Monthly Archives: February 2018

Women’s Fashions for February, 1927

Butterick patterns from Delineator, February 1927, page 22. Illustrations by M. Lages.

Butterick patterns from Delineator, February 1927, page 25.

These patterns for spring of 1927 show quite a variety of looks, from a graded-color “compose” dress to peasant-look embroidery. There is a bolero dress, plus two shirred dresses, and a really striking coat — simple in style, but dramatic when made in a jazzy fabric.

Butterick’s “informal” coat 1254 looks fabulous in this material. Note the tie belt, which seems to run under the pocket.

The dresses on these pages are very different, but all twelve illustrations show variations on one (rather sloppy) hat style.

Butterick 1300, 1264, and 1270, Delineator, February 1927, p. 22. 1264 has the bolero look — but the bolero only hangs loose in back.

The sheer Georgette vestee — or dickey– is detachable. The bodice tabs extend into belt carriers in back.

Butterick 1270 is a “frock that looks like a coat.” I could use a bit more construction information on that one….

Pages 23 and 24 showed four more outfits, including this graded dress and a dress-and-jacket combination.

Butterick graded-color dress 1282 is monogrammed, a style attributed to Patou, and suggests a jacket — an illusion. Dress 1298 combines with a real jacket, Butterick 1229, to create a suit. Delineator, Feb. 1927, page 23

As is often the case, the back of the outfit is much plainer than the front.

Butterick dresses 1278 and 1253, Delineator, Feb. 1927, p. 24. No. 1278 has a dark band on the skirt and at the bottom of the sleeves. (The dress at the right seems to me to be a bit of a hodge-podge….)

The following fashions are from page 25:

A woman in a shirred dress (Butterick 1238) leads a woman in a tiered, graded-color dress (Butterick 1280.) Delineator, February 1927, page 25. No. 1238 could be made sleeveless for evening, and was available in large sizes.

Details of Butterick 1238 and 1280. No. 1238 is shirred in a semicircular pattern at the closure. The sleeves and belt of No. 1280 repeat the color progression of the skirt tiers.

Butterick 1268 has a lighter yoke and sleeves, and darker banding. Butterick 1276 has sheer, embroidered “peasant” sleeves. Delineator, Feb. 1927, p. 25.

What to wear under these clothes? A light, boneless corselet like this one minimized the wearer’s curves:

A light foundation garment made by Gossard. Ad from Delineator, Feb. 1927.

And don’t forget to dye your stockings to match your dress….

Ad for Putnam Dyes, Delineator, February 1927, p. 121.

 

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Filed under 1920s, 1920s-1930s, Corselettes, evening and afternoon clothes, Foundation Garments, Hats, Hosiery, Hosiery, Hosiery & Stockings, Sportswear, Vintage patterns, Vintage Styles in Larger Sizes

Hair Styles for American Girls, World War I Era (Part 1)

Three hairstyles from Delineator, February 1917. One is very high, one has bangs and side-puffs, and one may be — but probably isn’t — a bob.

My usual approach to this blog is to collect a lot of images with something in common, and then thread them together — often with plenty of meandering into by-paths….

The top of a full page of hairstyles for women, Delineator, April 1917.

I  ended up with so many images of 1917 hair styles for European-American women that I’m having trouble dividing them into several posts.

One stream has to do with the remarkable height of some 1917 hairstyles. [And hats.]

A model for Paquin (1917) sports a hair style as extreme as any seen on a runway today.

Another has to do with bobbed hair — pre-1920’s — popularized by dancer Irene Castle and necessitated in Europe by women’s war work in munitions factories. (The U.S. was a late-comer to WW I, so American women didn’t need to adopt shorter hairstyles for safety until 1917.)

Mrs. Vernon Castle  (Irene Castle) was credited with setting the fashion for bobbed hair. From an ad campaign for Corticelli Silks, Delineator, October 1917.

Another view of Irene Castle’s famous bobbed hair; Delineator, ad for Corticelli Silks, November 1917. Both photos are probably from the same photo shoot; she is wearing the same dress.

A third idea I’m wrestling with is the gradual steps toward the bob — from a “fringe” (bangs) in the 1880’s to cutting some of the front hair short (1917) while retaining long hair in back. I suspect that most women took this conservative approach, making the change in increments.

