1 review for Past Patterns: Vintage Revivals (formerly Attic Copies) 8211
Rated 5 out of 5
Trystan L. Bass –
For the GBACG’s Edward Gorey Dinner in 1998, I wanted to create an outfit that looked like I could have stepped out of one of Gorey’s elegant, sparse, black and white drawings. There wasn’t a specific character I wanted to recreate (as some others did tho’). So I emulated the lack of color and the gothic, vaguely historical elements found in Gorey’s illustrations. I chose a vintage Attic Copies pattern for a 1913 day dress and used black and grey materials. The pattern had no instructions, so I floundered about a bit trying to piece together the parts. My interpretation wasn’t totally historically accurate, but then, neither were Gorey’s drawings. The dress consists of three parts — a long, straight, black skirt with two pleats in the front (one of which conceals the skirt closure); an overskirt that is short in the front and falls in two pleated tails in the back, which I made of silver-grey lace on a black band; and a loose, surplice-style blouse with a deep V neck and long sleeves, all made in black and accented with ruffles of the silver-grey lace at the neck and wrists. I pinned a black and silver brooch at the neck (as much for decoration as to keep the blouse securely fastened) and sewed vintage black cord-and-jet trim at the neck and wrists.
Trystan L. Bass –
For the GBACG’s Edward Gorey Dinner in 1998, I wanted to create an outfit that looked like I could have stepped out of one of Gorey’s elegant, sparse, black and white drawings. There wasn’t a specific character I wanted to recreate (as some others did tho’). So I emulated the lack of color and the gothic, vaguely historical elements found in Gorey’s illustrations. I chose a vintage Attic Copies pattern for a 1913 day dress and used black and grey materials. The pattern had no instructions, so I floundered about a bit trying to piece together the parts. My interpretation wasn’t totally historically accurate, but then, neither were Gorey’s drawings. The dress consists of three parts — a long, straight, black skirt with two pleats in the front (one of which conceals the skirt closure); an overskirt that is short in the front and falls in two pleated tails in the back, which I made of silver-grey lace on a black band; and a loose, surplice-style blouse with a deep V neck and long sleeves, all made in black and accented with ruffles of the silver-grey lace at the neck and wrists. I pinned a black and silver brooch at the neck (as much for decoration as to keep the blouse securely fastened) and sewed vintage black cord-and-jet trim at the neck and wrists.