Category Archives: evening and afternoon clothes

Jumbled Musings and Fashion Surprises

When I named this blog “witness2fashion,” it didn’t occur to me that its initials were WTF. However, that abbreviation does occur to me occasionally when I’m wandering through the pages of a 100 year old magazine.

Caution: this ad uses a word that is offensive when applied to a human being, but the ad uses it to describe a sock supporter….

Ad for “Velvet-Grip Baby Midget Hose Supporters,” Delineator, February 1920.

What the hey? “Baby Midgets” are tiny garters or stocking suspenders which are attached to this baby’s diaper with safety pins!

Seriously: How is a garter supposed to hold up your stockings when you can’t even stand up and walk yet?

I remember reading a book (The Egg and I?) in which the grandmother, hearing that the children were either making too much noise or were suspiciously silent, would shout, “You! Pull up your socks!” This was a fairly effective all-purpose command, since children couldn’t pull up their socks without removing a hand from the cookie jar, or putting down that air rifle…. Just today, reading The Library Book, by Susan Orlean, I found that the Oklahoma Public library sent a condolence message to the Los Angeles Library after a terrible fire. It included the encouraging (?) phrase, “Keep your socks up!”

Incidentally, I also found this ad for Baby Dimples Safety Pins. Awwwww….

Ad for Baby Dimples Safety Pins, Delineator, January 1920.

Here’s another old expression:  “Keep it under your hat.”

Paris hat designed by Virot, Delineator, March 1912.

Don’t wear it while driving. Or while crossing a busy street.

Speaking of hats….

Hat featured in an ad for Cheney “Shower-Proof” silks. Delineator, March 1912.

Ad for Cheney “Shower-Proof” Silks, March 1912.

I don’t know why she would need an umbrella when she’s wearing that hat! In fact,  I’m not sure the umbrella would be big enough to cover that hat. (And what about the umbrella handle…? She couldn’t get it close to her head… or even close to her shoulder! Which is why the umbrella is down on the ground catching water, I guess.)

I started with the intention of writing about this:

When is this? (No, not 2012….)

It surprised me. It’s got bare shoulders. It’s got breast exposure. It’s got a good chance of a “wardrobe malfunction” if you lean sideways. I could imagine this on the red carpet of some awards show, probably in red satin, and probably held in place with toupee tape.

(“Toupee tape” was for many years as common in a wardrobe person’s tool kit as safety pins. It was a double-sided tape intended to secure a toupee to a bald head, but was quickly adapted to keeping low-cut dresses from gaping too far for television. Its great virtue was that the adhesive didn’t give out when exposed to sweat or body oils. Now there’s a similar product manufactured and sold — in larger quantities — specifically for use with clothing.) The video ad amusingly says it prevents “peekaboob.”)

I found this sketch charming. Clue to the date: the artist is fashion illustrator Soulié. [The model was not a young Nicole Kidman….]

And this bodice is part of a couture dress designed by Jeanne Lanvin and shown in Paris in 1920.

Couture gown by Jeanne Lanvin, Paris, 1920. The net skirt is embroidered and beaded. Sketched for Delineator, March 1920.

A deep V neckline in 1920? Breasts as an erogenous zone in 1920? Yes, to my surprise…

Couture gown by Martial et Armand, Paris, 1920.

When I showed these images to a non-fashion-historian friend, she couldn’t get over the “make-your-hips-look-at-least twice-as-wide” skirts.

Couture evening gown by Martial et Armand, sketched for Delineator, January 1920.

The bottom of the hip yoke is wired to make the skirt stand away from the body. Of course, the coat to wear over a dress like this will not produce a slender silhouette, either:

An “evening cloak” and gown designed by Bulloz, Paris, 1920.

My friend was also horrified by the long, dragging panels on these dresses. (Fashion historians accept that wasteful, extravagant, impractical “conspicuous consumption” is a hallmark of high fashion.) “How could you dance in a dress like this?” we wondered. “Everybody would step on it! It would get so dirty!”

The editors of Delineator had a suggestion:

So that’s what you do with it…. Or them….  This gown has two dragging “French panels,” one of fragile lace and one of silk:

Couture gown by designer Elise Poret [not Poiret] from the February, 1920 Delineator.

(That dress also has an “oriental hem.”) There have been many decades when skirts were widened to make waists look smaller by comparison. But that’s not what’s happening here.

We are so conditioned to the fashion ideal of slenderness (or at least, a tall, lean look on fashion models) that, while I was thinking,”Wow! a bodice held up by straps in 1920!” my friend was asking “Why would you wear that? It makes her look fat!”

I look at this hip-widening gown by Berthe and notice that its couture workmanship is outstanding, and … pretty:

Couture gown by Berthe-Hermance illustrated in May, 1920; Delineator.

