Flirty and charming, 50s styles are classics that never go out of style. The feminine hourglass silhouettes of the dresses highlight the bust, waist and hips. Using the patterns of dresses from the 50s presented in this article, you can easily sew yourself an original vintage dress.

Silhouette Features:

As a rule, it is an hourglass silhouette, with a fitted bodice, often in the form of a corset. The skirt is most often very full, although there are also narrower versions in the style of Marilyn Monroe.
The waistline of many models is high.
The length of the dresses is slightly below the knee.
Sleeves - lantern, three quarters, long. Sometimes the dress was made without sleeves at all.
The shape of the rollout could be very different - boat, triangle, heart-shaped, square. Collar – turn-down or sailor.
The fabric used for sewing was natural - linen, cotton, satin, silk, satin. For full skirts - crinoline or its analogues.
The colors are very different. Geometric patterns are popular - peas, stripes. Color combinations are contrasting, for example, black and white, red and yellow. Business-style dresses were often made from a single-color material.

Turn-down collar dress

The model is made of fabric with a small pattern and is cut at the waist. The front bodice has a semicircular neckline and a button placket in the center. The turn-down collar is made of plain fabric. Its ends are passed under the decorative strip at the front. The skirt is with trimmed barrels, slightly widened at the bottom. Welt pockets are made along the line of attaching the barrels. The waistline is emphasized with a belt.

Dress with a semi-sun skirt

Seam at the waist, half-sun skirt. The bodice has a rectangular neckline. The dress is decorated with a bow. The waist line is emphasized with a belt.

Dress with dropped armhole

The model is made with raised seams. On the side sections the skirt is gathered into a small gather. A narrow belt is sewn into the relief lines at the waist level, tied at the back. The armhole and neckline sections are finished with contrasting trim.

Dress Basques

The model is cut at the waist with a lowered armhole. The front bodice rollout is decorated with a collar. The skirt is straight with a seam in the center of the back panel. The seam has counter folds. The waistline is emphasized by a peplum.

Yoke dress with belt

An example of comfortable casual clothing. If you use elegant fabrics for production, decorate the dress with lace and guipure, you will get a spectacular evening dress.

This model features the feminine shoulder line characteristic of the 50s and 60s and emphasizes the waist.

The bodice is made with a yoke, the dress is continuous at the waist, and the sleeves are set-in. The waist is emphasized by a wide belt, which is fastened with a buckle. The front and back parts are gathered along a guipure yoke. Sleeves - 3⁄4, decorated with guipure cuffs.

To sew this model, you need to prepare two lengths of the dress plus 0.2 m. Do not forget to provide allowances for the seams and the hem.

Who is this model suitable for?

For women with narrow shoulders and wide hips, this model will be the ideal solution. A horizontal yoke will visually make the silhouette more proportional, as it will widen the shoulders. This effect can be enhanced by using a yoke made of contrasting fabric.

Evening dress with a full skirt

A very elegant dress with a low waistline. A striking detail of this model is the voluminous shawl collar. Its details are cut out together with parts of the bodice. Near the rollout of the back there are darts that turn into collar folds. It is due to them that volume is formed. Sleeves - flashlight. The skirt, cut along the bias thread, is folded into small bow pleats along the stitching line with the bodice.

The proposed pattern is designed for size 48. When cutting, it is necessary to provide seam allowances of 1...1.5 cm. Allow 4...5 cm for the bottom edge of the skirt, 3...4 cm for the bottom of the sleeves. To sew this model, you need 4.4 m of fabric with a width of 1.1 m.

Dress with bob neckline

Elegant model of a dress with a seam at the waist. The fitted silhouette is created by darts on the front bodice and pleats on the back bodice. The zipper is sewn into the left shoulder seam. The neck roll-out is made in the shape of a square.

Short one-piece sleeves end in cuffs.

The skirt is cut in one piece with a seam in the center of the back panel. A button fastening is made along this center line. The upper edge of the skirt is folded.

How to sew a dress in retro style: video mk

Transformable dress from the 50s

The fifties are back! A very original dress model from the 50s looks modern and fresh. No wonder they say that fashion is cyclical and returns every 25-30 years.

For such a vintage dress, you need to choose matching fabrics.

The photo below schematically shows the modeling of this style.

You need to cut out and sew two mirror pieces.

Using this principle, using your imagination, you can sew various versions of cute dresses.

Modeling a dress in retro style: video mk

New look dress

A very modern model from our grandmothers' magazines. A full skirt creates a slender silhouette. To make the skirt more full, it is recommended to make a petticoat. To emphasize the waistline, you will need a belt. It can be made from the main fabric or used ready-made. The proposed patterns include a skirt in the “sun” pattern. If you want to get gathers in the waist area as in the photo above, then you need to cut out two panels for the skirt with a width of 1.4...1.5 m of the required length.

Free patterns are made for size 46 (OG = 92 cm, OT = 74 cm, OB = 100 cm) and size 50 (OG = 100 cm, OT = 82 cm, OB = 108 cm).

