Theatre Design & Technology - Winter 1999 - 66

~eviews
Blueprints of Fashion:
Home Sewing Patterns of the 1940s
By Wade Laboissonniere. ASchiffer Book for Collectors with Values,
Atglen, PA: Schiffer Publishing, Ltd., 1997. ISB 0-7643-0304-X, 196
pages, 550 color photographs, $29.95
Because of the scarcity of published materials on the subject, the news that a
work on the commercial paper pattern industry in America in the 1940s was
being published was greeted with great excitement. Wade Laboissonniere's
Blueprints ofFashion: Home Sewing Patterns ofthe 1940s is a compilation
of a wealth of black and white and color photographs of pattern envelopes
and related supportive visual materials. In his short introduction to the book,
page 5, the author states that through a discussion of the fashions and products of the home-se\ving industry during this period, one can see "...how
strongly fashion reflects the cultural, economic, and political climate of the
time, and as a result, are of utmost historical significance." The majotity of
the book, Chapter 4, "Pattern illustrations," is devoted to a visual survey of
fashion through the decade of the 1940s as seen in the pattern envelope illustrations of five pattern companies of the period: Advance, Butterick, McCall,
Simplicity and Vogue. This is preceded by chapters on "Pattern Company Beginnings," "Se\ving," and "Style 194Os." Chapter 5 covers "Archival Information;" there is one appendix, "Pattern Dating Chart," Endnotes, a
Bibliography and a Price Guide.
\Vh.ile the illustrations alone make the work a valuable resource, one
needs to approach the written text \vith e.\1reme caution. The author presents
a great deal of information which seems stnmg together \vith very little connection or conclusion; and when there is a conclusion, it is sometime suspect. Discussion of several topics are covered under different subheadings
not only within a chapter but also from one chapter to another. Overall documentation is sloppy, particularly in regards to quoted matetial. Because
longer quotes are not indented, it is difficult to discern what is quoted and
what is not. In addition, the majority of quoted matetials have no reference,
and when documented, many of the endnotes are incomplete entties. l1lere
is a lack of consistency in providing reference to where many of the illustrations are from. In addition, it would have been helpful if the illustrations were
numbered or identified by some code which could then be referenced in the
tex1.
Chapter I [sic], "Pattem Company Beginnings," begins \vith a vety btief
discussion of tlle Demorests, Ebenezer Buttetick and Janles McCall as tlle
major forces in the creation of tlle commercial paper pattem industty tlmt we
know of today; there is no discussion of tlle influences which preceded them,
specifically the pattems which were being sold to professional dressmakers
and tailors as well as tlle publication of pattern drawings and full-size pattem
sheets in earlier publications which were the forerurmers of the individualized paper pattem. The first sentence of tllis Chapter Isets tlle tone for a sense
of caution by tlle reader for what is to follow: "As a result of Issac [sic)
Singer's invention of tlle sewing machine in 1851, home se\ving machines
quickly became fixtures in many homes, and suddenly there was a need for
the development of home-se\\~ng pattems." Besides tlle mis-spelling of Mr.
Singer's first name, Elias Howe is credited \vith tlle invention of tlle first lockstitch se\\~g maclline patented in 1846; Singer's machine was patented in
64

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Sylvia J. Hillyard Pannell

Crhlor
1851. This is followed by a listing of some of the early major pattem companies \vith their dates of existence. The dates for New Idea Publishing Company
are given as 1869-1920; according to research conducted by Betty Williams,
Joy Enlery and myself, the earliest known documented date for the dating of
pattems for the company is 1896 and the last date is February, 1919.
The autllOr suggests that the publication of women's magazines by the
various pattem companies to sell their patterns was followed by the development and publication of counter catalogs. These two marketing enterprises
were developed hand-in-hand: Butterick published his first catalog shortly after the publication of his first magazine, Metropolitan, in 1868. I have seen a
privately owned copy of a "Domestic" Paper Patterns Catalog from a store in
Maine which was published in 1873, the same year their first journal was
published. The statement is made that Excella Patterns was a subsidiary of
Pictorial Review; his reference for this would be helpful as from what is generally known and according to Ayres, the company was bought by Pictorial
Review by 1930 and then bought from Herst by Sinlplicity in the spring of
1936 when the company was disbanded.
After a discussion of the pattem industry during the 1940s with particular emphasis on some of the major govemment regulatory orders affecting
clothing and the pattern industry because of the war effort, the author presents overviews of various forms of marketing, merchandising, and promotional activities used by the industry. Several of these lack focus in speaking
directly to what is in practice during the 194Os. As an e.xample, in the discussion of "Merchant Terms," the author never addresses exactly what the policy
was in the 1940s; his long unindented quote is from 1964 which then digresses back to a discussion of practices in 1914. It is difficult to distinguish
what the author means by and the differences between "Support Materials,"
''Trade Publications and "Companion promotions [sic]." Only one company,
McCall, is discussed under "Display Dolls;" these were issued by other companies as well but discussed under "Industry Promotion" in Chapter 2.
Chapter 1\vo, "Se\ving," covers various companies' development of departments of consumer education, either for the home-sewer or for public
school education, albeit the author seems to confuse the differences between
the two in several instances. In his introductory paragraph he stales how the
education departments created by each pattern company familiarized
"home-sewers \\~tll their latest products and the newest metllOds of construction." His example to support this statement is a "School Patterns" booklet
offered to teachers by DuBarry Patterns. Under "Revival of Home-se\ving," he
states that ''The sewing movement by mature women also served to stimulate
se\\~g in secondary schools." Yet he fails to develop this and the discussion
wllich follows does not bear relationsllip to his opening statement.
In Chapter Three, "Sl)~e 1940s," the author presents discussions of
various influences on fashions of the decade: ''War Influence and Resttictions," "Work Clothes and Unifomls," "I ew York City," "Holl~wood," and
"Postwar." WIllie the information presented is llighly infornlative, tllere is no
clear overview of fasllion itself and its changes during the decade. In Chapter
I under "Licensing and Editorial Promotions," tlle author states "Pattern
companies have never been the creative forces bellind fashion, they merely
inlitate the styles set by Paris and Seventh Avenue." The general tone of his
discussion of the influence of ew York and Hollywood designers in this appears to tllis reader to contradict tllis st.1tement. The author states that
"Shortly after the fall of Pruis, two of its best known couturiers relocated to



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1999

Contents
Theatre Design & Technology - Winter 1999 - 1
Theatre Design & Technology - Winter 1999 - 2
Theatre Design & Technology - Winter 1999 - 3
Theatre Design & Technology - Winter 1999 - Contents
Theatre Design & Technology - Winter 1999 - 5
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