Couture details on a 1920 gown. Undeniably luxurious.

(Also undeniable is its potential for a wardrobe malfunction if one shoulder relaxes….)

But it is difficult for me to look at coats like these and yearn to wear them:

Evening coats from Butterick patterns, November 1920.

Couture “cloak” by Renee, covered with red, yellow, and green “balls.” January 1920.

“What The F[ashion]?” Are those mules on her feet? With a coat? Seriously? And, what did it feel like to sit on those balls?

The historic House of Worth contributed this (shall we say transitional?) suit which gets its stiffness from pony skin. [Perfect if your name is “Whinnie.”]

From the House of Worth, Paris. Illustrated in Delineator, January 1920.

In other words, after five years of war and its aftermath, Paris went mad for luxury. “Suits no longer content themselves with fur collar and cuffs but are made entirely of mole, caracul, etc.” A lot of horses died in WW I, so I guess pony was a luxury item, too.

To end on a more cheerful note, we know about harem skirts and orientalism and the influence of the Ballet Russe. But this is the first photo of a model wearing harem pants that I’ve encountered:

Orientalism in high fashion: a harem hem for an evening in Paris. Delineator, May 1920.

Glamourdaze paid tribute to the Poiret-influenced harem hem outfit worn on Downton Abbey. But these are later, and not by Poiret.

Information about “Deddy” is hard to find, but the designer Deddy did appear in Delineator fashion coverage more than once.

The harem pants worn on Downton Abbey by Lady Sybil were definitely not as revealing as this outfit!

Very Bare in 1920: The top of Deddy’s harem outfit.

That’s all my “WTFashion?” images for now.  More to come.

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Filed under 1900s to 1920s, 1910s and WW I era, 1920s, Capes, Coats, evening and afternoon clothes, Hats, Musings, Old Advertisements & Popular Culture, Tricks of the Costumer's Trade, Vintage Accessories, Vintage Couture Designs, vintage photographs, World War I

A Bride’s Trousseau by Top Designers, April 1928

A wedding gown designed by Lucien Lelong and illustrated for Delineator magazine, April 1928. Delineator maintained an office in Paris to get the latest fashions for the Butterick pattern company.

In April 1928, Delineator magazine selected a hypothetical trousseau purchased  from the top Paris designers. The wedding gown and several other items were from the house of Lelong. Other designers’ names, like O’Rossen and Jane Regny, may be less familiar. Nevertheless, it’s an interesting time capsule of what a very rich society bride might choose for her first season as a married woman.

To make these images legible, I’ve straightened them out and adjusted them for exposure and clarity.

The illustrations were splayed around the wedding gown in the center, so I have made individual images of each garment to show the details.

The wedding gown displays an extreme version of the uneven hems that were chic in the late Twenties. The front of the gown is at knee length, but the train is extravagantly long.

A dipping train in the back of the wedding dress.

The dress is shaped close to the hips with a series of godets [inserts] which flare in front.

Superb construction was a mark of the House of Lelong.

The simple veil springs lavishly from a close-fitting cap. Large earrings dangle below the severe headdress.

The rest of the bride’s trousseau/wardrobe includes evening gowns, suits, and a coat (which was also by Lelong.)

First, a not-so-simple evening dress from Champcommunal. It is sleeveless, with a long chiffon scarf on one side.

Next, a sporty summer suit which combines fabrics in a very sophisticated way:

The cardigan jacket is casual and striped. The [wonderful] skirt is a floral print, and the same fabric lines the open jacket and trims the pockets. The design house is London Trades.

Dresses with gradations of color [“composé” ] were very stylish.

This dress in graded colors has a coordinating jacket. The designer is Jane Regny.

A real classic is this overcoat by Lelong. The waistline may move up or down, but the basic tailored overcoat appears in some version decade after decade. There is a classic belt in back, too.

The coat, by Lelong, is double-breasted and almost severe.

A wool traveling suit by O’Rossen is worn with a necktie (or scarf tied like a necktie) and a large fur stole. O’Rossen specialized in “tailleurs” — tailored clothing.

Women wore less sporty outfits to afternoon events. This print “dress” and jacket is by Lelong. The big floral decoration on one shoulder may be stiffened self-fabric. Oddly (to my eyes) both this accent and the flare of the asymmetrical skirt are on the left side of her body, rather than the accent being worn on the opposite side to “balance” the skirt. I see this “same side” accent on many 1920s’ illustrations.

A slightly more dressy ensemble by Lelong. The skirt is asymmetrical.

At this level of society, a woman would need more than one evening dress. The one below is extravagantly ruffled, but it’s not girlish.

I can’t get over how modern the model’s hair looks!

A breezy, casual, and chic 1928 hairstyle.