From the Sears, Roebuck catalog, Fall 1917. From the front, the woman on the right appears to have bobbed hair, but her reflection in the mirror shows that her back hair is long and gathered into a bun, secured with a large, fan-shaped comb.

And then I have some ads for products related to hair styles….

The image used with this ad resembles the Paquin model above. It offers to transform your own hair combings into “switches” which could be used to increase the size of your hairdo. Anna Ayers ad from Delineator, March 1917.

A Digression About Hair Combings and Rats

One item often included in an early 20th century Vanity set — or dresser set — was a hair receiver.

A vanity set from Sears, Roebuck, 1917. The hair receiver is at upper right.

It was a jar with a hole in the lid, into which women put their “combings.”

Along with nail files, button hooks, brushes, and containers for cotton balls (No. 8K8744,) containers for hair combings (Nos. 8K8745 and 8K8723) appeared on a lady’s dressing table. Sears, 1917.

That is, when women cleaned hair out of their brushes and combs, they put it into the hair receiver, and, when they had collected enough, they made it into a “rat,” encasing it in a hairnet that matched their hair color and then combing their long hair over the rat to create huge turn-of-the-century hairstyles like those illustrated by Charles Dana Gibson.  The huge hairdos of the 1940’s used them too.

Those Tall 1917 Hair Styles

From an ad for Fashionette hairnets, Delineator, April 1917.

A similar conical style, called the “beehive,” was popular in the 1960s:

“The higher the hair, the closer to Heaven” was a popular saying when “bouffant” hairdos were in fashion. We supported these styles by “ratting” our hair (see “rats,” above). Hairdressers called it “back-combing,” but we always called it “ratting.” You took a strand of hair, pulled it up toward the sky, and, with your other hand, repeatedly ran a comb down it toward your scalp. Any loose hairs were pushed into tangles at the base. Spray with “Aquanette.” Repeat. When your ratted hair was a complete, tangled mess, you carefully brushed the outer layer smooth  and sealed it with a final layer of hairspray. I remember a classmate who had a conical “beehive” hairdo done before a prom. By carefully wrapping it in a scarf at night, she preserved it for several days. It gradually deflated, though, so by Friday, her light brown beehive looked like she had a cow patty on her head….

High Hair, 1917

High hair for evening, accented with a jeweled comb, from an article in Delineator, April 1917. The waves are probably a Marcel.

Back in 1917, you could also use Silmarine to set your hair — it probably increased volume, too.

Ad for Silmarine hair setting lotion, Delineator, March 1917.

The Sew Historically website has an extensive set of recipes for shampoos and for Bandoline, the 19th century predecessor to hair spray.  In 1917, you could wear an invisible hairnet:

Another big hair style from a Fashionette hairnet ad. Delineator, August 1917.

The blonde woman with a similar gravity-defying hairstyle is wearing a house dress, not an evening gown. Delineator, January 1917.

Two high hairdos flank a less extreme style in April 1917. Delineator magazine.

A high, conical hairdo from an article in Delineator, April 1917. “The high hair-dressing is new, and adds a generous cubit to your stature.” This was not just a style for evening, as seen from other illustrations.

Did any ordinary women get their hair to look like this? Yes.

This pretty girl with a lap full of kittens posed in the homely back yard of my grandmother’s house. Circa 1917.

Not all hairdos were tall enough to “add a cubit to your height.”

This woman’s long, Marcel-waved hair [her “crowning glory”] is worn close to her head, and caught in a large chignon at the nape of her neck. This style persisted into the 1920’s and early 1930’s. Delineator, April 1917.

The next photo contains a mysterious reference to eating “bread crusts to make your hair curl.”

Her low hair style has a cluster of curls in back. April, 1917. Delineator.

Are they real, or did she buy them?

A “switch” in the form of a “string of curls” was offered in this ad from Delineator, February 1917. Ad for Frances Roberts Co. –“The Mail-Order Hair House.”

Gradually Working Your Way Toward Bobbed Hair

Two women from a Sears’ catalog, Fall 1917. Although at first glance their hair appears as short as Irene Castle’s, a closer look shows a small bun at the back.

