Delineator ran regular features on the latest Paris collections, often sketched by [Pierre] Soulié or Leslie Saalburg. [“Djersakasha is a cashmere jersey that could be woven as a tube, eliminating the need for seams.”]
The February 1928 issue also showed photographs of designer fashions that could be purchased in New York. [A needed reality check after all those 1920s’ fashion illustrations!]
I can never get used to the “draggle-tail” look of these evening gowns under a coat, but this 1928 photo is proof: “This is the sort of dress for which the coat at left was created.”
This corduroy coat — very casual — is by Patou [Couture corduroy…!]
“Patou makes a sports coat notable by such details as pale emerald green corduroy, the slot seams, the yoke, the patch pockets, the steel buckled belt, and a glistening black patent leather flower on the left lapel.” It’s cut almost like a shirt. I wonder: did the black patent leather flower inspire Chanel, or was it the other way around?
This dress by Vionnet is also inspiring. [P.S. I wore dresses with that standing collar in the 1960s. Her influence just goes on.]
Thanks to a lecture by Sandra Ericson, I know that the tucks in the bodice fabric would have been done on the straight of grain, and the bodice pattern would then have been placed on the fabric with the center front and back aligned with the bias. Vionnet sometimes used fabrics so wide that they had to be custom woven. We could imitate this bodice by hiding a seam under one of the tucks, if necessary. The original was in crepe satin, but I can imagine it inspiring a modern top with sheer black sleeves….
This white satin evening dress from Lanvin is really typical 1920’s style, with its beaded hip band and simple lines. A cape was often seen on twenties’ patterns, but, being optional, many dresses were made without the cape.
“Lanvin puts a swinging cape on this white satin frock, since the back is so important a part of a dress for dancing. The waistline is banded with feathery embroidery in small silver and white pearl beads.” That center panel would also be lovely for dancing, and, like the Chanel gown, it seems to have a “paste” jewel as an accent. A stack of bangle bracelets was also a chic Twenties’ touch.
The long-established House of Paquin produced this evening gown:
[I think a “flesh” or “cafe au lait” lace inset (or slip) can be seen in the low neckline opening.] This couture original was imported by Hattie Carnegie‘s New York store.
According to Lizzie Bramlett, writing at the Vintage Fashion Guild Fashion History site, customers could buy a Paris original from Hattie Carnegie, or buy one of her copies, made in New York.
For sporty, daytime wear, she sold this four-piece tweed wool suit, coat, and pullover outfit designed by Molyneux.
In 1928, “dresses are short for sports.”
Here is a list of other fashion trends, including colors, which appeared on the same page as the Molyneux ensemble and the Paquin gown:
2 responses to “Designer Fashions, February 1928”
I find it remarkable how the models stand in the photos: they stoop. Of course, this makes the bust look smaller! They also push their pelvis forward which flattens the bum. This is a very different posture to what we see both before and after 1920s.
Yes, “flat in front and flat in back” was the ideal. Many early photos of couture fashion remind me that fashion models in Paris were not necessarily tall and thin.