Monthly Archives: February 2017

Modart Corset Ad, March 1928

Ad for Modart Corsets, detail, March 1928, Delineator.

Ad for Modart Corsets, detail, March 1928, Delineator.

This color advertisement for Modart corsets caught my eye. I think it’s aimed at women with a “mature” figure, because the corsets have lace-up features, and appear to be boned.

Closer view of Modart corset No. , from 1928.

Closer view of Modart corset No. 9513, from 1928. It has adjustable laces at the side, and creates the 1920’s tubular silhouette, including a flattened posterior and a flattened bust.

At the bottom of the ad, five other Modart styles were shown.

Five Modart corset styles taken from the bottom of the ad. 1928.

Five Modart corset styles taken from the bottom of the ad. 1928. Notice bandeau [bra] No. 0857, at bottom right; it wouldn’t have offered much support, but it has darts. It’s not a flattener. The bra shown with step-in No. 7012, at top left, has breast separation, described as an “uplift” style.

By 1925, many younger women were wearing less restrictive, un-boned foundation garments called corsolettes or corselets. (There were many spelling variants.) By 1928, Bandeaux and other bust-flattening garments were also on their way out. You can see two bras with bust darts worn with waist-high Modart girdles in this ad. By 1929, the new brassieres gave a more natural look.  Some women wore no bra at all; others were adopting so-called “uplift” styles which had breast separation and a “pocket” for each breast.

But most women still needed an undergarment to suppress their curves and give the fashionable, flat-in-back, narrow silhouette.

Evening dresses from Delineator, March 1928, the same issue as the Modart ad.

Evening dresses from Delineator, March 1928, the same issue as the Modart  Corset ad. From left, the fabrics are lace, moire silk, satin, and a print fabric, probably silk or Georgette.

Alternate view and pattern information for Butterick 1936 and Butterick 1946. March, 1928.

Alternate view and pattern information for Butterick 1936 and Butterick 1946. March, 1928.

Alternate view and pattern information for Butterick 1910 and Butterick 1942. March, 1928.

Alternate view and pattern information for Butterick 1910 and Butterick 1942. March, 1928.

Three of these patterns were available in bust measure 44 inches, which meant a hip of 47 1/2 inches.

Text of Modart ad, March 1928. Delineator magazine.

Text of Modart ad, March 1928. Delineator magazine.

“Thousands of women now wear with ease the difficult, simple lines of modern fashion … by wearing Modart foundations. Over the rightly proportioned, supported figure, all types of frocks have a new smartness, a new confidence in fashion.”

The horizontal hip line of 1920’s dresses was likely to make a woman’s body look wider, in spite of the ideal of a slender, youthful silhouette. In fact, some of these French designer fashions for Spring, 1928, are really the opposite of slenderizing.

Sketches of Paris designs by Premet, Philippe et Gaston, [Augusta] Bernard, and Worth. Delineator, March 1928.

Sketches of Paris designs by Premet, Philippe et Gaston, [Augusta] Bernard, and Worth. Delineator, March 1928. The designs by Philippe et Gaston and the House of Worth make even a fashion illustration look like a sack of potatoes.

Sketches of Paris designs by . Delineator, March 1928.

Sketches of Paris designs by Lenief, Bernard, and Premet. Delineator, March 1928.

I have written many posts about women’s undergarments in the nineteen twenties. I linked to some of them in this post, but, if you’re a new subscriber with an interest in the nineteen twenties, you may want to check these titles:

Not All Flappers Wanted to be Flat in the 1920s

How to Look Thinner in the 1920s, Part 1 (Advice from an article dated 1925)

Underpinning the 1920s: Brassieres, Bandeaux, and Bust Flatteners

Underpinning the Twenties: Corsets and Corselets

Uplift Changes Brassieres, Part 1

Uplift Changes Brassieres, Part 2

Changing the Foundations of Fashion: 1929 to 1934

If you want to see some lovely full color illustrations of dresses from 1928, click here. If you just love twenties fashions in general, searching this blog for 1928 will turn up many Butterick pattern illustrations from that year.

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Filed under 1920s, Bras, Corselettes, Corsets, Corsets, Corsets & Corselettes, Foundation Garments, Girdles, Old Advertisements & Popular Culture, Underthings, Hosiery, Corsets, etc, Vintage Couture Designs, Vintage Styles in Larger Sizes

Two Coats from January 1936

I was looking for images of 1930’s hats when I noticed this inspiring coat. If you can get past the stylized nineteen- thirties’ illustration, the lapel structure is rather modern.

Butterick coat 6594 from Delineator, January 1936.

Butterick coat 6594 from Delineator, January 1936.

The coat seems to be unlined, perhaps with the fashion fabric turned in and topstitched instead of having a separate facing piece, although I don’t see any topstitching on the coat front. Perhaps the skirt was attached with a waist seam.

Butterick coat pattern 6594, detail. 1936.