In the 1920’s the bun was eliminated:

https://witness2fashion.files.wordpress.com/2015/02/1924-oct-p-25-patterns-top.jpg?w=500&h=404

Short, “shingle” haircuts from October, 1925; Delineator. The front of the hairdo is much like that of 1917.

Short Hair on Women Marked a Social Change

Long hair used to be the only option for most women. Delineator, March 1917.

A woman’s long hair was said to be “her crowning glory.”  In Victorian times, cropped hair was often a sign that a woman had suffered a severe illness (as in Conan Doyle’s story, “The Copper Beeches.“)

Dresses for girls 8 to 15, Delineator, May 1924. The one on the left has long “Mary Pickford” curls, associated with innocence.

Men saw long hair paradoxically, as both sexy and innocent: young girls wore their hair loose and long, and young ladies “put up their hair” around sixteen, as a sign that they were now adults — and ready for marriage.

Cutting it all short at one time — like Irene Castle — took a lot of courage, especially in 1917. My mother and her best friend shocked their families when they bobbed their hair around 1922. They were the first girls in town to do it.  Back in 1918, my mother was working up to it gradually — and that is a story for another day. (Part 2)

My mother’s eighth grade graduation picture, circa 1918-19.

She has done her best to simulate the high hair and cheek puffs of fashion illustrations — without cutting her hair.

 

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Filed under 1900s to 1920s, 1960s-1970s, Hairstyles, Musings, Old Advertisements & Popular Culture, vintage photographs, World War I

Fashion Transition: From 1920’s to 1930’s

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Hem length from 1929 to 1931, from Sears catalogs. In 1929, the hem is above the kneecap; two years later it has dropped to mid-calf, and the belt has returned to the natural waist.

Higher Waists and Longer Hems

In 1929, hems were already on their way down. An article by Pamela A. Parmai at Love To Know cites an article in the New York Times from October 27, 1929 — two days before the Black Friday stock market crash — which said, “some women claimed that the effort to put them back in long skirts was ‘an insidious attempt to lure women back into slavery.’ ” Parmai implies that, since skirts had already been at the knee for two or three years, clothing manufacturers were eager for a change. It seems the stock market started down after skirts did.

“The waist-line continues to rise,” Delineator magazine, November 1929, p. 33.

However, in November of 1929, Delineator’s fashion editors weren’t completely focused on longer skirts; this article was about rising waists. [The lead time which put magazines in stores by November meant that articles and illustrations had to be ready long before the end of October, and the stock market crash on October 29th. Longer hems are mentioned, but not in the title of this article. ]

Butterick 2891 has a belt near the natural waist. November, 1929, Delineator.

The next dress has a two-layer skirt, with one layer ending above the knee (where dresses ended in 1928) and one below the knee, a transitional fashion to longer skirts.

Butterick frock 2923 from November 1929. Delineator. Note the belt, which is just at the hipbone [and I bet it didn’t stay there easily, even with belt carriers.]

This dress has “three of the very newest features:” greater length, higher waist, snug hips and a dipping hem. [Wait — isn’t that four? Not really. Dipping hems were well-established by 1928.]

Butterick 2924 shows a longer hem and a shirred waist that sits on the hipbone rather than the hip. Delineator, November, 1929. It covers the knees completely.

“The line is longer, as it must be this season,” and the waist line is higher.

[“Pans” is probably a typo for “Panels.”]

Butterick coat 2857 shown over dress (frock) 2903. Delineator, November, 1929. The rising girdle [hip band] is a subtle change.

“The higher waist-line is indicated on the frock by the girdle top.” The “girdle” is that band of fabric around the hips. It does look a little higher than these earlier “snug hips” of June 1929:

A snug-hipped dress and matching jacket from June of 1929, Delineator. Butterick 2646.

Back in June, 1928, these dresses showed a tight, low hip girdle:

https://witness2fashion.files.wordpress.com/2016/04/500-1928-june-p-32-2024-2068-color.jpg?w=215&h=500

Butterick patterns in Delineator, June 1928, show a low hip girdle, expecially the one on the left, which appears to be far below the hip-bone.

The elongated torso of 1920’s fashion illustration makes the waist hard to locate on this blouse.

