Mad Men is one of my top two all-time favorite television shows for many reasons: character development, period accuracy, superb acting, exceptional writing, and of course, the costuming.
For years, I was attached to a drapey, drop-waist silhouette, harking back to 1920s' flapper and late 1960s' Mod fashion. But as I've grow older and have become more comfortable with my curves, I've learned to love the hour glass figure. Unlike the women of Mad Men who progress from hourglass to boxy as the decade advances throughout seasons 1-7, I seem to be making the opposite trajectory. The early season wardrobes of Joan Harris (nee Holloway), Peggy Olson, and Betty Draper/Francis solidified my kinship with 1950s-early 1960s' pristine garments. While I identify most strongly with Peggy, I prefer Betty's classic Grace Kelly floral print appeal to Peggy's prim, businesslike look or Joan's sultry bold solids style. There is something perfectly neat and tidy in a fitted bodice and a high waistline, something perfectly dainty and feminine in a full skirt and a cardigan. What can I say but I love Norman Rockwell kitsch? (I once met a man from Garden City, NY who told me stories about his boyhood, modeling for Rockwell for The Saturday Evening Post illustrations.)
I was fortunate to receive a donation of dozens of vintage patterns in my size. But if you don't have the good luck of a fairy godmother dropping off period patterns to your doorstep, there's still hope! Commercial pattern companies have listened to the demands of the market and are now reprinting original mid-century sewing patterns. These days, you can find a variety of re-published patterns from the 1930s-1960s at your local Hancock or Joann's.
The slideshows below depict a few of my favorite dresses I've made using reprinted patterns from the Mad Men period. I've included the pattern company names and numbers, as well as difficulty levels and tips, so you can make your own at home. If you've sewn a Mad Men-style dress and would like to be featured on this blog, shoot me an email at [email protected]. I'd be happy to post your photos!
For years, I was attached to a drapey, drop-waist silhouette, harking back to 1920s' flapper and late 1960s' Mod fashion. But as I've grow older and have become more comfortable with my curves, I've learned to love the hour glass figure. Unlike the women of Mad Men who progress from hourglass to boxy as the decade advances throughout seasons 1-7, I seem to be making the opposite trajectory. The early season wardrobes of Joan Harris (nee Holloway), Peggy Olson, and Betty Draper/Francis solidified my kinship with 1950s-early 1960s' pristine garments. While I identify most strongly with Peggy, I prefer Betty's classic Grace Kelly floral print appeal to Peggy's prim, businesslike look or Joan's sultry bold solids style. There is something perfectly neat and tidy in a fitted bodice and a high waistline, something perfectly dainty and feminine in a full skirt and a cardigan. What can I say but I love Norman Rockwell kitsch? (I once met a man from Garden City, NY who told me stories about his boyhood, modeling for Rockwell for The Saturday Evening Post illustrations.)
I was fortunate to receive a donation of dozens of vintage patterns in my size. But if you don't have the good luck of a fairy godmother dropping off period patterns to your doorstep, there's still hope! Commercial pattern companies have listened to the demands of the market and are now reprinting original mid-century sewing patterns. These days, you can find a variety of re-published patterns from the 1930s-1960s at your local Hancock or Joann's.
The slideshows below depict a few of my favorite dresses I've made using reprinted patterns from the Mad Men period. I've included the pattern company names and numbers, as well as difficulty levels and tips, so you can make your own at home. If you've sewn a Mad Men-style dress and would like to be featured on this blog, shoot me an email at [email protected]. I'd be happy to post your photos!
Butterick 47900
For new seamstresses: I highly recommend Butterick 4790 above. Much of the garment's structure is created simply by sewing the pieces together, rather than using sewing techniques to alter the individual pieces' shapes. This dress is made from a long front piece, a back bodice piece, and a circle skirt. The front buttons together at your waist back, hidden underneath the back of the dress, and the circle skirt warps around to you center front waist, where it is attached by three snaps. (Honestly, I've worried about the dress falling open, but that has never happened.) Edges are finished with bias tape, and four diamond darts and two bust darts taper the dress along your curves. Simple and elegant!
Fitting Tip: notice in the last picture, the back bodice is loose around my ribcage/under my arms. I should have added darts to give the dress a cleaner look. Make sure you do fittings before sewing on bias tape!
Fitting Tip: notice in the last picture, the back bodice is loose around my ribcage/under my arms. I should have added darts to give the dress a cleaner look. Make sure you do fittings before sewing on bias tape!
Butterick 5708
A dress of moderate difficulty is Butterick 5708. The bodice is easily made by sewing an inverted triangle between two mirrored trapezoids. This method is the simplest way to create an hourglass shape I've come across (other methods include princess seams, or strategically placed darts and tucks). While the bodice is easily made, the skirt piece is thickly gathered, so evening out those gathers/not snagging an extra layer of fabric may prove challenging for beginners. The dress has a side zipper closure and the bodice is lined. I made two different versions of the dress, one from a hand-dyed Swiss Dot fabric and another from a cotton print, which I added deep side pockets to. I hand-stitched the shoulder knots on the yellow dress. The pattern illustration shows multiple ways to tie the straps to make different dress views: strapless, one-shoulder, etc. None of these knots laid right on me except the two views shown: at the top of my shoulders (print dress) and at my clavicle (yellow dress).