Butterick coat pattern 6594, detail. 1936. The center panel is topstitched, as are the cuffs and pockets.

I can’t quite figure out how the topstitched lapel works, since there is no indication of that topstitching continuing down the front of the coat. Does the front of the coat turn in and act as its own facing? Or is it a separate piece? (More likely.) In either case, if that line of topstitching is practical, why doesn’t it continue down the front of the coat? Did the illustrator reverse the solid and dotted lines? Or is that “topstitch” purely decorative and confined to the lapel area?

text-6594-coat-1936-jan-p-39-spring-2

It would not be hard to adapt this to a more purely geometrical construction. When we look at the back, we see that the center panel is tapered, helping to shape the coat.

Butterick coat 6594 from Delineator, January 1936.

Butterick coat 6594 from Delineator, January 1936.

I’m not crazy about the pockets, but I could imagine this as a modern jacket. If the center panel continued below the waist in front, inseam pockets would be a natural adaptation. Good thing I don’t sew for myself (or even have a dressmaker mannequin.)

Butterick 6594 as inspiration:  I couldn’t resist updating it, with the front panel tapering at the waist and repeated in the skirt to make easy pockets.

Butterick coat from 1936, updated. I copied the top stitching on the lapel, to match the 1926 illustration. (I couldn't think of a hat that says "2017" more clearly than this one....)

Butterick coat from 1936, updated. I simply copied the top stitching on the lapel, to match the 1936 illustration. (But I couldn’t think of a hat that says “2017” more clearly than this one….)

I also love swing-backed coats like this one, also from 1936:

Butterick coat 6582, January 1936, Delineator.

Butterick coat 6582, January 1936, Delineator. Look at those big, rectangular buttons, and the surprise of that pointed “fishtail” back yoke.

Pattern information on Butterick topcoat 6582 from 1936.

Pattern information on Butterick topcoat 6582 from 1936. The plaid version was suggested as resort wear. I’m not sure that plaid would work over “even rather formal clothes.”

Are those double pockets, or just an oddly shaped patch pocket?

Butterick 6582 is not exactly “timeless,” but I still have a ten year old, black wool raincoat shaped like this one in my closet! (It doesn’t have those intriguing buttons, that pointed yoke, or those tiny pockets, however.) I remember buying mine at Nordstrom’s before a trip to New York in January 2008. I haven’t worn it much during the years of California drought.

 

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Filed under 1930s, Musings, Vintage patterns

German Spies Pictured in Fashion Magazine, 1918

Images from an article in Butterick's Delineator magazine, July 1918.

Images from an article in Butterick’s Delineator magazine, July 1918.

In high school, history was my least favorite subject. Now that I am older, I wish we had been encouraged to study history in a different way; I have always been interested in people and their daily lives. The faces of these women  intrigued me. [Caution: I may be guilty of doing superficial research — TLDR–while trying to find out more about these “Huns,” “spies, and “traitors.”]

My point is that more research might be rewarding, that starting with a face and a name might be a way into the past for people who think history is boring,  and that “women’s magazines” or “fashion magazines” should not be disdained by historians.

Historians may find more than they expect in “women’s magazines.” Especially in wartime,  Ladies’ Home Companion, Delineator, McCalls’ Magazine and several other “fashion” periodicals presented a ready platform for communicating with women across the country. During World War I,  Ladies’ Home Journal and McCall’s Magazine had over a million subscribers each. [Magazines in the Twentieth Century.]

"Huns, Here There, and Everywhere," a page from Butterick's Delineator magazine, July 1918.

“Huns, Here, There, and Everywhere,” a page from Butterick’s Delineator magazine, July 1918. Detail: top of page. “These are in jail, but other spies and traitors are at work for the Kaiser … WATCH FOR THEM.” Calling the enemy by a pejorative nickname (e.g., “Huns”) is a propaganda device, which made me want to learn more about these people.

When I leaf through a women’s magazine from 1925, or 1917, such as Ladies’ Home Journal, or Butterick’s Delineator, I find more than fashion — I get a little social insight into the era. The editors wanted to sell magazines, so the articles that surrounded the patterns for sale had to be of interest to readers, too. Often they are short stories, or serialized novels. But the magazines are not always about creating a fantasy world. “Real world” topics impinge.

How much money does a young married couple need, and how should they budget it? (1920’s)  What are the jobs open to a college girl? How much will they pay? Can she live on $18 a week? (1930’s) Why does one out of seven babies born in America die? (1917 Delineator series) Should doctors administer anesthetics to a woman in childbirth? (Delineator, September 1934.)

In wartime, women’s magazines cooperated with the federal government in spreading information.

How can you feed your family and understand wartime food restrictions?

Wartime food restrictions, form Ladies' Hme Journal, August 1917, p. 16.

Explaining wartime food restrictions, from Ladies’ Home Journal, August 1917, p. 16.

Herbert Hoover's Food Administration answers women's questions. Ladies Home Journal, September 1917.