Butterick blouse 2884 with wrap skirt 2745, from November 1929, Delineator. The blouse is gathered to the hip just below the natural waist –where many women’s trousers rested in the 2000’s.

Blouses from the early 1930’s (see below) were often overblouses, not too different from blouse 2884.

Butterick blouse 3968, July 1931.

Tunic Blouses for Transition — Again

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Tunic blouse outfits from Butterick; Delineator, December, 1924. Within three years, dresses were shorter than these “blouses.”

I do find transitional fashions interesting. Back in 1924 — 1925, these tunic blouses eased the transition to shorter hems by providing two horizontal lines — one near the knee (the coming fashion) and one at low mid-calf (the early Twenties’ length.)

I’ve found a few tunic styles easing the transition from late Twenties to early Thirties, too.

Butterick 3644, “the smart tunic line,” has a tunic ending near the knees over a longer 1930’s hemline. Delineator, February 1931.

The natural waist, accented by a belt, is taken for granted by 1931.

Right, below,  is a “tunic blouse” and skirt combination; this “blouse” is as long as a late Twenties’ dress.

Right, tunic blouse 3666 with skirt 3643; Delineator, February 1931.

The tunic blouse is shown in mid-thigh (back view) and knee lengths.

It’s surprising how brief the period of knee-length twenties’ fashion really was — as this cartoon from January, 1929 implies.

https://witness2fashion.files.wordpress.com/2015/06/1929-jan-cartoon-skirt-length-delineator.jpg?w=500

It’s more evidence that early in 1929, skirts were already on their way down.

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Filed under 1920s, 1920s-1930s, 1930s

Beach Pajamas for a Little Girl

Butterick 3801, Delineator, April 1931. Some rather sophisticated beach pajamas for girls aged 4 t0 15 years. These were definitely for outdoor wear — and how relieved little girls must have been to play in trousers instead of dresses.

Beach pajamas were worn by ordinary women in the Thirties, not just those who could afford vacations at resorts, the Lido, or the South of France. The Vintage Traveler shared images of beach pajamas from a 1930 Montgomery Ward catalog. (Montgomery Ward was a rival of Sears. It was not an upscale store — my uncle, the plumber, bought his overalls there.) Lynn at American Age Fashion just shared a 1933 photo of my family’s close friends in beach pajamas, with a wonderful eye for the differences between the generations.

These pajamas (or pyjamas) were intended for lounging, but many of them were worn as beachwear  if the fabric was not obviously lingerie material.

Butterick pajamas for big and little girls, December 1931. Left, 4177; right, 4223.

Beach pajamas were so important that even dolls needed them.

Butterick doll wardrobe pattern 440, Delineator, December 1931.

These pajamas were sleeveless, like the ones on the little girl in this painting, and trimmed with bias tape.

A little girl wears beach pajamas in this painting based on a 1930’s photograph. Detail, “Bobbie with Marbles.” Used with permission of the artist.

McCall doll clothes pattern 525 from 1937, with the original photo on which the painting was based. Both outfits have bias tape binding.

Butterick girl’s play pajamas, No. 5181, from 1933. The dots make them look a bit clown-like, and the ruffles are sheer organdy, more for lounging than sleeping..

“Cotton pajamas are one of the most practical things in the world to play in;” cotton is appropriate for the beach, but shantung seems more like an indoors lounging option [and rather sophisticated casual party wear for a girl aged 2 to twelve.]

The dots and ruffles are not so different from these lounging pajamas for grown women:

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Lounging Pajamas, Butterick patterns 4014 and 3937. Delineator, Sept. 1931.

 

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Filed under 1920s-1930s, 1930s, Children's Vintage styles, Sportswear, Vintage Garments: The Real Thing, vintage photographs, Women in Trousers

Very Thirties: Great Big Bows

Butterick jacket outfit with a big, big, white pique bow. Butterick 5783, July 1934. Delineator.

Sometimes an era has fashion details that just scream the date — Leg o’ Mutton sleeves for the 1890’s, bustles for the 1880’s and 1870’s, etc. One of the things that screams “Nineteen Thirties” is the great big bow. [Some of these are not technically “bows,” because they give the impression of a bow without actually tying the fabric — but it ‘s the impression that counts.]