To sew this model, thin dress fabrics that hold their shape well are suitable - gabardine, satin, crepe.

Non-woven fabric is used to strengthen the parts.

How to cut

From the main fabric you need to cut:

middle part of the front - 2 parts;
front flank – 2 parts;
middle part of the back - 2 parts;
back flank – 2 parts;
sleeves - 2 parts;
collar – 2 parts;
selection – 2 parts;
skirt panel - 2 folded parts.

From non-woven fabric you need to cut out:

selection – 2 parts;
collar – 1 piece.

For parts cut from the main fabric, we provide a seam allowance of 1.5 cm. We provide an allowance of 3 cm along the lower edge of the middle parts of the front, back and barrels, and 7...10 mm along the neck rollout. We cut out the collar part with allowances of 7...10 mm. We cut out non-woven parts with an allowance of 3...5 mm.

Sewing

We strengthen the parts with non-woven fabric. Having folded the side and central parts of the front with the right sides facing each other, we chop off the relief seams and sew them. We overlock the edges of the seam allowances, turn them to the center of the front, and iron them.

We sew the central seam of the back, process the edges with an overlocker, and iron the seam allowances in different directions.

Having folded the side and central parts of the back with the right sides facing each other, we chop off the relief seams and sew them. We overlock the edges of the seam allowances, turn them to the center of the front, and iron them.

We sew the seams on the shoulders, overcast the allowances, turn them onto the shelf, and iron them.

We sew the side seams, leaving an open area on the left side for sewing in the zipper. We overcast the allowances and iron them.

Having folded the collar pieces with the right sides inward, we pin them together and sew them together. We cut out the corners, turn them inside out, wash them, and iron them.

Apply the collar to the neckline, aligning the center line with the center back seam. We overcast the hem and place it right sides down on the parts of the shelf, stitching. Using one seam we sew the hem to the front and sew in the collar. We cut out the corners and turn the edges to the wrong side. We sew and iron the roll-out and collar sections. We attach the hem to the shoulder seams using a hand stitch.

We sew the sleeve seams, overcast the allowances, and iron them. Turn up the bottom edge of the sleeves.

We sew the sleeves into the armholes and overcast the edges.

We sew the side seams on the skirt, leaving an open area on the left for sewing in a zipper. We overcast the allowances and iron them.

Having folded the bodice and skirt with their right sides facing each other, we cut off the parts of the dress. We stitch together, overlay the seam allowances, tuck them onto the bodice, and iron them.

We insert the zipper after basting it.

Fold up the bottom of the dress.

We mark the position of the loops and perform them. Sew on the buttons.

Festive retro - dress in the style of the 50s from Burda 8/2012: video MK

Simple pattern with patterns for several sizes

To sew this model you need:

polka dot fabric - with a width of 1.5 m, 4.3 m will be required;
hidden zipper – 56 cm.

The pattern is made for sizes 8 to 20 (English)

You can choose the right size by checking the parameters table.

How to cut

We need to cut out:

back bodice – 2 parts (one for lining);
front central panel of the skirt - 1 piece;
side front panels of the skirt - 2 parts;
back panels of the skirt - 2 parts.

We cut out the parts with allowances of 1.5 cm (unless otherwise indicated).

We print the pattern taking into account the scale and glue it into a common format. Cut out the pieces to your size.

How to sew

We sew the darts starting from the base. We iron them in the direction of the middle lines of the front and back. Place the bodice pieces right sides together, pin and stitch the seams on the shoulders. Iron the seam allowances.

We fold the outer and inner parts of the bodice with the right sides inward, align the cuts, and pin along the rollout and armhole lines. We sew along the rollout and armholes, cutting off the allowances to a minimum.

We turn the bodice inside out, sew along the armholes and neckline, and iron. We combine the side cuts, pin, stitch, iron.

We make vertical seams on the skirt (except for the one into which we will sew a zipper), overlay the sections. Along the top edge we sew a stitch with a large step for gathering. By tightening the bottom thread, we align the length of the skirt cut with the length of the bottom cut of the bodice. We pin the skirt to the bodice and attach it.

We sew in a zipper and stitch the rest of the seam.

We overlay the bottom edge of the dress, turn it in 1 cm and stitch.

Master class on modeling patterns and sewing dresses in the style of the 50s

For sewing you will need:

fabric – thick satin, 2 m;
non-woven fabric - about 1 m;
hidden zipper – 50...60 cm;
threads, sewing tools.

Description

First of all, we need to make a dress pattern. To do this we need a basic pattern of the required size. Let's retake the patterns for the front and back bodice.

To transfer the dart to the side seam, set aside 5 cm from the edge of the armhole along the side seam line and draw a straight line to the edge of the dart. We make a cut along it, close the chest dart, opening it in the side seam.

On the pattern, measure the shelves along the shoulder seam 6 cm from the highest point, widening the neck. Then we sequentially set aside the width of the shoulder seam - 4 cm. From the bottom of the neck down, measure 9 cm, mark a point. From it to the left we measure 8 cm. We draw a new shape for the roll-out of the neck.