Herbert Hoover’s Food Administration answers women’s questions. Ladies’ Home Journal, September 1917. So many articles appeared in more than one magazine source that I stopped photographing duplicates.

What garments can you sew for the Red Cross?

Official Red Cross garments to be made by volunteers. A surgical gown, and two kinds of pajamas -- one which can be easily opened while treating wounded men. Delineator, November 1917. P. 77.

Official Red Cross garments to be made by volunteers. A surgical gown, and two kinds of pajamas — one of which can be easily opened while treating wounded men. Delineator, November 1917, p. 77.

From an article on sewing for the Red Cross, Delineator, September 1917, p. 77.

From an article on sewing for the Red Cross, Delineator, September 1917, p. 77.

In December, the same information appeared in Ladies’ Home Journal, illustrated with photos instead of line drawings.

Hospital garments to sew for the Red Cross, Ladies' Home Journal, December 1917., p. 25/

Hospital garments to sew for the Red Cross, Ladies’ Home Journal, December 1917., p. 25.

What can you expect when your son goes off to war?

From an article in Ladies' Home Journal, August 1917. "If he is the right kind of boy?" This is heartbreaking -- and it is propaganda.

From an article in Ladies’ Home Journal, August 1917. “If he is the right kind of a boy… Nothing will happen to him.” — If he is “the right kind of a boy?” This is heartbreaking — and it is morale-building propaganda.

In this case, the topic was watching out for German Spies. (July 1918)

Top of "Spies and LIes" article, Delineator, July 1918, page 38/

Top of “Spies and Lies” article, Delineator, July 1918, page 38.  The women are oblivious of the eavesdropper.

More of "Spies and LIes, Delneator, July 1918, p. 38. I regret that I didn't photograph the entire article.

More of “Spies and Lies, Delineator, July 1918, p. 38. In World War II, the equivalent message was “loose lips sink ships.” But readers should also “Report the man who spreads pessimistic stories [or] … cries for peace.” I regret that I didn’t photograph the last few lines of the “Spies and Lies” article from this fashion magazine.

Huns, Spies and Traitors, 1918

Delineator, July 1918.

A gallery of German “spies” — or is it? Delineator, July 1918.

This set of “mug shots” has been on my mind recently, especially since the San Francisco Chronicle published two 100th anniversary articles about the prosecutions following the “Preparedness Day Parade” bombing that occurred in San Francisco on July 23, 1916.  One 2016 article, by Carl Nolte, had the title “Bombing Centennial: Blast in July 1916 killed 10, left 2 innocent men in jail for decades.

“Juries convicted two labor union organizers, Tom Mooney, 33, and Warren Billings, 22, … although, as it turned out, the convictions were based on perjured testimony and doctored evidence. The real bombers were never caught.

“Investigations later showed that Mooney and Billings had been framed by San Francisco District Attorney Charles Fickert, who was acting on behalf of the city’s business establishment, anxious to strike a blow at labor unions and what they saw as dangerous leftists and anarchists. “

Thanks to a crusading newspaper man  — editor Fremont Older — Mooney and Billings were finally freed — in 1939.

” ‘ It is impossible to know what really happened that day in 1916,” said Chris Carlsson, a local historian. ‘But for sure, it was not Mooney and Billings who planted that bomb.” — Carl Nolte, SF Chronicle, July 17, 2016.

If you want to read Nolte’s entire article, (the online version has a different title,)  click here. (And who doesn’t want to read about a newspaper man who lost his job — and got another– because of his investigation, but never stopped trying to free two innocent men?)

After reading about this incident,  I remembered Delineator’s gallery of convicted German spies, and I wondered about them –especially these two women. (It’s important to remember that activities which are lawful in times of peace — like organizing a strike, or opposing the draft — may be illegal in times of war. It can happen very quickly.)

Who Were These People?

They were all convicted. They were not all “Huns” or German agents.

Left, Missouri's Kate Richards O'Hare; Right, California's Mrs. Margaret Cornell. Images from Delineator July 1917.

Left, Missouri’s Kate Richards O’Hare, convicted of espionage and sentenced to five years. Right, California’s Mrs. Margaret Cornell, convicted of conspiracy. Images from Delineator July 1917.

In 1916,  Kate Richards O’Hare was the Socialist Party candidate for U.S. Senate from Missouri. She opposed America’s entry into the war.  O’Hare was arrested in July, 1917 because she gave a speech “deemed to be anti-war.”  (By this time, the U.S. was officially at war with Germany.) When sentenced to five years in prison, she said, “[if] it is necessary for me to become a convict among criminals in order that I may serve my country there, then I am perfectly willing to perform my service there.” She was guilty of “espionage”  because she violated the Espionage Act of 1917. She later devoted many years to prison reform; according to Britannica.com, “in 1924–26 she conducted a national survey of the contract-labour practice of prisons.” [A topic still of interest today.] A great deal has been written by and about her.

