A variety of McCall patterns from the 1940’s showed glittering trim on simple tops.
In the forties, McCall offered several patterns for simple tops which could be raised to evening wear status with sequins or beading. “Afternoon-evening” style implied a fashion that could be worn for dates when combined with your daytime business suit; a simple change of blouse and the working woman or traveler was ready for cocktails, dinner, and dancing.
McCall 1192 had a decorated back, too. The cap shoulders are a style that returns periodically. “Just two pieces to this blouse.”
No. 1192, from 1945, was still featured in the needlework catalog for May, 1950. It included an embroidery transfer and instructions for applying the sequins one at a time, although you could also purchase strands of sequins by the yard.
How to stitch sequins or do a decorative embroidery stitch. McCall 1192.
You could also work it in bugle beads, or in six-strand cotton embroidery thread “for a more restrained effect.” A simple chainstitch was also recommended. Most of the ornamentation would be done before before sewing the side seams.
Description of McCall 1192. Embroidery transfers came in blue, for visibility on most light colors, or yellow, for use on dark colors.
McCall pattern 1283, from 1946. The blouse is simple, but the sequin trim is glamorous. Making a long skirt in matching fabric would give you an “evening gown” that could be varied with other tops.
The rows of sequins suggest necklaces. The sash seems to be attached in the back, and brought around to tie in front. [If I were making this blouse, I’d add more fabric to keep it tucked in at the waist.]
McCall 1283, circa 1946. A handbag pattern was included. “For daytime wear, trim with fine rickrack and wear under suit jackets. One of the ‘musts’ for that special weekend or vacation and so easy to pack.”
There was a time when a lady did not wear sequins in the daytime. However, late afternoon and the cocktail hour permitted a bit of sparkle.
Witness to Fashion note: The wearing of metallic fabrics, rhinestone-studded clothing, and sequins during daylight hours was only beginning to be acceptable in the early 1970’s. I remember walking to breakfast with my husband in Hollywood one morning about nine; a woman passed us wearing tight jeans, high wooden platform heels, and a strapless sequinned stretch top, called a tube top. “Was she — or wasn’t she — a prostitute?” I asked to my spouse, figuring a man might pick up signals I was missing. He looked utterly bewildered when he admitted, “I don’t know!” A few years earlier, we would have had no doubts.
Many forties’ dresses for late afternoon and evening have subtle sequin trim; some are not so subtle.
Vintage black dress with black sequin trim, 1940s. (It photographed navy.)
A short forties’ party dress trimmed with green sequins and cream-colored seed beads. [A black petticoat visible near the hem is not part of the dress.]
Detail: a spray of flowers made from sequins and beads on a vintage dress.
Black vintage dress with a “necklace” and sunburst of sequins.
Another late forties detail: This blouse has beading around the neckline, suggesting a necklace.
McCall transfer No. 1408 used beading to transform a very simple blouse into a sparkling one. You wouldn’t need to carry jewelry on vacation if you packed a blouse like this.
Using an embroidery hoop, organza, tissue, (or modern tear-away stabilizer) to keep the fabric from stretching makes applying these trims easier.
In 1950 you could choose among several neckline beading designs: a bow, a pendant, etc.
More neckline beading designs from McCall. Pattern 1491.
A bow on your shoulder or a beaded “brooch” could also trim your dress or suit jacket. McCall 1491.
More beading patterns for blouses, dresses and suits. McCall pattern 1314. (From 1947.)
Gold or iridescent beads were available, but many of these patterns were used very subtly, in black on black, bronze on brown, blue on blue, etc. The square pattern below would turn a simple wool crepe suit into an elegant one, if you worked it in beads or shiny thread on the pockets.
A square beading pattern like this would be subtle in black beads on a black suit jacket. Variations could be used on the neckline of a wool dress or the collar of a suit jacket. McCall 1314.
If you’re tempted to make a dressy forties’ blouse, remember how often sparkle was added to day-into-night clothing. Pick a simple style, and let the ornamentation supply the sophistication.
McCall 1404: simple longer-sleeved blouses embellished with glittering rays at the neck. Late forties.
McCall 1293 included a vestee, a timeless halter top, a hat and a bag. Dated 1946.
Picture that 1940’s halter with evening trousers or a short lace skirt; if you found it in a thrift store, would it scream “1946” to you?
McCall 1293 included this Juliet cap and evening bag. This cap would not work over high forties’ hairstyles, but was perfect over a close-to-the-head fifties’ cut.
A sequinned monogram on a blouse or dress was also worn by many — although I wonder whether monogrammed gifts are always appreciated by the recipient….
McCall transfer pattern 1339 supplied 5 inch high initials to work in sequins or embroidery thread. (1947) Swing, anyone?
If you like the idea of adding sparkle, but not too much, consider an applique. I used to own several forties’ dresses which had bodice (and sometimes skirt) appliques of flowers — cut from printed material — and outlined or delicately accented with sequins. This dress does not have sequins, but a few on the appliqued tulip — clear or matching the colors — wouldn’t be out of period.
This vintage dress has a solid rayon crepe bodice, a floral printed crepe skirt, and one motif — a tulip — from the skirt fabric appliqued to the bodice. A few sequins on that tulip would be fine.
Obviously, this mannequin was too small for the dress; the flared, bias-cut skirt should hang from the natural waistline. A narrow self-belt probably accompanied this dress, but has been lost.
It’s not too late to make your forties’ style holiday party blouse or dress!
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