When Rachel picked the Vogue 2001 pattern for her prom dress, I was elated! I love me a vintage pattern, and thankfully, so does she. I wasn’t sure she’d actually go through with the idea when push came to shove, so I was incredibly pleased that she was committed to some vintage glamour for her first prom.
Pattern
Vogue #2001, only released from the archives this spring. It’s a reprint of a 1941 pattern, and the first time she pointed it out to me I squinted at it because it really looked like a 1930s top smashed up with a 1950s skirt. I actually said, “That top and that skirt don’t go together, what is going on here?!” And then I saw the 1941 publication date and immediately thought about World War 2 fabric rationing and how this pattern did not fit into that idea whatsoever. But then my husband and I figured out that Pearl Harbor happened in December 1941, so American patterns were not adopting a “war rationing” mindset until 1942, probably. I wonder how many women purchased the pattern with the intent to make it and then couldn’t make it because of rationing?
Fabric
Rachel picked out a lavender satin taffeta and a lilac organza from JoAnn Fabric. We needed 11 yards of both because the main eater of yardage in this pattern is the skirt, which is ginormous AND cut double. The pattern doesn’t have instructions for two layers of skirt, but it’s what we wanted to do, so I overcast the waistline of them together and then treated it as one skirt.
Notions
- Thread: Good ol’ Coats & Clark Dual Duty All Purpose #3440. I bought two out of caution, even though I never use the second spool, but I did actually need the second spool on this dress.
- Zipper: The last lilac-colored invisible zipper in my weird assortment of cast-offs that I ordered from Amazon years ago.
- Horsehair Braid: The solid main fabric skirt has a 3-inch horsehair braid in its hem. The circumference of each skirt is 528 inches, so I used almost fifteen yards of horsehair braid. The pattern called for 4-inch horsehair braid, but I had purchased the 3-inch braid years ago on Amazon for a “just in case” moment, and decided to go with that.
Time Spent
I DID actually keep track of how much time I worked on this! I wasn’t able to get to working on this dress until a week before the dance, so I made the decision to “live update” my progress to my friends on Facebook—at the end of every hour of working on the dress I’d snap a picture and type out what I’d accomplished as a comment to that day’s Facebook post about the dress construction. I knew that the public accountability would help me stay focused and have a shot at sewing this up in a week. Little did I know, my Facebook friends started cheering me on and leaving me uplifting comments as well, which really buoyed my spirits as I toiled away in my craft room. I will absolutely use this method of social pressure to help me finish big projects in the future!
- Muslin: I wasn’t tracking hours while working on the muslin, so I estimate it took about five hours.
- Sewing: 39 hours, according to my Facebook posts.
- Total: ~44 hours
Highlights
- The fact that Rachel picked out a vintage pattern just made me so happy!
- The Facebook live updates and the cheering from friends made this so much more enjoyable to construct.
- I did French seams on as much of this as I could and the seams are just so beautiful inside this dress.
- I was able to do that whole dart rotation maneuver and transfer some annoying fullness in the upper arm and shoulder area into the bust gathers. I did a new thing and it totally worked!
- The narrow hemming of the sheer layer is, by far, the best job I’ve ever done on narrow hemming. I enjoyed that step.
- I did cheater gathering with a length of yarn for each quadrant of skirt and it worked beautifully. Highly recommended.
Lowlights
- The side seams of the skirts are too short, despite having measured the skirt on her to the ground, so her petticoat showed a little bit. No idea how this happened. Very annoyed.
- Kimono sleeves are stupid. That is all.
- Holy skirts, Batman! Cutting out the skirt sections was a logistical concern. No matter where I went in my house there wasn’t enough room to lay it out in one run so I had to shift the fabric and pattern for each skirt to continue marking it. That brought some challenges, but I got through it.
- I bought a hooped petticoat to go underneath this and even had Rachel try it all on with the hooped petticoat, but she hated how it felt to have the skirts held away from her legs and refused to wear it. Which was too bad because I think the skirt was more impressive with the hooped petticoat beneath it. She ended up going with a tulle petticoat and a flounced petticoat over the tulle to smooth things out.
I really love this dress and I’m so glad I had the opportunity to make it for my girl. We bought a book that showed how to do 1940s makeup and hair so she could go with the complete 1940s vibe. She did her makeup beautifully, and I am not known for my hairstyling skills so the hair was a little less than hoped for, but whatever, it worked…enough.
Renaissance informed me that Rachel’s dress was a star of the show the entire night. Girls were coming up to her over and over again to exclaim how much they loved her dress and how it was like a fairytale princess gown and how much they wished they had one like it. Now that I know how much work goes into constructing those precious princess ballgown skirts, I get why they’re not offered in your typical off-the-rack dance dresses. Whew! I’m glad she got to feel special at the dress in her dress! Who knows, the trauma may wear off just enough by next year for me to consider making another one for her…
Links to all posts about Rachel’s Vintage Purple Prom Dress