But Cornell is another story. Mrs. Margaret Cornell of San Francisco might be a rewarding subject for more research.  Was she a low-level office worker trying to keep her job at the German Consulate, or a willing participant in her boss’ plot to disrupt British shipping?  She was the only woman was among many workers at the German Consulate in San Francisco convicted in the Indo-German-Irish plot: “Just a few months into World War I, an Indo-German-Irish plot was established to ship American weapons to India for a revolt against the Raj with the intention of reducing Britain’s ability to wage war on Germany and Irish nationalism. ” See British Intelligence Station in San Francisco during the First World War.  (Yes, in the neutral U.S.A., spies of many nations were at work.)

Cornell received a relatively light prison sentence, and no fine. I found the record of her admission to San Quentin Prison, on Feb. 8, 1917, through Ancestry.com. Although newspapers sometimes refer to her as Margaret W. Cornell, there she is listed as Margaret E. Cornell; Cornell is presumably her husband’s name. Her occupation is “office clerk,” her age is 52, and her birthplace is Ireland. She was convicted of espionage (Sections 37 and 13 of the U.S. criminal code) because she passed coded messages between her boss (the German Consul-General) and Charles Crowley, another member of the “Hindu Conspiracy,” as the press called it. Was she a dupe? Was she suspected of having anti-British, Irish Republican sympathies? (The Easter Rising of 1916 was a rebellion against British rule in Ireland.) At one point in the trial, she said, “I am now a woman without a country.” She is mentioned — and quoted — in newspaper accounts of the trial;  in 1917, San Francisco had several competing major newspapers, so there is plenty of material for a student of history to explore. Cornell claimed to have TB, and feared that she would die in jail. What happened to her?

Here are brief descriptions of some of the other “huns” and traitors who were pictured.

Olivereau and Schmidt, Delineator, 1918.

Left, Louise Olivereau of Seattle, Washington,  and Carl Schmidt of Detroit, Delineator, 1918.

Louise Olivereau worked as a stenographer for the Industrial Workers of the World (a labor organization popularly known as the Wobblies) — but she was also an anarchist, and she distributed anti-war circulars which she had printed at her own expense, for which she was convicted under the Espionage Act of June 1917.

Wilhelm von Brinken of San Francisco, and Jacobsen

Left, German “Baron” Wilhelm von Brinken of San Francisco, and Gustave H. Jacobsen of Chicago.

If Wilhelm von Brinken (who looks as if he usually wore a monocle) seems familiar, it is because he became an American citizen in 1920 and had a long career playing Germans in 92 Hollywood war films (WW I and WW II.)

Von Brinken was indicted along with his boss,  Franz Bopp, the German Consul-General in San Francisco, Baron E.H. von Schack (the Vice-Consul)  and Charles C. Crowley.    Like Margaret Cornell, Crowley worked for the German Consulate.  [San Francisco Chronicle, Feb. 9, 1917.] A well-known detective hired by the German Consul-General, Crowley was accused of trying to plant bombs in Canadian munition ships and elsewhere; Crowley and Bopp communicated — in “coded messages” — that were sent to Cornell. (Did she understand what they were about?)

Left, von Schack, right Crowley.

Left, Baron von Schack; right, Charles C. Crowley. Von Schrack looks jaunty in a straw boater hat. Crowley was a private detective hired by the German Consulate.

Left, Bopp, and right, von Rintalen. Delineator, 1917.

Left, Franz Bopp, German Consul-General in San Francisco, who was convicted of violating U.S. neutrality as part of  the “Hindu Conspiracy,” among other charges.  Right, Captain Franz von Rintelen was chief of the German Secret Service in the U.S. during WW I. Delineator, 1917.

Somer C. Spence and LAmar in Delineator, 1917.

Homer C. Spence of Oklahoma (“sedition and anti-draft riots,) and David Lamar of New York (“planned munition delay through strike plots,”) pictured in Delineator, 1917.

David Lamar, who “planned munition delay through strike plots” and German spy-chief Captain Von Rintelen (pictured earlier) were convicted in a munition strike conspiracy.

“Anti-draft rioter” Homer C. Spence of Oklahoma — who looks like he stepped out of the pages of Time-Life’s “The Pioneers” —  was implicated in the “Green Corn Rebellion,” which was subject of a 1937 novel of that name by William Cunningham. The  inter-racial (white, black, and Native American) “Working Class Union” (WCU) of mostly young tenant farmers was involved. (The idea that rural Oklahoma was once a hotbed of Socialism was certainly news to me!)

I knew nothing about this part of American History, and I have not read every word of all the links I cited — some are book-length. (They are there for anyone to pursue.)

But it just goes to show what surprises you find while reading old “women’s magazines.” If you know any history students in search of material, you might want to steer them toward browsing old “fashion” periodicals. What a lot of questions they raise!

Since many of these “Huns” were arrested and tried in San Francisco, I used some news items from the San Francisco Chronicle archives for 1917 and 1918, accessed through my public library.