On the back template, we put 6 cm and 4 cm along the shoulder line in succession. Along the middle line, we measure down 10 cm. We draw a new line for rolling out the neck of the back at an angle.

We cut off the excess, obtaining ready-made patterns.

For the circle skirt, we make a standard pattern using 1⁄2 or 1⁄4 patterns. If desired, you can increase the length of the upper cut by 20 cm for gathering.

We cut out all the details, not forgetting to allow 2 cm for allowances. We have done the basting according to the markings, you don't have to do this.

Blank for the front - see photo.

Blank for the back - see photo.

We sew up the darts (four on the front and two on the back), and sew them together.

Remove the basting threads and iron.

We process the side cuts with an overlock

and shoulder seams.

We connect the bodice parts along the side seams with basting and stitch together. Remove the basting threads and iron the seam allowances.

We lay out the bodice on the fabric (or paper), unfolded along the armhole. We mark the outline. Parallel to the contour, draw a second line at a facing width of 4 cm. In the next photo, the second line is indicated by arrows. Similarly, we make the facing for the second armhole and neckline (one piece for the front and two pieces for the back). Don’t forget to allow allowances on the shoulder seams that are equal to the allowances on the back and front.

We have to cut out only 5 facings. We cut out the same parts from non-woven fabric. Glue the interlining to the wrong side of the facings.

Baste and sew together the shoulder seams on the bodice. Remove the basting and iron the seam allowances. Sew the shoulder seams on the facings in the same way.

We also remove the basting and iron it.

Place the facings face down on the front side of the dress and sew with a basting stitch along the edge of the front and back neckline. We sew a machine seam. When performing this operation, it is important to ensure that the shoulder seams on the facing coincide with the shoulder seams on the bodice.

We cut the allowances.

Check the width of the facings and trim if necessary. We overlock the edge of the facing.

On the front side we sew the facing at a distance of 3...5 mm from the stitching seam. The decorative stitching should not reach 5 cm to the back cut. This is necessary for conveniently attaching the zipper.

By pulling the bottom thread, gather the edge of the skirt to a length equal to the length of the bottom cut of the bodice. We sew the top and bottom of the dress, overlock the edges, and iron the seam.

All we have to do is complete the middle seam on the back of the dress. First we baste one strip of the zipper, starting from the neck. We attach using a special foot.

We close the zipper. We apply the mirror part of the back to the second zipper strip, making sure that the horizontal seams on both parts match. We chop off the back bodice piece with the zipper braid. Open the zipper and sew a basting seam.

Close the zipper again and check the alignment of the horizontal seams.

We attach the second braid.

We attach the facing to the zipper, trim off the excess fabric, and turn it inside out.

We sew up the middle seam of the back along the remaining length and stitch together. Remove the basting threads and iron the seam.

To level the bottom edge, hang the almost finished dress on hangers or put it on a mannequin. Since along the skirt panel the direction of the grain thread is different in different areas, the stretching of the skirt will also be different.

After 12 hours, we adjust the length of the skirt, measuring it from the floor.

We cut off the excess and finish the edge with an overlocker. We make a 2 cm turn and iron it.

We lay a basting seam.

We sew the bottom of the dress, remove the basting threads, and iron it.

All we have to do is secure the lower edges of the facing of the armholes and neckline. We fix them with pins.

Sew the bottom edge of the facings by hand using blind stitches.

The dress is almost ready!

For the belt, we cut out two strips 4 cm wide, the length is the size of the waist plus 0.5 cm for each seam and plus 2...3 cm for the fastener. In addition, we cut out two strips 4 by 20 cm. We reinforce them with non-woven fabric. We baste, stitch, remove the basting, turn it inside out.

We got two parts of the belt - short and long. We iron them.

We make a bow from a short strip by folding it and sewing it in the center - see photo.

We cut off the excess fabric. We make a jumper and sew it onto the bow. Sew a bow to the middle of the large part of the belt.

We fold the open sections of the belt inwards and sew them together by hand.

At the left end of the belt we make a loop,

on the right - sew on a button.

Ironing the finished dress!

Retro dress from Karen Millen: video MK

Pattern-basis for full figures, for sizes 50-58, is constructed using the same method as But differs in some specific features: allowances and shoulder seam line, due to the fact that a full bust and, very often, a full waist and belly require other allowances for a loose fit. And must be measured especially carefully.

Therefore, in this article, I decided to post a table with the real measurements of my clients, sizes 50-58, with body types “apple”, “pear”, “hourglass”. They will help you create your own individual base pattern.

Measurement chart for sizes 50-58.

Features of calculations for a base pattern of sizes 50-58.

Rule 1.

If for sizes 44-50 0.5 cm is added to half the chest circumference, then for patterns for full figures 54-58 - 0.7-1 cm. This is done so that the side seam does not move towards the front.

Rule 2.

