If there was one garment that persisted throughout the 1960s, it was the "Chanel-style" suit. Consisting of a collarless, cardigan jacket and a straight skirt reaching a little below the knee, it was an almost timeless style.
To quote Chanel herself, "Fashion changes, but style endures".
A friend sent me this Swinging Sixties issue of Petticoat. Judging by the contents, it was aimed at girls between the ages of 16 and 21.
It also seemed to make a practice of featuring amateur models in its pages: "Loads and loads of pretty Petticoat girls all eager to try their hand at modelling... and making a highly successful job of it." Well, that was one way of cutting costs, I suppose. The cover of this issue features "Ruth Stern, 18 years old and a secretary in a large accountancy firm". In her profile she states "I sometimes have very heated discussions with Lincoln [her boyfriend] and my friends about big issues like racialism, wars and sometimes," she grinned, "equality for women!"
Next to her is seventeen-year old Christine Browne, who is still at school: "I want to work in a research laboratory... I'm very interested in science, it's my best subject at school," and she spends her evenings listening to folk music records.
Now to the clothes...
Petticoat girls suit their fashion sense in two outfits by Wallis. The pale blue wool Ungaro-inspired suit... the red-edged-in-white suit... flip-top berets by Kangol...
In the early 1950s, women's suits were very fitted and very structured. This left the average woman who wanted to wear a suit in a bit of a dilemma... buy a ready-to-wear suit in standard sizings (that might or might not fit) or try making her own? McCall's obviously preferred the latter, and in this issue of McCall's Style News it even offered a few hints on how to make a success of it.
Above: McCALL'S 9248. The diagonal swing of the jacket closing is something new. Notch collar, two-piece sleeves, slim skirt.
First was the vexed problem of shoulder pads:
So much is said about natural shoulders. Should I make my suit jacket without pads?
Definitely no. Use thin pads. The new smart shoulder pads are delicate, beautifully shaped and excessively thin. You need just that amount of padding in the shoulders of your suit. Don't use any old pads, they are probably all wrong.
Interfacing was another worry. It was clear that some dressmakers would prefer to do without it:
Is it necessary to put interfacing into a suit when the material is firm in itself?
Definitely yes. Especially in the collar, revers and through the shoulders. Often down the closing. Your pattern tells you where, and that is expert advice. Don't make hard work of it. Hair canvas interfacing is easy to work with—it's a woven material, not stiff or hard and the needle slips through as lightly as through silk.
Wouldn't interfacing make the points of collars and revers bumpy?
No, because you do not carry the interfacing up into the corner.
Keeping everything in place was another problem:
What can I do to keep the waistband of a suit skirt from wrinkling down?
Make a belt of boned belting in the same width as your skirt band is when finished. Sew hooks and eyes on the ends, and stitch this belting belt to the top edge of your skirt band.
And there in a condensed form you have it—the not-so-simple art of making a woman's suit in 1953. I suspect less experienced dressmakers would have given up at this point, and turned their attention to making something easier!
In the 1970s the skirt suit had a new rival: the pants suit! However, the newcomer didn't push the traditional suit entirely out of the picture. This cover from the David Jones catalogue of Autumn and Winter 1974 shows a suit in a fashionably large plaid. Jackets have once again become classically masculine, as opposed to the cardigan style jackets popular in the 1960s and the fitted jackets worn in the 1950s.
As often in the 1970s, there was an element of "do it yourself" involved in creating this outfit. The skirt and jacket were sold as separates: you could combine them to make the suit below, or buy coordinating garments to build your own "look".
Clever you... Creating your own fabulous look from our superb separates from Sportscraft in pure Wool.
Checked blazer with interwoven buttons, pocket trim. Tan/Navy...
Skivvie in fine wool jersey with concealed back zip...
The checked skirt has fluid knife pleats. Also in tan/navy.
In 1954 Coco Chanel reopened her business, and introduced what was to become known as the "Chanel suit". The Chanel suit consisted of a short straight suit and a loose fitting, hip-length "cardigan" style jacket. Her suit swept away the constricting, shaped-to-the-figure suits fashionable in the early 1950s and replaced them with something much more modern and easier to wear.