(For other ways World War I was reflected in women’s magazines, see “Up Like Little Soldiers,”  WW I Fabric Shortages , and “New Clothes from Old.”)

 

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Filed under 1900s to 1920s, Hats, Menswear, Musings, Old Advertisements & Popular Culture, vintage photographs, World War I

Red, White, and Black Ink Fashion Illustrations, May 1927

These illustrations by L. Frerrier [2/23/17 Edit: or Ferrier] were first published in May, 1927, but they seem appropriate for Valentine’s week. Dresses for girls were included, although the grown-ups are using the swing! (Larger views and details are at bottom of post.)

Butterick patterns 1435, 1431, and 1429, illustrated in May, 1926, Delineator magazine. Page 34.

Butterick patterns 1435, 1431, and 1429, illustrated in May, 1927, Delineator magazine. Page 34. For teens or women.

Butterick patterns 1425, 1425, 1401, 1421,and 1428. Delineator, May 1927, p. 31.

Butterick patterns 1425, 1424, 1401, 1421, and 1428. Delineator, May 1927, p. 31.

Butterick patterns 1346, 1392, 1381, 1420, and 1405. Delineator, May 1927, p. 29.

Butterick patterns 1346 (coat), 1392 (frock),  1381, 1420, and coat 1405. Delineator, May 1927, p. 29.

Butterick patterns 1389, 1206, 1403, 1414, 1447. Delineator, May 1927, p. 28.

Butterick patterns 1389 (suit), 1206 (blouse), 1403, 1414, and (redingote with costume slip) 1447. Delineator, May 1927, p. 28.

Closer looks at 1927 dresses for girls:

Dress with matching bloomers for a little girl. Butterick 1927.

Dress with matching bloomers for a little girl. Butterick 1438, 1927. “This dress would be very festive in cherry red taffeta and very practical in pin checked gingham….” In sizes 2, 4, 6.

Left, Butterick 1381, with bloomers, for ages. Right, Butterick 1428. Both from 1927.

Left, Butterick 1381, with panties to match the collar, for ages 2, 4, and 6. Right, Butterick 1428. Both from 1927. Left, No. 1381 has an inverted pleat and straight panties that “show an important inch below the hemline.”  Right, No. 1428 is for girls 6 to 10 years.

1428-text-girl1927-may-p-31-1425-1424-girl-1401-girl-1421-large-1428-l-farrier-illus

For school aged girls, panties did not extend below the skirt hem. “Compose” dresses — which use two or more fabrics — were chic in 1927.

Left, Butterick 1403, Right, Butterick 1414. 1927.

Left, Butterick 1403, for girls 6 to 10 years old.  Right, Butterick 1414, for girls 8, 10, 12 & 14 years. It has an inverted pleat in front. The bib front, modeled on mens’ dress shirts, is called a gilet. 1927.

Left, Butterick 1424, Right, Butterick 1421. 1927.

Left, Butterick 1424,  for girls 6 to 10 years. It was suggested as a party dress. Right, Butterick 14o1, for girls 2 to 7.  Both from 1927. Many patterns offer the option of hand-smocked or machine-shirred hip bands.

1401-girl

Butterick 1420 for a girl . 1927.

Butterick 1420 for a girl 8 to 15 years old. Notice that the hem is above her knee.  1927 dresses for adults cover the kneecap. 1927.

1420-girl

I still have trouble reading “flannel” and thinking “wool,” rather than cotton nightgown fabric.

Left, Butterick 1425, a smocked or shirred dress for a teen 15 to 18 or women bust 36 to 40. Right, Butterick 1428, a compose dress for women.

Left, Butterick 1425, a smocked or shirred dress for a teen 15 to 18 or for women bust 36 to 40. Right, Butterick 1421, a compose dress for women, made from two fabrics, or two shades of the same fabric, or using the matte and shiny sides of crepe satin. This pattern was available up to size 52!

1425-dress-smocked-or-ruched

 

1421-dress-image10

Left, Butterick 1390 has a "Chinese" style monogram. and graded color bands. Right, Butterick 1407. Both 1927.

Left, Butterick 1390 has a stylized monogram, and graded color bands. Right, Butterick 1407.  1920’s illustrations often show a bar pin worn diagonally, not at the throat or on a lapel. Both 1927.

Butterick 1390 could be sleeveless, but bare arms were to be covered for city wear. 1927.

Butterick 1390 could be sleeveless, but bare arms were to be covered for city wear. 1927. The skirt was mounted on a sleeveless bodice top, so it hung from the shoulders rather than the waist.

Butterick suit 1389 with blouse 1206, and a sheer redingote over a print costume slip, Butterick 1447. Both 1927.

Butterick suit 1389 with blouse 1206, and a sheer redingote over a print costume slip, Butterick 1447. Both 1927.

1389-suit

In the illustration below, the woman on the swing is wearing a dress with shirring at the front.

1429-text1927-may-p-34-1435-1431-1429-dresses-swing

Butterick 1435, 1431,and 1429. May 1927.