When creating a front pattern of sizes 54-58, due to the large size of the dart - 11-15 cm, the shoulder seam line can be drawn at a significant angle. This makes the front armhole small and short for the size. It is very difficult to sew a sleeve into it correctly and beautifully.

Therefore, when I create a pattern, I usually check the shoulder slope line with a reference measure - oblique chest height - VGk. Even if it coincides with the drawn shoulder line, I “raise” the shoulder seam by 1-1.5 cm - the drawing is on the lower collage. And, as a rule, during fitting, if we are sewing a dress model with sleeves, we deepen the armhole by 1.5-3 cm for blouses and dresses, and by 2-4 cm for jackets

Rule 3.

For fuller apple shapes, the side seam line typically runs through the points at the intersection of the bust, hip, and reference lines. And the width of the side and central darts is only 2-2.5 cm

For hourglass and pear silhouette figures, it is more difficult to create a base pattern due to the large difference in the sizes of the chest, waist and hips. For example, if OG is 110 cm, From is 90 cm, and OB is 118, the width of the darts is 3 cm

As a result, you get a rather sharp bend in the side seam, which is difficult to iron when sewing a dress or jacket. Therefore, it is preferable to sew models with a central seam on the back, and redistribute the width of the darts. If the deflection along this seam is 1 cm, then the side darts can be reduced by 0.5-0.7 cm each. And I prefer to sew a zipper, when the style allows it, into the central seam of the back. If the dress model with a skirt is “half-sun”, then the zipper is sewn into the side seam.

Calculations for a base pattern of sizes 50-58.

The allowance for a loose fit to the chest girth, for a dress and blouse, even a fitted silhouette, is better to make 7-8 cm, for a semi-fitted one and for a jacket - 9 -10 cm

Calculation of measurements for size 50.

OT – 78 or OT – 84

(OG + 8) : 2 = 108: 2 = 54: 2 = 27

For the front pattern, add 0.5, for the back pattern, subtract 0.5 cm

OG along the front chest line – 27.5

back exhaust gas – 26.5

Calculation of dart sizes.

From = 78 cm + 4 = 82: 2 = 41

From the calculated measurement of half the waist with allowance, subtract the resulting value of half the waist circumference with allowance: 54 – 41 = 13: 4 = 3.2 – for an hourglass silhouette figure.

With OT = 84, the size of the darts is: 84 + 4 = 88: 2 = 44

54 – 44 = 10 cm: 4 = 2.5 cm – for an “apple” silhouette figure.

Calculation of hip line size.

(OB + 4) : 2 = 104 + 4 = 108: 2 = 54

For a figure with such measurements, the points of the front chest line and the hip line are located on the same reference line.

If OB = 110 cm, then after calculating: (110 + 4 = 114) : 2 = 57, the difference between half the chest circumference with allowances and half the hip circumference with allowances would be 3 cm.

57 – 54 = 3: 2 = +1.5 cm - this value must be set aside from the reference line on the front and back pattern along the hip line. For the front - left, for the back - right.

Calculation of measurements for a size 52 pattern.

OG = (104 + 8) : 2 = 112: 2 = 56: 2 = 28

0.5 = 28.5 – front, - 0.5 = 27.5 – back

OT = (92 + 4) : 2 = 48

Darts = 56 – 48 = 8: 4 = 2 cm – each dart

OB = (112 + 4) : 2 = 116: 2 = 58

58 – 56 = 2 cm: 2 – + 1 cm along the hip line from the reference line.

Calculation of measurements for size 54.

OG = (108 + 8) : 2 = 116: 2 = 58: 2 = 29

Front exhaust = 29 + 0.7 = 29.7

Back OG = 29 – 0.7 = 28.3

From = (94 + 4) : 2 = 98: 2 = 49

Darts = 58 – 49 = 11: 4 = 2.7

OB = (116 + 4) : 2 = 120: 2 = 60 – 58 = 2: 2 = +1 cm from the reference lines along the hip line

Calculation of measurements for size 58.

OG = (116 + 8) : 2 = 124: 2 = 62: 2 = 31

Front exhaust = 31 + 1 = 32

OG back 31 – 1 = 30

OT = (98 + 4) = 2 = 102: 2 = 51

62 - 51 = 11: 4 = 2.7 cm – darts

OB = (122 + 4) : 2 = 126: 2 = 63

63 – 62 = 1 cm: 2 = + 0.5 cm from the reference line point on the hip line.

In order to create a pattern for the basis of a dress with a straight silhouette, draw lines parallel to the middle of the front and back, from a point on the hip line, to the required length of the dress.

Using such a pattern, if it is built accurately and checked, you can model and sew any of the models

For a dress with a trapezoidal silhouette, continue the reference line to the required length and place the inclination point of the side seam at a distance of 12-22 cm to the left of it - for the front half of the pattern. For the back pattern, respectively, to the right. This distance can be increased to 25 cm, but no more, especially if the length of the dress is knee-length. The side seams will simply “fold” inward, and the dress will look sloppy.