Tip: When sewing the triangle (upper bodice) between the trapezoids (lower bodice), pivot exactly at the spot where the lower bodice seam stops.
Tip: When sewing the triangle (upper bodice) between the trapezoids (lower bodice), pivot exactly at the spot where the lower bodice seam stops.
Butterick 5605 and Vogue 8875
A little more difficult yet are Butterick 5605 and Vogue 8875. These patterns are similarly constructed, with a separated bodice and skirt piece, a scoop neckline, and short sleeves. The front is attached to the side-front (and the back is attached to the side back) the same manner for both dresses: opposite angles are stitched together where the front of the shirt turns into the sleeve. This is a difficult technique to get just right. Tip: Do not rush and skip steps because they don't look necessary. Absolutely follow the instructions in regards to sewing the front to the side front and the back to the side back.
The main differences between the two patterns: Butterick has a center front seam, where Vogue has bodice darts; Butterick has a circle skirt, where Vogue has a tulip pencil skirt; Butterick has a scoop-back and tie detailing that requires a bodice lining; Vogue has a neck-edge facing. I used a green woolen plaid and a yellow cotton plaid to make two Butterick 5605 dresses. (Although I drafted my own skirt pattern for the green dress, so that the skirt would be less full.) I've worn the green dress more often than anything else in my wardrobe. Because the fabric was pretty thick and I live in Atlanta, I decided to forgo the lining and use bias tape to finish the neck edge. I made Vogue 8875 in a fuchsia silk brocade.
Fitting Tips: I would definitely suggest adding a kick-pleat to the bottom of the Vogue dress's skirt so you don't have to shuffle as you walk. I also feel the Vogue dress runs large, particularly at the lower back curve. I should have corrected this with fittings and adjustments, but I was in a rush.
The main differences between the two patterns: Butterick has a center front seam, where Vogue has bodice darts; Butterick has a circle skirt, where Vogue has a tulip pencil skirt; Butterick has a scoop-back and tie detailing that requires a bodice lining; Vogue has a neck-edge facing. I used a green woolen plaid and a yellow cotton plaid to make two Butterick 5605 dresses. (Although I drafted my own skirt pattern for the green dress, so that the skirt would be less full.) I've worn the green dress more often than anything else in my wardrobe. Because the fabric was pretty thick and I live in Atlanta, I decided to forgo the lining and use bias tape to finish the neck edge. I made Vogue 8875 in a fuchsia silk brocade.
Fitting Tips: I would definitely suggest adding a kick-pleat to the bottom of the Vogue dress's skirt so you don't have to shuffle as you walk. I also feel the Vogue dress runs large, particularly at the lower back curve. I should have corrected this with fittings and adjustments, but I was in a rush.
Vogue 1084
Vogue 1084 is about as challenging as the previous two. The neckline is high and is intended to be a cowl, but neither fabric I worked with (a black crepe and a red polka dot silk/synthetic blend) draped the way it shows on the envelope illustration. Yet I'm still happy with how it looks. The center front is one continuous piece, with long diamond darts to create a fitted shape. The dress finishes true to size: besides my standard adjustments for petite, the fit did not need to be corrected anywhere.
The back skirt has an inverted dart at the top, which allows for a lovely fullness. A separate bow is tied into a slip in the bodice center back seam–a detail I adore. In fact, the diamond-shaped back of this dress is significantly more interesting than the front. (So interesting the TSA decided to give me a pat-down after noticing the bulge in my cardigan from the knot.) The dress has a facing, rather than lining.
Tip: Depending on your fabric, you may want to hand-stitch the bow in place. I lost my bow when I was out on a walk and it slipped out of my red dress (which is silkier than the black). Luckily, I saved my scrap fabric and had enough left to make a new one.
The back skirt has an inverted dart at the top, which allows for a lovely fullness. A separate bow is tied into a slip in the bodice center back seam–a detail I adore. In fact, the diamond-shaped back of this dress is significantly more interesting than the front. (So interesting the TSA decided to give me a pat-down after noticing the bulge in my cardigan from the knot.) The dress has a facing, rather than lining.
Tip: Depending on your fabric, you may want to hand-stitch the bow in place. I lost my bow when I was out on a walk and it slipped out of my red dress (which is silkier than the black). Luckily, I saved my scrap fabric and had enough left to make a new one.
Missing the point of the show...
Something nifty I noticed while watching Mad Men Season 2: Don and Betty have the same glassware set as Ben and me! (I was far too pleased with this discovery.) It's a Libbey set, in a pattern called "Gold Foliage", with highball glasses that come in a carrier with an ice bucket. I'm not sure if ours has been in the family since the 1960s, or was picked up at a yard sale only a decade or so ago, but I inherited it before moving to Atlanta. The beautiful set was stowed away at the cottage for years before I recovered it and gave it a new home.
Some see Mad Men as a story that depicts the destructive side of philandering and excessive drinking, and exposes protagonist Don Draper not as the ultimate man's man he at first appears to be, but as a tragic figure who loses his wife and family, and nearly ruins the career that gives his life meaning. Others look at the costumes and props and exclaim: "Pretty!"
Some see Mad Men as a story that depicts the destructive side of philandering and excessive drinking, and exposes protagonist Don Draper not as the ultimate man's man he at first appears to be, but as a tragic figure who loses his wife and family, and nearly ruins the career that gives his life meaning. Others look at the costumes and props and exclaim: "Pretty!"