Butterick 1435, 1431,and 1429. May 1927. Dresses for teens 15 or older, and for adult women.

Butterick 1431, in the center, which looks like a two piece, is not:

1431-text1927-may-p-34-1435-1431-1429-dresses-swing

Last, a “suit” that consists of  a two piece silk dress with a  7/8 length coat which is lined with the dress material, and a n evening coat with tiers:

Butterick frock 1392 with matching coat (pattern 1346), and Butterick coat pattern 1405, a "tioered" coat for formal occasions, available in teens or women's' sizes. 1927.

Butterick frock 1392 with matching coat (pattern 1346), and Butterick coat pattern 1405, a “tiered” coat for formal occasions, available in teens or women’s’ sizes. 1927.1405-coat

 

About the illustrator: I’ve been referring to “L. Frerrier” because that is the way the signature looked the first time I found it (in January 1928). But sometimes it looks like “L. Ferrier.”

Is it Frerrier or Ferrier? Frerrier seems most likely.

Is it Frerrier or Ferrier? Frerrier seems most likely.

[Edit 2/22/17: The comments favor Ferrier. I could not find an artist named Ferrier working in America, and the painter L. Ferrier-Jourdain appears to have lived and died in France.] I did find an “L. Ferrier” in the New York City directory, but no occupation.]

L. Frerrier often illustrated fashions for Butterick's Delineator. These stylized "one color plus black and white" drawings are very different from the same illustrator's more realistic work.

L. Frerrier [or Ferrier] often illustrated fashions for Butterick’s Delineator. These stylized “one color plus black and white” drawings are very different from the same illustrator’s more realistic work.

Whoever he or she was, this was a versatile artist.

In January 1928, L. Frerrier painted these models as passengers aboard the luxurious S. S. Ile de France. Delineator, p. 31.

In January 1928, L. Frerrier [or Ferrier] painted these models as passengers aboard the luxurious S. S. Ile de France. Delineator, p. 31. I darkened the signature to make it more visible.

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Filed under 1920s, Children's Vintage styles, Hats, Vintage patterns, Vintage Styles in Larger Sizes

Happy Valentine’s Day 2017

I’ve shown this image before, but a great dress is worth repeating.

Cover of the Ladies' Home Journal, February 1936.

Cover of the Ladies’ Home Journal, February 1936.

Have a happy day!

If you long for more low-backed dresses from the 1930’s, here is a post about them.

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Pajamas and Sleepwear from 1917

Pajamas for girls and women, Butterick pattern 9433, Delineator, October 1917, p. 89.

Pajamas for girls and teen women, Butterick pattern 9433, Delineator, October 1917, p. 89.

Some pajamas from 1917 were really “onesies,” since the part below the waist was attached to the top. I inherited a pair of these-all-in one pajamas, made of peach-pink cotton and embroidered with a few little flowers, but donated them to a university collection without taking a photo.  As I remember, the crotch from waist in front to back was open, and closed with little snaps.

Pattern description of Butterick 9433, Oct. 1917.

Pattern description of Butterick 9433, Oct. 1917. Made in sizes from 4 to 18 years.

How you get into and out of these pjs, Butterick 9433, is hard to say; the girls’ version obviously unbuttons down the front, but whether the “bloomers” are attached at the waist isn’t clear. I think they were attached, just like pajama pattern number 9400, which is pictured and described next.

In fact, pattern 9433, for girls and teens,  looks identical to 9400, except that 9400 came in women’s sizes. Butterick pajama pattern 9400 is explained more thoroughly:

Butterick negligee 9279, boudoir cap 9523, and pajama 9400. September, 1917. Delineator.

Left, Butterick negligee 9279, boudoir cap 9523; Right, Pajamas or Lounging-robe 9400. September, 1917. Delineator.

Pattern description, Butterick 9400, from 1917.

Pattern description, Butterick 9400, from 1917. The bloomers are “sewed to the belt.” Recommended for lounging or sleeping.

The word “houri” is used here in the sense of  “beautiful woman” in vaguely Arabic dress.

Baby, It’s Cold Inside….

One reason for wearing a sleeping cap — or boudoir cap — was added warmth. These advertisements for Brighton Carlsbad Sleepingwear are from winter months.

Ad for Brighton Carlsbad Sleepingwear, Ladies' Home Journal, October, 1917, p. 141.

Ad for Brighton Carlsbad Sleepingwear, Ladies’ Home Journal, October, 1917, p. 141.

These pajamas for both women and men are called “pajunions” — a combination of “pajama” and “union suit.” (“Union suit” was the proper name for long, neck-to-ankle undergarments, familiarly called “long johns.” They were worn by both  men and women.)

A teen-aged daughter wears warm flannel "pajunions.' YOu can see the stitching at the waist which attaches the bottoms to the top. LHJ, Oct. 1917.

