and when you “try it on” it fits perfectly.
A perfect debut novel is like a perfect dress—it’s a “must have” and when you “try it on” it fits perfectly. In this richly patterned story of sisterhood, ambition, and reinvention Sofia Grant has created a story just right for fans of Vintage and The Dress Shop of Dreams.
World War II has ended and American women are shedding their old clothes for the gorgeous new styles. Voluminous layers of taffeta and tulle, wasp waists, and beautiful color—all so welcome after years of sensible styles and strict rationing.
Sofia Grant has the heart of a homemaker, the curiosity of a cat, and the keen eye of a scout. She works from an urban aerie in Oakland, California.
Nancy Cosgrove had seen the gown made up in taffeta in Vogue, and taffeta was what she had to have. Jeanne made a muslin first, at Nancy’s insistence, even though muslin could never stand in for the stiff, slippery hand of the real thing. The muslin’s skirt hung around Nancy’s lumpy hips like wet rags and Jeanne thought she’d finally come to her senses—but Nancy just went home to get her crinoline. It made only a slight improvement: the muslin spread out over the stiff underskirt like leaves floating on a pond. But Nancy took herself across the river to the city, where she found a bolt of emerald green moiré taffeta in a shop at the corner of Fourth and Fulton.
When she brought it back, the bolt of fabric sitting in the passenger seat of her garish two-tone Packard Clipper like a visiting dignitary, it occurred to Jeanne that Nancy might still be trying to one-up her, even after everything that had happened. Never mind that Jeanne slept in the unfinished attic of the narrow row house that she shared with her sister and her niece and Thelma Holliman. She suspected that there was a part of Nancy that was stuck back at Mother of Mercy High School, where Jeanne had sailed like a swan through adolescence, winning top marks and courted by a steady stream of St. Xavier boys. By contrast, poor Nancy had been as awkward as a stump, beloved by no teacher, no suitors, and none of the other girls.
Jeanne tried not to hold this belated vengefulness against Nancy: they badly needed her money. Still, Nancy had no head for sums, and there was not enough fabric on the bolt for the New Look dress she had hired Jeanne to sew for her. Unlike the wide bolt of unbleached muslin that Jeanne kept on a length of baling wire on Thelma’s back porch, the taffeta that Nancy brought back was only forty-eight inches wide—a scant forty-eight inches at that, the selvages taking up the better part of an inch on either side. Jeanne could barely cut a skirt panel from it—even with Nancy’s oddly short, bowed calves—and only by forgoing the deep hem she’d planned in favor of an understitched facing.
Jeanne had been up the night before until nearly three in the morning, hand-tacking that facing with a single strand of superfine Zimmerman and a straw needle. When she finally went to bed, she had an unsettling dream. It had been months since she’d dreamed of Charles, but suddenly there he was, wearing a hat that had hung on a nail in the carriage house of his parents’ estate in Connecticut, a western style of hat that his father had brought back from a trip to Montana.
But in the dream Charles frowned at her from beneath its broad brim, while he pressed his hands to his stomach, trying to stanch the blood pouring from the hole in his side, while all around him in the trenches of Cisterna, his fellow Rangers were felled by the German panzers. Only six of them came home, out of more than seven hundred—but
Jeanne didn’t care about any of them. She would have traded them all to have Charles back.
War had made a monster of her, and there was nothing she could do about it—except to sew. A stitch, another, another. In this way the minutes and hours passed.