did post my outfit in the end, did I?), and tied it in a pussy bow jabot type affair.

Do you like my bag? I've been in love with Casey's crochet purse and coveting one of my own for the longest time, but they're usually pretty pricey. I was also in need of a brown handbag since the handle on my 1940s leather purse snapped (it was very worn). And along came one that ticked all the boxes, with twisted amber lucite handles to boot.

1940s style leopard tilt hat, Fairheads Headwear; 1940s blouse, etsy; Scarf, made by me (like it's complicated!); Skirt (well-loved and now in need of repair), M&S circa 2006; Leopard print belt, ebay; Gloves, purchased at Vintage at Southbank; Handbag, etsy; Shoes, New Look; Earrings, purchased in Thailand.