“When the dance-card is read/ then to Brightons and bed.” The teen-aged daughter wears warm flannel “pajunions.’ You can see the stitching at the waist which attaches the bottoms to the top. LHJ, Oct. 1917.

Buttoned ankles of Brighton Carlsbad Pajunions. 1917 ad.

Buttoned ankles of Brighton Carlsbad Pajunions. 1917 ad.

Ad for Brighton Carlsbad Sleepingwear, Ladies' Home Journal, Nov. 1917.

Ad for Brighton Carlsbad Sleepingwear, Ladies’ Home Journal, Nov. 1917.

Text of Brighton Carlsbad ad, October 1917.

Text of Brighton Carlsbad ad, October 1917. The pajunion, “a pajama in one piece,” had “no binding draw-string” because the trousers hung from the shoulders.

The child’s sleepers show the “trap door” in back which was necessary for using a chamber pot, or visits to the outhouse.

The posterior could be unbuttoned.

The posterior could be unbuttoned.

This child’s sleeping garment is not unlike Butterick’s pattern 1330, here called a “nightgown.”

Butterick child's "nightgown-with feet" number 1300, from December 1918.

Right, a Butterick child’s “nightgown” with feet, number 1330, from December 1918. Delineator.

The footed sleeping suit includes a hood. So did the Sleepers from Brighton Carlsbad — they had a “detachable helmet.”

From A Brighton Carlsbad ad, Ladies' Home Journal, October 1917.

From a Brighton Carlsbad ad, Ladies’ Home Journal, October 1917.

So did this sleeping suit for adults:

Brighton Carlsbad Union Sleepers for an adult. 1917.

Brighton Carlsbad Union Sleepers for an adult. “If preferred, without cap or feet.” 1917. “Cold cannot creep in. Just the garment for healthful out-door or open window sleeping.”

Think about living in a house without modern insulation, or heating. I remember Laura and Mary Ingalls, in one of the Little House books, waking up in a bed which was strangely warm for once — because there were several inches of snow on top of their blankets.

A nightgown with "foot pockets" for winter warmth. Brighton Carlsbad ad, October 1917.

A nightgown (Night Robe) with “foot pockets” for winter warmth. “For men, women and children…. With or without hood.” Brighton Carlsbad ad, LHJ, October 1917.

At least you would be able to shuffle around the bedroom with two separate “Foot pockets.” If they weren’t separate, walking would be more like a sack race.

Many men still wore night shirts in 1917:

Man's nightshirt, Brighton Carlsbad ad, Ladies' Home Journal, October 1917, p. 141.

Man’s nightshirt, Brighton Carlsbad ad, Ladies’ Home Journal, October 1917, p. 141. Fabric “Also [in] summer weights.”

I have a Silent Film Festival memory — both my husband and I noticed the same thing. In a short comedy, a pair of  newlyweds take a room in a boarding house. To our surprise, the woman is wearing mannish striped pajamas when other boarders invade their room. She grabs a rug from the floor and wraps it around her waist and hips — clearly more concerned about strange men seeing her lower body in pants than she is about them possibly seeing her breasts through her top.

New Search Category:  “Women in Trousers”

As a young adult in the 1960’s, I have clear memories about when and where women were not allowed to wear trousers. I find that I write about this topic fairly often, so I decided to add a “Women in Trousers” category to this blog — and updated three years worth of blog posts to include it whenever applicable to images or text. (Since “pants” can refer to underpants or panties in British English, I chose “trousers” to refer to slacks, culottes, pajamas, shorts, overalls, gym bloomers, golf knickers, and all other bifurcated outer garments for women.) This should make it a little easier to find relevant posts without “getting your knickers in a twist.” (Another British phrase which evokes a different garment on each side of the Atlantic 🙂 )

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Filed under 1900s to 1920s, 1920s, Children's Vintage styles, Menswear, Nightclothes and Robes, Old Advertisements & Popular Culture, Vintage patterns, Women in Trousers

Hairstyles and Hats for the Mid-Nineteen Thirties

The hairstyle is designed to be worn with a hat. Delineator cover, March 1935. Dynevor Rhys illustration.

The hairstyle is designed to be worn with a hat. Delineator cover, March 1935. Dynevor Rhys illustration.

In February of 1936, Butterick’s Delineator magazine showed six fashionable hairstyles by some top New York salons — but they were photographed on mannequin heads, rather than real women. (Stylists still practice on such uncomplaining heads while training.) I have added a few photographs and drawings from advertisements to supplement Delineator’s 1936 color images. (Because Delineator was a large format magazine, a full page photo doesn’t translate well into a 500 dpi image. This is just the top half of page 16:

"Tip-Top Hair Styles" article by in Delineator, February 1936, page 16.

“Tip-Top Hair Styles” for evening; article by Josephine Felts in Delineator, February 1936, page 16. These brilliant heads flash across the evening mode. Follow their lead in smart new ways to fix your hair.”

Evening hairstyle for 1936.

