I promised more details about Butterick “Forecast” wardrobe patterns. Butterick’s Delineator magazine gave just one page to patterns 8 A through 8 D in October of 1927, and one page to patterns 9 A through 9 D in November. The fact that they cost $1 each — and had very strange pattern numbers — wasn’t mentioned. [But I still need to revisit those volumes….]
Incidentally, there is no consistency about these pattern numbers — the illustration might use a hyphen (9-A), while the text said (9A) and a space might be used in Delineator‘s pattern list (9 A). I wonder what the pattern envelopes said….
Butterick Forecast Wardrobe Patterns, October 1927
Some recommended accessories were illustrated and described along with the patterns.
A large bar pin sits below the V neckline.
At first, I thought the necklet was inspired by Egyptian revival lotus buds, but you can see that they are individual long and short beads.
Very sheer stockings for evening wear might still have pattern (called a “clock”) on their sides.
These nearly identical clocked formal stockings appeared in an ad for Kayser Hosiery three years earlier.
The bag and “slipper” (shown below) could be suede, lizard, or kid. The color of the gloves should match the color of the “guimpe” [a false blouse or dickey] under the dress. Fox fur “scarves” or neckpieces were widely worn, even with very lightweight, summery fabrics. Below, pattern 8 C is shown under the wrap coat, but made in a lighter color.
Butterick Forecast Wardrobe Patterns, November 1927
Outfits with the blouse trimmed in the skirt fabric appear often in Delineator illustrations from the late twenties. Pattern 9 A strikes me as probably unflattering to any woman, but it does look nice as an Art Deco drawing….
Dresses with applied trim like this one were often made from two fabrics in the same color but of contrasting textures (e.g., velvet and silk), so the bands on the bodice would be a subtle change of texture rather than of light/dark values as illustrated here. Double-sided silk crepe used with matte and shiny sides out was popular.
The skirt of 9A is described as “two piece” and “flared front;” during most of the twenties, the back of a skirt or dress was cut straight, with all of the fullness — and walking ease — in the front. See the “front flare” coat below.
The “Oxford” shoe above left was recommended for wear with dress 9A, and the three-toned shoe and envelope purse at right are suggested for dinner dress 9C, below:
“The embroidery in necklace and bracelet outline is new and important.” In the same month, Delineator showed this drawing of a “Necklace Dress” by couturier Jean Patou; the “necklace” was actually trim on the dress:
The panels were connected by horizontal stitches over a space of an eighth to a quarter inch or so, leaving a tiny part of the undergarment visible. It meant the panels could move (slightly) independently. The dress would be worn with the bias in a vertical position. See a later vintage dress with fagoting as trim here.
Vionnet also used pin tucks to create diagonal lines across the front of dresses like this one, dated 1926-27 in the Metropolitan Museum collection. You could use double lines of pin tucks instead of fagoting to recreate Butterick 9-D.