If you want a more flared dress, then choose a model with an underbust and a half-sun or bias-cut A-line hem. You can choose a dress model with reliefs - each detail changes along the hemline to the required width.

Those years - a tight-fitting upper part, and a lush lower part. The style emphasized the waist. She often wore a belt. To flaunt such an outfit now, you need a slim figure or shapewear that will “tighten” your waist to a reasonable extent.

Cutting the fabric

If you sew such a dress for yourself, you can walk around on a warm summer day in it, just like ladies wore in the fifties. Accessories will include a small handbag, beads and a light gauze scarf or hat for your head.

First, cut out the material. For the dress you will need approximately 7 meters of fabric with a width of 1 meter 10 cm. The back of the bodice is one-piece. This means that the fabric is folded in half. It is pinned to it with pins, and the middle vertical part of the back of the bodice is placed close to the fold.

Don't forget to leave seam allowances when cutting. If in doubt about the size, make the side seam allowances slightly larger. If the first fitting shows that the dress fits well, then you can leave it that way. If it is a little small, then the stitching is done closer to the edge, and the dress will become a little larger.

When cutting out the bodice, do not forget to mark the location of the darts. If you did not do this right away, then again attach the pattern to the cut out fabric base and use chalk to mark these places on the wrong side of the fabric.

The two parts of the front bodice are symmetrical. If it does not imply the presence of a fastener or buttons, then it, like the backrest shelf, is also one-piece. In this case, sew a zipper at the back.

The fashion of the 50s also included full skirts. In these models it is flared or sun-flared. Place the piece of this part of the dress on the fabric folded in half and cut out the front and then the bottom of the skirt.

If there are button fasteners at the front of the dress, then the hems are cut out. Don’t forget to cut out the belt, if this model has one.

Stitching parts

First, baste the darts and side and shoulder seams. Now fitting is needed. If the shelf fits well, you can sew the seams using a machine. After this, the sides of the skirt are sewn and stitched to the bodice.

To avoid having to rip it out, it is better to first baste the seams and then stitch them on a sewing machine.

If the zipper is at the back, sew it in. It's the turn of the neck. The neckline is finished with bias tape. The bottom of the dress is hemmed by hand or on a machine that performs this operation.

The 50s dress is ready. Now you can start creating the 60s model. At that time, a sheath dress was fashionable. This is a garment that fits the top and hips, unlike the previous style.

Having barely recovered from the difficult forties, people began to restore peaceful life. Revival was noted in all spheres of human activity. Fashion couldn't stay away either. The new style of clothing amazed with its riot of colors, intricate designs and rich decor. After the laconic, functional models of the war times, the bright dresses of the 50s brought women into complete amazement and delight. Thin, pale-faced girls were replaced by busty beauties with sloping shoulders and wide hips. Women began to pay more attention to their appearance, and a hint of hidden sexuality began to be traced in their clothes.

The fifties in the history of clothing are invariably associated with the name of the legendary French couturier. It was he who released the first post-war collection of New Look models in the late forties, thereby giving the start to a completely unique direction of high fashion. Women's dresses of the 50s from Dior were distinguished by sophisticated elegance with a slight touch of romanticism.

There were two main clothing silhouettes in fashion. The first is a fluffy dress shaped like an hourglass. The skirt, sewn in the shape of a bell, barely covered the knees, sometimes reaching the floor. It perfectly hid her bad hips. The flared hem created the illusion of a thin waist. To further focus attention on a slender figure, dresses were tied with a thin belt or a narrow strap.

The upper border of the skirt ran slightly above the waistline. Thanks to this, the contour of the high chest was clearly outlined, and the female figure seemed fragile and defenseless. The volume of the lower part of the dress was achieved through multiple skirts with draperies, pleated folds or strongly flared from the waist.

The second type of cut is a tight-fitting dress, tapered at the bottom. The waist was dropped 4-5 cm below the natural line. To give the models more grace, a thin figure was emphasized with a wide belt or peplum. This increased the emphasis on the smooth curve of the female silhouette. Thanks to the simple cut of the bodice, the girls looked reserved and independent.

The new look styles completely lacked the rough, sharply defined lines characteristic of men's clothing. Instead of wide shoulders and baggy volumes, smooth silhouettes and streamlined shapes were offered.

According to the eminent fashion designer, feminine, sophisticated dresses should always be worn regardless of life circumstances. Such clothes give more dignity to self-confidence. Women in elegant outfits simply cannot help but be successful.

What do 50s style dress styles look like today?

Modern versions of Dior's models are a flower silhouette with multi-layered skirts, a deep neckline and a slightly high waist. The options for this style are pleasing to the eye with great variety. The cut of the dresses includes full-length, three-quarter or short puffy sleeves. Summer models are most often found without sleeves.

The cutouts are also varied: round, triangular, square, curly in the shape of a heart. They beautifully expose the neck and emphasize the delicate oval of the face. Collars can be turn-down in the form of a shawl or rounded, sailor, fastened with a couple of buttons and many others.