Evening hairstyle for 1936 by Charles of the Ritz. Most of us wouldn’t describe this as a “wide halo” of curls.

"The top of the head is entirely without waves."

“The top of the head is entirely without waves.”

Hairstyle to be worn with a cocktail hat, by Michael of the Waldorf. 1936.

Hairstyle to be worn with a cocktail hat, by Michael of the Waldorf. 1936.

"Have your bob three-quarter length, curled from the part on each side all around. You can't see it, for its under her hat, but the top of the head is smooth." 1936.

“Have your bob three-quarter length, curled from the part on each side all around. You can’t see it, for it’s under her hat, but the top of the head is smooth.” 1936.

Evening hairstyle for silver hair, by Emile at Rockefeller Center. 1936.

Evening hairstyle for white hair, by Emile at Rockefeller Center. 1936.

A "distinguished" style for white hair. "Have your mother try it." 1936.

A “distinguished” style for white hair. “Suggest that your mother” try it. 1936.

[This one is for Lynn at American Age Fashion. I’m pleased to see that the one featured 1936 hairstyle that could be worn today without looking bizarre is the one suggested for white hair! The side part would allow for a close-fitting 1930’s hat to be worn on one side of the head, as was the fashion.]

1936 hairstyles werer usually flat at the crown to allow for a small hat pulled down on one side of the head. Delineator fashion illustrations from January 1936.

1936 hairstyles were usually flat at the crown to allow for a small hat pulled down on one side of the head. A lady always wore a hat in public in the daytime – even if it was just a tam pulled down over one eyebrow. Delineator fashion illustrations from January 1936.

Here are images from the bottom of the page of “Tip-Top Hair Styles.”

"The unusual side treatment comes from a rolling braid begun at the part and simulating a halo." Delineator, February 1936, p. 16.

Hairstyle by Michael of the Wardorf, 1936. “The unusual side treatment comes from a rolling braid begun at the part and simulating a halo.” Delineator, February 1936, p. 16. The wide braid begins over her left eye and continues around the back of her head to the left side.

400-btm-left-1936-feb-p-16-hairstyles-text

An artificial braid sometimes formed a halo or tiara effect for evening. Here is a such a braid on Ginger Rogers.

1936 evening hairstyle by Emile at Rockefeller Center.

1936 evening hairstyle by Emile at Rockefeller Center.  “This style is best worn by the very sophisticated.”

400-btm-center-1936-feb-p-16-hairstyles-text

Hairstyle by Charles of the Ritz, 1936. A "tailored" style for evening.

Hairstyle by Charles of the Ritz, 1936. A “tailored” style for evening. The “flat curls above the forehead” are barely visible bangs rolled under at the hairline.

The final hairstyle in the article by Josephine Felts, Delineator, February 1936. You could write to her for more information.

The final hairstyle in the article by Josephine Felts, Delineator, February 1936. You could write to her for more information.

This was certainly a time for “small heads” and tightly curled hair. However, I browsed for a few photos of real women and real hair in the same issue:

Delineator showed these young models in an article about the polite way to chew gum. 1936.

Delineator showed these young models in an article about the polite way to chew gum. February, 1936. The one on the left has the flat crown which suited 1936 hats.

In September of 1936 Delineator showed this model in an evening gown designed by Ruzzie Green.

In September of 1936 Delineator showed this model in an evening gown designed by Ruzzie Green.

Miss Vivian Dixon, a debutante, wears a much more natural looking hairstyle in an ad for Camel Cigarettes.

Debutante Vivian Dixon has long-ish, softly flowing hair in the Came Cigarette ad form Delineator, February 1936.

Debutante Vivian Dixon has long-ish, softly flowing hair in the Camel Cigarette ad from Delineator, February 1936.

I believe a lot of young women who did their own hair must have looked like this model in Delineator’s “How to Sew” feature article:

A model in an article about home sewing, February 1936, Delineator.

A model in an article about home sewing, February 1936, Delineator.

Illustrator Dynevor Rhys made tight curls and close-to-the head hair look pretty:

Advertising illustration by Dynevor Rhys, February 1936. Delineator.

Advertising illustration by Dynevor Rhys, February 1936. Delineator.

But illustrator Hans Flato showed a softer, looser hairdo in a series of ads for sanitary products:

Hans Flato illustration for an ad, Delineator, March 1936.

Hans Flato illustration for an ad, Delineator, March 1936.

Hans Flato illustration for an ad, March 1935. Delineator.

Hans Flato illustration for an ad, March 1935. Delineator.

But one thing all these styles have in common, regardless of the age of the model, is the need to accommodate a 1930’s hat.

WOmen's hats in Delineator fashion illustrations, January 1936.

Women’s hats in Delineator fashion illustrations, January 1936.

Elsa Schiaparelli’s hat designs were very influential in the 1930’s. Click here for a post about them, with many more pictures.

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Filed under 1930s, Hairstyles, Hats, Old Advertisements & Popular Culture, Vintage Accessories, vintage photographs