By 1964, when this catalogue was published, every ready-to-wear manufacturer of women's clothing was producing their own imitation of the Chanel suit. Of course they couldn't afford the craftmanship and materials of a genuine Chanel—but their source of inspiration is obvious!
Perfect elegance is the story of this outstanding suit in diagonally woven pure wool. The fully lined Jacket with set-in sleeves in double-breasted style has a velvet collar, matching self buttons, slanting pocket flaps. The slimming skirt, lined too, is detail finished.
Pure Wool Hopsack Tweed in rich deep colours, hits the fashion headlines with this outstanding two-piece suit. Fully lined, it features White saddle stitching around the Hip-length jacket. Note the simple neckline, the three covered button opening, and the pocket flaps. The slim skirt has a kick pleat, of course.
Young Australians will love this California styled two-piece, and look very dashing in it. We selected a pure wool woven with small checks and finally trimmed the short Jacket with Suede in a very sporty fashion. The skirt we styled with release pleats both back and front.
Faultless styling in figured Terylene/Worsted! Who could resist this flattering suit with the charming low revers. Immaculately finished, of course fully lined, this model suit represents classic tailoring everyone will admire. Best of all, being Terylene, you can wash it at home and drip dry!
The lithe look in "Janilaine" Double-knit Wool Jersey. There's a free-n-easy shaping with chic detail to the delightful two-piecer. Note the Chanel treatment and bow highlighting the top. The skirt is lined for shape.
Wonderfully fashionable, this co-ordinated three-piece Ensemble in Double-knit Wool Jersey with a toned floral top which is short sleeved and back zipped. Styled for all ages, all figures, this three-piece is a fabulous investment.
Style, value and instant appeal are obvious in this lovely suit in pure wool textured Tweed. The surface interest is accented with black braid and button trim. The jacket is really shaped to flatter and the skirt is cut to give a slender silhouette.
A Wool pebble Tweed suit priced to please, styled to appeal! The Jacket richly trimmed with braid has self buttons and set-in sleeves. The half-lined skirt has the popular twin inverted pleats both front and rear. Truly amazing value.
The feature of this stylish pure Wool Double-knit "Janilaine" Jersey Suit is the lavish EMBROIDERY on the Jacket. Difficult for the camera to catch, it extends in depth all round the jacket in an exquisite pattern. The slim skirt is half lined.
The skirt suit was as popular as ever in the ladylike 1950s. In 1955,Vogue Pattern Book devoted fully half of its covers to suits.
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| February-March 1955 |
"This spring it's pale tweed (like this butter yellow) for suits (like this tapered box jacket suit). Noteworth: the collar that rolls away from the neckline, the low-placed belt. Vogue Pattern S-4573."
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| August-September 1955 |
"A twelve-month-of-the-year investment... the good little jersey suit. Here in a bold herringbone in black and white. News: the bare neck, the spark of red in the hat and gloves. Vogue Pattern Number S-4625."
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| October-November 1955 |
"Tweed, the seasoned green of an early autumn countryside... a suit as relaxed as a day in the country. News... the follow-through of polished green leather accessories... the park of sky-blue. Vogue Pattern No. S-4638."
On the cover of this wartime National Bellas Hess catalog is a suit echoing the uniforms worn by women in the armed forces (and auxiliary services). The look is tailored and no-nonsense, the emphasis is on practicality.
The Man-Tailored SUIT
Smartly styled and expertly tailored of our best ALL new Wool Shetland-weave, handsome, firm textured—keeps its shape through active wear. Classic three-button jacket, with darts at the waist for slim, feminine lines; inner flap pockets; full Rayon lining. The trim-fitting skirt is box-pleated front and back; one-button waistband concealed placket.
The Popular "Boy" COATWith rayon blouse, felt hat and leather gloves.
Young, easy to wear, comfortable. Smartly tailored of rich, firm-bodied All new Wool Shetland-weave, on trim-fitting straight lines. Single breasted front with wide revers, tailored welt seaming, two deep inset flap pockets, arm straps for over-the-shoulder wear. Rayon lined, warmly interlined.