Retro dresses for everyday use are usually made from simple natural fabrics based on cotton and linen threads. Evening models made of silk, satin, and velvet look original and elegant.

To give the skirts more volume, the cut uses the principle of multi-layering, combining several different materials. For example, a petticoat made of hard and light tulle adds fullness to a delicate silk dress. This fabric holds its shape perfectly, which is reminiscent of ancient crinolines.

The colors of dresses tailored in the new look style are as varied and bright as in the distant past. The traditional combination of black and white or red, pink and gray, brown and beige is in fashion. Prints with elements of geometric shapes (polka dots, stripes) or plant themes (flowers, buds, leaves) are very popular.

Who suits 50s fashion?

The main advantage of vintage clothing is that with the help of a full skirt you can make adjustments to any body type. Thus, girls with a figure in the form of a rectangle or an inverted triangle acquire the missing hip volume and an expressive waist. The dress perfectly solves the problems of women with protruding bellies, folds on the sides or lush buttocks.

The ability to manipulate the length of products helps to change the visual perception of the female figure. For owners of slender limbs, you can safely choose shortened dress models. For those whose legs have undergone cellulite changes, it is better to cover their knees with an appropriate length skirt.

What to wear with vintage dresses from the 50s?

Modern women have the right to choose: strictly comply with the requirements of retro fashion or use individual elements of style in current dress models.

Shoes– In the fifties, they wore shoes with cropped and rounded toes. Heels preferred medium height, narrow and stable. Today it is quite possible to introduce shoes with thick platforms or high stilettos into a stylish look.

Hats– The retro look corresponds to a lush bouffant of hair, over which is thrown a small silk scarf, tied with a soft knot under the chin. Wide-brimmed hats go well with summer outfits with full skirts. They can be decorated with a small flower or ribbon to match the dress. Small round pillbox hats with a short veil go well with business clothes.

Handbags– In the 50s, small, neat, square-shaped or chest-like models with short handles were popular. For a business suit, reticules were more suitable - rectangular-shaped handbags without a strap, which were carried in the hands. A worthy replacement for the vintage trend is the clutch.

Underwear– To make the waist narrower, in the 50s, women wore shapewear. Elastic, tight-fitting fabric combined with a full skirt gave the female silhouette fragility and grace. Today, the topic of tight underwear is still relevant.

Decorations– Flower dresses in the 50s looked bright and self-sufficient. Therefore, they did not require flashy jewelry or jewelry. The exception was evening dresses, for which small beads or a pearl bracelet were chosen. Openwork gloves were considered an indispensable attribute of fashionable style. Today, all requirements for decorating dresses have remained unchanged.

Photo: cocktail dress models in the style of the 50s

Showing up at a friendly party or dinner party in authentic attire is considered a sign of good taste. Dresses made from noble fabrics of velvet, brocade, and satin look luxurious and delightful. The tight cut of the bodice ensures a good fit and a graceful silhouette. The main element of an evening dress is the neckline. In accordance with the requirements of the style, it can have a variety of shapes. But the most elegant and sexy is the deep, plunging neckline.

It is appropriate to decorate an open neck with a pearl thread. Products made of precious metals inlaid with sparkling stones give a greater effect. Bare arms are complemented with elbow-length plain satin gloves. The last detail of the set is pumps with low thin heels.

50s style wedding dresses

Marriage is an exceptional event in a girl’s life. On this special day, every bride wants to be irresistible. A wedding dress in the spirit of the vintage 50s brilliantly fulfills a girl's cherished dream.

In order for the selected model to fully comply with the requirements of the new look style, it must contain certain details:

Wide belt emphasizing the slender waist.
Fluffy multi-layer bell skirt.
Bare arms, open shoulders and back to the middle of the shoulder blades.
Bodice with a shallow neckline, tight-fitting torso.
Classic length, slightly covering the kneecap.

The most suitable types of fabrics for sewing a feminine wedding dress are considered to be natural silk and satin. As for color, traditional white can be replaced with delicate pastel shades. Peach, pale pink, yellow, blue, champagne or ivory are good colors for this.

Accessories include a neat hat with a veil, short lace gloves, pumps, expressive winged eyes and red lipstick.

For the hardworking - a bright light burns through life, for the lazy - a dim candle

Constructing a base pattern - THE MOST CLEAR METHOD (for beginners)

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Good afternoon I would even say a beautiful day. Because we are finally starting a series of articles on tailoring for adults. We have already sewn a lot of things for little girls - both dresses and bodysuits are different - now we will sew for big girls. That is, for myself. And since you and I have already practiced sewing, the fear of the pioneer has passed.

THAT MEANS IT'S TIME TO TAKE A NEW FRONTIER. And master the wisdom of sewing using real adult patterns yourself, with your own hands and your own brains. We will draw the base pattern ourselves - in a new, easy way (I spent more than one week creating this lightweight method for creating a base pattern). And then we will sew a bunch of all kinds of dresses, tops and tunics.

