What We Wore | A history of fashion from 1720 to 1982
BBC Archives Written Documents
Supplement to RADIO TIMES
November 9. 7967
Clothes that Count
Programmes 6 to 10 - the second of two pull-out supplements to prepare viewers
for the television series. The first appeared in Radio Times of September 21.
'Clothes that Count' is a series of ten programmes being shown on BBC-1 on
Tuesdays -programme 6 can be seen on November 14 - with repeats on BBC-2 on
Wednesdays. It presents home dressmaking in terms of fashion and is intended for
women who already have a little experience of dressmaking.
Each programme is built around a printed paper pattern, which viewers can buy
in the shops. These patterns have been chosen because they are pacesetters, and
can be made up in versions to suit different tastes.
This supplement provides some hints on how to get a professional finish with
simple methods on the garments made in the second five programmes. (The first
supplement dealt with the first five.) And in the programmes Ann Ladbury shows
how to tackle some of the problems that may arise in making the garments-though
she will not show the elementary processes.
Back numbers of the Radio Times of September 21 containing the first supplement
are still available (price 6d. plus 6d. postage-postal orders only) from BBC
Publications, P.O. Box 1AR, London, W.I.
[BBC Archive: Please note, this offer is no longer open.]
[text surrounded by graphics]
Supplement to RADIO TIMES November, 9, 1967
[Illustration of suits]
BBC-1, November 14
repeated on BBC-2, November 15
McCall's Pattern No. 8756, price 5s. 0d.
Half sizes: 33 -43 inch Bust
Women's sizes: 42 and 44 inch Bust
For figures that are not of stock proportions, it will probably be necessary to
alter the paper pattern to achieve a good fit. It is usually one measurement
that has to be altered, because it is better to buy the smaller size and learn
to alter just one part, rather than have to reduce every pattern piece except
The alterations most commonly required are shown in the diagrams on the right.
Fig. 1.[ illustration] On both back and front draw a line From hair way down
the armhole as shown. It there is a shoulder dart try to avoid it.
Overlap pieces at shoulder only and pin. Re-draw the shoulder seam straight.
Shoulder alteration. In larger sizes the shoulder length is often far too long-
narrow shoulders seem to go with prominent busts.
Fig. 2 [illustration]. ONE PIECE DRESS - Split and open as shown. In loose
styles the additional width across the back and shoulder is not noticeable. If,
however, a closer fit is required then redraw the armhole at the original
Alteration to enlarge hip size in a one- piece dress. It is usually advisable to
buy the correct bust size (unless the bust is prominent) and make this adjustment
to fit the hips.
Fig. 3.[illustration] Pattern alteration for a larger bust size
Fig. 4.[illustration] Pattern alteration for a larger waist.
Fig. 5.[illustration] Pattern alteration for larger hips.
The fashion designer appearing in this programme will be Michael. Details of his
recommendations will be given in the programme.
BBC-1, November 21
repeated on BBC-2, November 22
Butterick Pattern No. 4557, price 5s. 0d. Sizes: Hips 33"- 40"
This style comes with shorts and a skirt included in the paper pattern. Versions
made up in several different fabrics, for day and evening, will be shown in the
Throughout the series, the importance of pressing has been stressed if you want
a good professional finish.
Each process should be pressed as you go along, and the garment should be given
a final overall press when all the sewing, except for the buttons, has been
completed. The sequence to be followed for this final pressing will be
demonstrated in Programme Nine.
The following is a guide to the method to be used for pressing different fabrics:
1. Moderate iron and a dry muslin for linings, rayons, silk, organdie, and fine
fabrics such as chiffon.
2. Hot iron and damp muslin followed by finishing with iron only for linen,
imitation linen, rayon, cotton, Terylene.
3. Steam iron by itself for cotton, Tricel, nylon, Terylene lawn, Courtelle, and
the wrong side of pure silk.
4. Hot iron, medium pressure and double damp muslin for dress weight woollens.
5. Hot iron, very light pressure and damp muslin for mixtures combining synthetic
fibres, for jersey wool and Crimplene.
6. Hot iron, heavy pressure, damp calico and pressing block for woollens and
worsteds, Acrilan and Terylene suitings.
The fashion designer appearing in this programme will be Gerald McCann. The
special outfit devised by him will be based on a paper pattern. Details will be
given in the programme.
Supplement to RADIO TIMES November, 9, 1967
Alteration for larger waist.
This is normally required on the front only. For small amounts it may be
sufficient to make the dart smaller, but if not cut the pattern as shown and
open it out at the waist only. The extra amount at hip level is small and is
often required by this figure type anyway.
FIG. 5 [illustration]
Alteration for larger hips
Cut paper from waist to hem as shown, avoiding darts if possible. Open out at
hem only, inserting a quarter of required amount at hip level. Repeat with
front skirt. A broader hip often needs the extra width in the hemline, especially
if the thighs are thick, but it you wish to avoid adding to the hemline take a
fold out at the hip line as shown in right-hand diagram.
[Illustration of evening dress]:
BBC-1, November 28
repeated on BBC-2, November 29
Long Evening Dress
Simplicity Pattern No. 7311, price 5s. 0d.
Sizes: 31"- 40" Bust
This dress could be made up in silk, brocade, or lace. Many of these fabrics
gain in appearance by being mounted, and for some it is essential.