Outfits with 1930’s bows, Butterick 5138 and 5145, Delineator, June 1933. The one on the left might not look ridiculous, but the one on the right says “comedy” to me.

It may be the stiffness of the bow on the left that makes it extreme; the soft bow on the far right looks less aggressive, but it’s still a big one. Butterick 5856, 5860, and 5866, all in metallic fabrics; Delineator, September 1934.

Of course there are some bows that seem in proportion with the dress — and the human body — but there are also 1930’s bows that now look comic. Good if you’re designing a musical comedy…. Hard to carry off in realistic dramas.

The model in this Midol ad from 1934 wears a big plaid bow. Delineator, December 1934.

Matching plaid hat and stiff taffeta scarf, Butterick 5478, March 1934.

Bows appeared on evening gowns — front or back.

Butterick “robe de style” No. 5989 would discourage dancing cheek to cheek. Delineator, December 1934, p. 17.

Butterick 5780 is an evening grown with matching jacket … and bow. Delineator, July 1934.

“Code for College,” August 1934, included an evening jacket and gown with a big, stiff bow, although the suggested fabric was crepe…. Delineator. Butterick 5840.

The gown on the left (5864) is “after” Lanvin; the gown with the bow (5843) was “adapted from” designer augustabernard. Delineator, September 1934.

Bows on day dresses could range from modest to very large.

Butterick 5069, Delineator, April 1934. It’s really a collar scrunched up to look like a bow.

Butterick 5632, April 1934. White bow and cuffs; square buttons, parallel diagonal seams on bodice and skirt. Interesting!

Butterick 5628, April 1934. A bow edged with crisp, pleated ruffles, shown in detail at top.

Butterick 5848, August 1934. This bi-color bow seems to emerge from the front seam of the dress [but doesn’t.] The seam lines are very creative.

Butterick 5858, featured among “dresses from Paris.” August 1934. A band of trim on the end of the bow is continued down the skirt.

Bows appealed to the mature woman:

Butterick jacket frock, April 1934.

Fashions to flatter the large or short figure, December 1934. Left, 5967, with a pale jabot collar to draw the eye toward the face, was available up to size 52. The ensemble on the right with a soft bow, Butterick 5999, was available through size 48. It’s notable for being illustrated on a figure with realistic  hips.

Butterick 5449 combines two “very Thirties” looks: a big, big, bow and a big, big collar. It is sleeveless, but the model looks mature.

Bows, sometimes made of fur, even appeared on coats (5984). Butterick patterns from December 1934. Left: 5985 has a droopy bow; right: 5975 has a big, perky bow.

Bows were not considered matronly — they appeared on clothes for teens,  junior misses and even younger women.

Butterick 5061 for the Junior Miss. April 1933, Delineator.

Butterick 6071, from February 1935. I can picture this on the smart young office worker in any number of 1930’s movies. For Junior Misses 12 to 20 and women from 30″ up to 38″ bust. [Sizes 12 through 20 were for short and small women and teens.]

Butterick coat 5580, for girls, has a combination collar/bow that buttons into place. March 1934.

Butterick patterns for fur collars (5954) and hats (5933.) November 1934. The ones at top and center give the impression of being tied into a bow.

This one is a grand version of the collar on the girl’s coat:

Fur collar pattern, Butterick 5954, November 1934.

Did women really wear all these big bows?

Butterick 5756, from summer 1934, couples the big bow with unusual shoulders.

Miss Mary Kenny in a similar bow made of necktie silk. Delineator, June 1934. Her top has fashionable open sleeves, too. [In the early days of changing to fashion photographs instead of drawings, Delineator used young socialites and debutantes as models.]

Truth to tell, I really like this 1930’s dress with a bow:

Butterick 5915, from November, 1934.

Although most of these “big bow” images are from 1934, it just reflects that I have a lot of Delineator photos from that year. Butterick’s Delineator magazine ceased publication in 1937, but not before arranging for Butterick patterns to be featured in Woman’s Home Companion:

Variations on Junior Miss pattern 7204, Woman’s Home Companion, February 1937. The bow is still there.

 

 

 

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Filed under 1930s, Accessory Patterns, Children's Vintage styles, Sportswear, Vintage Accessories