No- I won’t give you a single finished pattern!

I'm not Madame Burda. I am Madame Klishevskaya.))) And the main harmfulness of my character is... That I will make your head work and give birth to bright and clear discoveries in the field of sewing. The easiest and most understandable of all types of art. Believe me, this is true.

Yes- sewing yourself is very easy and simple!

Right from scratch you will get more and more beautiful and well-tailored things.

Moreover, you will do everything yourself, without a state of hypnosis, but in a sober mind and clear memory. YOU will DO it - moreover, you will UNDERSTAND what exactly you are doing.

I will tell you the secrets that I know. Moreover, I will teach you to discover more and more secrets of the world of sewing and clothing design.

I will not lead you (blind and stupid) by the hand in the chaos of letters and numbers denoting the intricacy of numerous lines of the design drawing. NO, I WILL NOT TAKE YOU HERE:

Well, you must admit, one such picture can instill fear and make a girl who doubts her own abilities really, really wants to sew a dress- But I wasn’t very good with geometry and drawing during my school years. Even I, who adore both of these school subjects, beat around the bush for several years, not daring to start delving into the construction of such a drawing: “How long will it take to draw something like this, and after all, everything must be calculated correctly and not get confused in the letters...”.

And, nevertheless, today we will draw a pattern.

We will draw a base pattern (you see a piece of it from above.))))

But - don’t be afraid - we will create our pattern a little differently. Away from the engineering design method - and closer to human understanding.

We will draw one for you - just one- pattern.

And then from it we will create more and more new dress models. And it will be very easy and simple.

No confusing formulas
No confusing calculations.
And without the letter-number cobweb.

So how? Have I already alleviated some of your concerns?

I'll relax now - we won't start drawing right now. First, we'll take a nice stroll through the pattern. The purpose of the walk is to get to know and become friends with the pattern and remove the last doubt that you can sew any dress.

So... what is a pattern - the basis?

To put it figuratively, this is a cast of your body. This is your individual imprint. Any item sewn according to YOUR base pattern will fit YOUR figure perfectly.

Yes, you heard right - ANY THING can be sewn on the basis one single pattern. All dress models are born, modeled, and sewn from one source - this is the base pattern.

I will now prove it to you with an example. Even with three examples - in the form of photos and pictures.

Here is the first photo (below). Our pattern base is essentially your sheath dress (the one that fits your body perfectly). Dress made by yours pattern base, will follow all the curves your his bodies. This simple sheath dress is sewn using a regular base pattern. You see, it’s like a plaster cast of a girl’s figure.

And today, having drawn the base pattern, you can safely cut it on the fabric - and you will get a dress like this. The only thing you can change is the neckline - giving it the shape that suits your face shape.

All other (any kind) dress models are just a modification of a sheath dress - fantasies on a free theme.

That's how it works in the fashion world.

One day a fashion designer thought...“What if the bodice of the dress at the top is held on the shoulders by a round yoke (yellow outlines - figure below), and the bodice itself is made in the form of overlapping intersecting triangles (red outlines - figure below). The result is what we see in the photo below.

Beautiful? Beautiful! What did the fashion designer base his fantasies on? Based on a pattern. And you can come up with something of your own. We women have just a lot of imagination.

By the way - since we’re talking about a round yoke here - this site already has one of my articles on creating and

And another fashion designer thought: “What if you give the sheath dress a looser cut - make it wider. And make the shoulder line longer so that it hangs over the arm.” And as a result, a new model is born (photo below) - also very beautiful. And it's very simple.

You can do this too. If you will UNDERSTAND what the base pattern consists of. And by what laws does it exist?

That is why I don’t want to stupidly give you instructions on creating a base pattern (like “draw a line from point P6 to point P5 and mark the place where it intersects with line X with the next point...” - ugh!).

I want to awaken you bitch. I want you to feel the pattern, to know its soul. Haven't learned to see what a simple drawing hides behind a photograph of any dress, even an intricately tailored one.

Therefore, for the next 30 minutes we will not draw anything - we will walk through the pattern itself. Let's get acquainted with all its elements - find out what each line serves, and why it is located here and drawn this way.

After such an “educational walk” you will feel a joyful clarity of understanding of everything, everything, everything. It's like you've already drawn basic patterns many times. And you’ll take up the drawing with the feeling that it’s a couple of trifles. Ha! Business!

As the sage said: “We are afraid only of what we cannot understand and explain logically. But as soon as the thing that frightens us becomes clear to us, it ceases to cause us fear.”

So let’s go and tame this “terrible beast” - the base pattern. Let's tame and draw in 20 minutes. Yes, yes, in 20 minutes - because after a walk - the pattern drawing will seem to you an old and familiar simple drawing - like a grid for playing tic-tac-toe.

Where does the base pattern come from?

So where does the base pattern come from - usually it is obtained from the following drawing:

The drawing contains half of the back part + half of the front part.

We will also draw a similar drawing with you - only more simple and understandable.

And what these halves are needed for, and where to use them - now I will clearly show everything.