The cover of this issue of Modes et Travaux depicts a suit by Lucile Paray in green and black wool, with a white blouse made of crȇpe marocain.
As in earlier decades, these suits from 1923 are still a comprised of skirts and jackets—but they are no longer styled in imitation of menswear. Instead they are cut on fashionable lines with asymmetric closings, applied ornamentation and flared and batwing sleeves.
"The carefully tailored silk-lined Coat is a fashionable straight line box model with flare sleeves and link-button fastening. Heavy twist stitching and buttons trim sleeves, pockets and lower edge of back."
"Modish straight lines distinguish the smart unbelted coat, which in addition to its rounded lower edge and side closing also show newest style in the long tapering revers and flare sleeves... Rows of lustrous tailor braid finish the collar, sleeves and lower edge."
"Fashioned from the popular and handsome All-Wool Poiret Twill... it displays exceptionally charming style in the modish jacquette blouse effect coat. Note the smartness of the very new style sleeves and the narrow diagonal revers... Rich looking embroidery in harmonizing color trims collar, cuffs and hip band."
"Here's one of Fashion's newest ideas in tailored suits, the unbelted coat model... Very new features of the jaunty coat are the flare sleeves; the long narrow graduated revers and the rounded-up lower edge which meets the revers to form a fashionable side-closing with a large fancy clasp. Fancy braid on collar, sleeves and lower edge adds a pleasing note of bright color."
All the suits on this page were made in navy blue wool.
A decade further on, and we can see how the skirt suit continues to evolve in line with other fashions. These late Edwardian examples from Weldon's Ladies' Journal combine rather masculine jackets with straight skirts reaching the instep. The effect is severe, but the outfits are topped by some extravagantly feminine hats!
"In our variable climate a tweed coat and skirt is always a necessity to our wardrobe, and here is show a most useful style for spring and summer tweeds and suitings..."
"A smart little suit for morning, country, or seaside wear, made in spring tweed, serge, fancy or plain cloth... Three gored skirt and semi-fitting double-breasted coat."
"...the pleated skirt is an excellent model for tweeds, serge, homespun, etc. Four-gored skirt, pleated side and semi-fitting coat."
"One of the new coats for the new spring woollens... with velvet faced collar."
"A most useful style for cachemire, tweeds, fancy woollens, hopsack, serge, cloth, trimmed braid. Six-gored skirt, pleated panel back and front. Semi-fitting coat."
"A dressy coat and skirt for ribbed serge or tweed... Two piece skirt with inverted pleats at side. Semi-fitting coat."
As we move into a new century the skirt suit is still going strong. As ever, it is shaped on fashionable lines, but it is noticeably less ornate than the dresses of the same era.
suit
/su:t/
noun
1. a set of outer clothes made of the same fabric and designed to be worn together, typically consisting of a jacket and trousers or a jacket and skirt.
Ladies' Jacket and Skirt. "...The jaunty box fronts are lapped and closed in double breasted style with button holes and buttons placed at the throat and below the waist... The collar is in military turn-down style and is inlaid with black velvet."
Ladies' Eton Costume. "The newest style in the popular Eton costume is here illustrated, brown mixed cheviot being shown in the jacket and skirt and figured red silk in the blouse-waist."
Ladies Basque and Skirt. "The toilette is here pictured made of cadet gray cloth and stylishly decorated with black braid, gilt buttons and black silk cord."
Ladies' Jacket and Skirt. "The toilette is a most desirable style for the promenade and general outdoor wear and includes a covert jacket and a stylish skirt. Light-brown broadcloth was here selected for the jacket which is skillfully shaped to give a long effect to the waist..."
Ladies' Toilette "This toilette is somewhat severe in style, but is given much distinction by its military air. It is here shown made up in a Scotch mixture and decorated with braid and buttons."
For daytime glamour in the 1930s there was nothing quite like wearing a tailored suit.
"Costume tailleur en tissu quadrillé blanc et noir, garni de drap bleu vif, composé de la veste T 82513 et de la jupe J 81069. Veste cintrée, à double petite basque. Col et boutons en drap bleu. Jupe avec gros pils creux devant donnant l'ampleur du bas."