One method is to mount each piece of fabric on to a lining fabric by basting,
and then handle as one layer. This is a useful method of adding crispness and
warmth; it gives clothes a good outline, prevents seating, reduces creasing, and
makes subsequent laundering and maintenance easier. It transforms quite ordinary
fabrics into something special and gives firmness to open weaves. The method is
often referred to as interlining or underlining.
The fabric used for mounting should be slightly lighter in weight than the fabric
being mounted and it may be desirable to have it slightly stiffer. Choose a fabric
which will withstand similar temperatures in pressing to the outer fabric and one
which will retain and enhance the qualities of the garment and not detract from
it by being too stiff or bulky. Loose lining and mounting are sometimes combined
in coats and jackets, in which case the lining is attached with a felling stitch,
The designer appearing in this programme will be Julie Harris, the film dress
designer. Details of the evening dress supervised by her will be given in the
GERALD McCann [pictured]
Internationally famous designer of the young fashion scene, says 'The first three
principles of fashion are proportion, colour, and balance'
Youngest member of the Incorporated Society of London Fashion Designers. 'In
fashion today,' says Clive, 'there are no older women'
Supplement to RADIO TIMES November 9, 1967
[Top right-hand column - sketch of coat]:
BBC-1, December 5 repeated on BBC-2, December 6
Vogue Pattern No. 7195, price 7s. 6d. Sizes: 31"-36" Bust
This coat could be made up as a day or evening coat; it is a modern classic
which would suit the slim of all ages. Whatever fabric is used, neat button
holes will add a professional look to the finished garment. One way to do this
is to work piped buttonholes.
This is a neat method of making buttonholes which is particularly suitable for
thick fabrics as it reduces the bulk at the ends of the buttonholes and
eliminates unsightly corners.
On fraying fabrics, back the buttonhole area with a piece of thin bonded iron-on
interfacing. Mark the positions clearly on the right side of the fabric with
chalk or tacks.
The size of the button-hole should be the width of the button plus an allowance
for its thickness.
Cut a strip of fabric on the straight grain 1/2" - 3/4" wide and long enough to
complete all buttonholes. Back it with thin iron-on bonded interfacing if
desired, fold it in half, tack and press. (Fig. 1)
Place in position against the marked buttonhole, on right side of fabric, with
cut edges against the chalk, mark and tack up the centre. Cut strip off, leaving
turnings. (Fig. 2)
Tack the second side in the same way and then repeat on all buttonholes. Re-mark
the ends of the buttonhole across the pipings with chalk. Machine strips in
position. Begin machining in the middle and stitch up the centre of each strip,
turn and stitch to the far end, turn again and stitch to the middle. The ends of
thread can now be cut off.(Fig. 3)
Remove tackings, turn the work over to wrong side of fabric and cut the button
hole as shown in Fig. 4, i.e., make small snip in centre of buttonhole, then
snip to all four ends of stitching. Push the strips through to the wrong side
and oversew the folded edges to hold them in place while pressing. Working from
right side, stab stitch each end very firmly. (Fig. 5)
Complete the buttonhole by snipping the facing to correspond and hem in place.
This process will be demonstrated on Programme Nine.
The designer appearing in this programme will be Gerald McCann. Details of the
outfit devised by him will be given in the programme.
[Top right-hand column - sketch of dress]:
BBC-1, December 12
repeated on BBC-2, December 13
Simplicity Pattern No. 7299, price 5s. 0d. Sizes: 31"-36" Bust
Full length style: Weldons
Le-Roy Pattern No. 8741, price 4s. 3d.
Sizes: 32"-38" Bust
This culotte dress could be made up for day or evening wear.
The short sleeved version could be made up using the lined sleeve method. This
method of lining (to be shewn[sic] during the programme) can only be used when
making short or elbow length sleeves which are perfectly straight and have no
shaping in the seam. It produces a firm sleeve with a neat lower edge and when
used on thin fabrics it makes laundering much easier. Use either a matching
lining or use the fabric of the garment if it is not too bulky.
The fashion designer in this programme will be Clive. Details of his outfit will
be given in the programme.
[Bottom of page - pattern illustrations]
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Document Type | Magazine
06 November 1967
More hints, tips and an outline of the delights to come in the series, which will feature specially commissioned designs, 'how to' guides, on-screen advice and style gems from some of London's most prestigious couturiers.
Image and article courtesy of Victor Reinganum/'Radio Times' Magazine.
Read part one of the supplement.
The BBC's first ever series in colour explores the history of fashion.
Irrational clothes - a look at why we wear things we can't function in.
How fashion dictates body shape and facial decoration.
From christenings to funerals - how clothes signify important occasions.
Everyday wear from the last 200 years.
'The purpose of most fashion is to be ostentatiously non-functional.'
Keep up to the minute by making this attractive and versatile dress.
Suits for women of all shapes, sizes and postcodes.
Solve your outer-wear problems with a fashionable and functional coat.
Look smart and stylish with this trendy suit.
Making fashionable garments at a fraction of the retail cost.
In fashion 'all designers should be obsolete'.
How to make your own Caroline Charles outfit.
The Queen Mother sends her appreciation of 'Men, Women and Clothes'.
The BBC's report into what audiences thought about the first episode of 'Men, Women and Clothes'
The first of a two-part, graphics-laden supplement to accompany the series 'Clothes That Count'.
The second of a two-part, graphics-laden supplement to accompany the series 'Clothes That Count'.
Viewing figures for the programme and responses from members of the public.
Suggestions for ways of extending the popularity of the television series on knitting.
A no-holds-barred rejection of suggested ideas for books to accompany the TV series.
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