Here (!) I dug up a wonderful sample - below - in the photograph of a black and white dress, our halves are very clearly visible - both the back half and the front half. So to speak - clearly and understandably.

Yes, in the Potnovian language the halves are called “shelves”. Today we will draw these same front and back shelves. But first, let’s take a closer look at what elements each shelf consists of. And most importantly, I will tell you why each element is needed and what it serves.

To make everything as clear as possible, I will illustrate each of the elements both in pictures and in photographs of real dress models.

First, let's get acquainted with two incomprehensible words: DOT And ARMHOLE.

Of course you may know them. Or maybe not. My job is to introduce you.

So, meet - PROYMA

When drawing a base pattern, you will create exactly that bend and size armhole that suits you – when the armhole does not pull or dig into your arm.

That is, the pattern base contains minimum armhole size allowed. You can model the armhole to your taste, in any configuration. But your fantasy armhole should not be smaller than on the base pattern. That is, the armhole is based on a pattern - These are the boundaries beyond which your imagination should not cross.

Your model armhole can be as large as you like - but it cannot be smaller than on the base pattern. More - yes, less - no - otherwise it will dig into the armpit. This is the rule in modeling designer armholes.

Now let's get acquainted with the darts.

BACK DARTS – shoulder dart + waist dart

In the picture above, I wrote everything about the back darts - and in the photo of the dress you can find 2 waist darts - one to the right of the zipper, the other to the left of the zipper.

But you don’t see the shoulder dart on this dress. And many dresses don’t have it either. Because for convenience and beauty, this dart is moved from the middle of the shoulder to the zipper (or along the edge of the armhole, where the sleeve will be, a corner is simply cut off). That is, the excess fabric is not pinched at the middle of the shoulder and is not sewn inside the dart. And the extra fabric cut in the form of a corner at the edge of the shelf, where the zipper is sewn in, or at the edge of the armhole - where the sleeve will be sewn in.

Also, darts are not necessary if you sew from stretch fabric - it itself follows the curves of your body and shrinks both in the shoulder and waist areas.

Let's get to know each other next... DARTS ON HALF FRONT

Oh, I could write a whole poem about her.

I spent a long time wondering how to explain more clearly - why it is needed and by what laws it lives. I thought and thought... and came up with an idea.

The fact is that a woman has breasts.))) That is, from the front, an adult girl is no longer flat. This means that the dress should be convex in the chest area. The dart on the front shoulder gives the dress that same bulge in the bust area. Now I’ll show you everything in pictures. How does this happen.

For example, we have a flat piece of fabric, but we need to make a convex piece out of it. To do this, you need to make a tuck on it. For example, this flat circle of cardboard will now become convex with the help of a dart.

And here's how a bust dart creates a bulge on the front detail

You will notice that the top of the convexity (that is, the peak of our round pyramid) is at the tip of the dart. Pay attention to this. Because when we draw the bust dart, the point of our dart will be at the top of the chest(where the nipple or bra cup is usually located).

Remember that sometimes you tried on a dress in your size in a store, which somehow strangely skewed on the chest - this is because the dart in the dress with its point was directed by the tops of your chest. So the breasts did not fit perfectly into the bulge of the dress. This product was not cut at the factory to suit your breast shape.

But that is not all, what I want to say about the chest dart.

The fact is that in almost all dresses this chest dart is located not on the shoulder- A on the side just below the armpit. This is done for beauty. The dart on the shoulder catches the eye more, but on the side, and even covered by the hand, it is not noticeable.

When creating a base pattern, we draw a chest dart on the shoulder only because it is more convenient to draw there from the point of view of constructing a drawing.

And after the drawing of the base pattern is ready, we very easily and simply transfer the dart from the shoulder area to the armpit area. Don’t think that you need to make new drawings for this. Nope, everything is simple here - like opening a carton of milk - one minute and that’s it.

Here, in the picture below I schematically depicted transferring the bust dart from the shoulder to the side seam under the arm.

Well, do you already feel how wiser you have become in these 15 minutes?))) Or there will be more... Let's continue our walk through the pattern and now let's get acquainted with the lines. Horizontal lines

CHEST LINE

The first acquaintance is the chest line. (It’s a beautiful dress, isn’t it? We’ll make it for you. Don’t even hesitate)

The bust line is the most remarkable line on the pattern. It is so convenient to focus on it when drawing a base pattern because:

We know that we finish drawing the back waist dart at the bust line.
We know that we finish drawing the front waist dart not reaching 4 cm from the chest line.
We know that the shoulder dart is in the front - we finish drawing it at the chest line.
We know that the lower edges of the armholes also follow the bust line.

Well, no, of course, you don’t know that yet. I will give all these simple rules when we start drawing. And now I just want you to know that when drawing many elements of a pattern, you can simply focus on the chest line (and there is no need to painstakingly put down these letter-number dots).

As you can see, there’s a lot of everything!! Therefore, go ahead - study, sew and enjoy life)))