"Costume tailleur en serge rouge bordeaux, composé de la veste T 82514 et de la jupe J 80086. Veste smoking, de forme classique, avec col et revers tailleur ouverts sur une blouse de voile blanc à pois rouges. Jupe droite, ave pli soufflet dans la bas, devant et derriѐre."
The skirt suit made its way into women's wardrobes at the end of the nineteenth century and has been a staple ever since. The February 1922 issue of The Delineator illustrated some of the latest variations on the idea—as available in Butterick patterns, of course. From left to right we have the classic skirt suit, a dress with matching caped jacket, and a suit with "knickers" for sporting wear.
On the Subject of Your Spring Suit
By Eleanor Chalmers
Do you think it is too early? Winter is here to-day and weather that is too warm for Winter clothes is upon us tomorrow. Now is the moment to choose, to weigh and to decide on what you really need, for if you let the first Spring days come upon you unawares, you are likely to be stampeded into a hasty and unwise choice. The smart thing this Spring for the street will be the suit. There will be dresses worn, of course, but the suit is the first choice of the Parisienne and of American women of fashion.
The skirt can be dismissed with a word. It is always narrow and always fairly short, though not in the knee-length meaning of that word. In Paris it is cut straight and in one piece. In New York many women prefer the two-piece skirt, for this takes away some of the fulness from the waistline.
When it comes to the coat there are several distinct types. Three that are typically French are made by those great Paris designers—Jenny, Bernard and Chanel. Jenny makes the mandarin coat, rather long, very narrow and with her characteristic narrow sleeve. She also makes many of the box-coats, especially for young girls and younger women, but the Chinese coat is peculiarly her own. Bernard, one of the master tailors of Paris, makes the classical tailored jacket, fitting the figure smartly, flaring a bit at the hips, with what the English call "the step collar" and which we know as the notched collar. Chanel, who first made a fashionable success of sports clothes, uses the little soft jacket with a narrow string belt. The belt had practically disappeared in Paris last Spring but it came back with the short fur jacket this Winter and it is most suitable for jersey materials, crȇpe silks and the new satin suits.
The patch-pocket sports coat is more American and is used a good deal with knickers for golf, riding, etc. in the country.
Satin is the newest material for the Spring suit, but it is only appropriate for costumes of the more elegant type. The classical tailored suit is always made in wool material, usually a gray or beige mixture, or Oxford, a velours check, the navy serges, and blue or black twills, tricotine repp, poplin or broadcloth.
The patch-pocket coat suit is also made of these wool materials and of wool jersey. The Chanel and Jenny suits are made for the most part of satin, crȇpe silk or the serges, light-weight velours, repps and occasionally broadcloth, and their colors are pretty well limited to black, dark blue, gray or beige.
The Chanel and Jenny suits are frequently composed of a jacket and dress and when they are made of wool the body of the dress is usually made of satin, crȇpe silk, printed silk etc., to make a more comfortable costume for Spring. The patch-pocket coat is also used with a jumper dress or rather a jumper skirt as well as with a separate skirt. Very frequently there is a short cape to match the suit of this type, an excellent arrangement for motoring, travelling, etc., when one needs an extra wrap.
One does wonder, however, how it would have looked knitted by a less-than expert knitter, and worn by someone less stylish than the average model...
There were a lot of magazines called Vanity Fair. This one was published between 1950 and 1972 in Great Britain. It was aimed at a middle-class audience, and its focus was on ready-to-wear fashion and beauty. The editors of Vanity Fair were very careful not only to describe the clothes illustrated in the magazine, but list their prices and the stores in which they could be bought—along with the prices and availability of the accessories the models were wearing!
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| September 1953 |
The cover of Vanity Fair's September 1953 issue depicted two suits from Dorville available at Harvey Nichols in London. The model on the left wears a corduroy suit at 11½ guineas; the model on the right wears a suit costing around 14 guineas.
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| October 1953 |
October 1953 features a "lapis lazuli tweed" suit by Mornessa (along with a matching coat in the background). All available at Harrod's Budget Shop—the suit for around 10 guineas, the coat for ￡11 17s 6d.