Another evening gown from Lelong, this one has yards and yards of lightweight ruffled net creating a full skirt which dips in the back.

That net dress is for parties and balls, while the “simple” chiffon evening dress would be appropriate for more intimate dinners and dancing.

“Let me tell you about the very rich. They are different from you and me.” — F. Scott Fitzgerald

For one thing, they can buy couture.

 

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Teen Dresses from November 1925 in Color

Butterick dresses for teens and small women; Delineator, November 1925.

It’s easy to generalize about the Twenties, but every once in a while I encounter a dress that is undeniably “Twenties” but also defies the clichés.

I like all three of these dresses (and, if you dread wearing those 1920’s hip bands, these are for you!) But the one in the center, with its piped and slashed tunic, has really charmed me.

Black tunic dress 6381 has a muted pink collar, white piping, and an unexpected side slit.

The tunic is very long, revealing just a couple of inches of skirt — which has white trim to continue the lines of trim on the tunic.

The brown velvet dress at right is also unbroken by any belt, and its lean lines are accentuated by a long, soft drape. The sleeves have openings bound with what appears to be lighter brown satin. Perhaps the neckline has openings, too. The sleeves continue to the neckline in a sort of yoke effect.

The green dress is also unusual:

Butterick 6385 suggests a coat over a lighter-colored under dress, but judging from the hem, it’s probably one piece.

I doubt that it would fall so perfectly straight on a normal female body. My guess is that the CF opening is bound with self-fabric, but it could be two lines of stitching instead.

Detail of center front, Butterick 6385, Nov. 1925.

On the same page of Delineator were these evening dresses for young women:

Three evening dresses for young women and teens, Delineator, November 1925.

The yellow dress, Butterick 6330, also avoids having a hip-band or sash. It is not a princess-seamed dress; it has a small bust dart or easing in the side seam. (It’s essentially a tube with a circular flounce added, but getting the flounce to fall as illustrated would take some patterning skill.)

A closer look at Butterick 6330, 6328, and 6383, dresses from the winter of 1925.

The center dress may be a two-piece (I think I see a camisole top with narrow straps showing through the tomato-red georgette bodice.) This would be a great dress for dancing the Charleston –imagine all those skirt panels flying! The light triangles give a touch of Art Deco and a sporty quality.

Detail of skirts; Butterick 6328, left, and 6383, right.  Delineator, November 1925. Notice the picot edges on the green panels.

It’s possible that the green panels are matching-colored chiffon on top of a narrow skirt, rather than inserted into it.

In January 1926, Delineator suggested that last year’s straight skirts could be made to appear more stylishly flared by adding “godets, circular flounces, inserted [pleats,] flying panels, etc.”The vogue of two materials, two colors or two shades of the same color makes reconstruction possible and practical.”

This rosy-red dress has gathered flying panels of a different material in a slightly different shade:

Butterick dress with flying panels, Delineator, January 1926.

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Less Familiar Designers of the 1920s: Jenny (Part 2)

Red and white tennis dress by Jenny, sketched for Delineator by Leslie Saalburg, February 1927.

Jenny in the 1920s

Jeanne Adele Bernard (married name, Jeanne Sacerdote) worked as “Jenny” — an oddly British sounding name. (There were other designers in Paris named Bernard.)  The name “Jenny” became as well known as “Georgette” or “Lucile.” She had been hugely successful in the late 1910s, and she adapted to the 1920s just as well.

Afternoon gown by Jenny, photographed by O’Doye for Delineator February 1924.

Do check out this luxurious evening coat by Jenny, sold by Carolynforbestextiles.com. Amazing 1920’s colors. Simple — but dazzling — is this mid-twenties dress from Jenny:

Evening dress by Jenny, 1925 to 1928; courtesy of the Victoria and Albert museum.

The Peabody Essex Museum has a superb Jenny evening dress circa 1926, more elaborate that the one above and photographed on a mannequin. Click here.

Jenny combined both ivory and black lace with black satin and a beaded belt on this very feminine gown, sketched for Delineator, April 1924.

What struck Delineator’s editors was the full sleeves,  “which have been neither seen nor heard of for evening for several seasons.”

Ivory lace tops the off-the-shoulder bodice [how did that work?] and peeks out from below the black lace skirt. Bare arms were standard on evening dress in 1924.

This sleeveless Jenny design from 1926 has the low armholes and bare arms expected in formal evening gowns.

Jenny’s ruffled evening frock in pink taffeta trimmed with turquoise ribbons; matching cape trimmed in turquoise ribbon and feathers. Sketch in Delineator, July 1924.

In 1924, Jenny was not afraid of the play of patterned fabrics and severely geometric details:

A three piece suit from Jenny; the cashmere printed crepe de Chine “blouse” is a tunic almost reaching the hem of the coat, which is shorter than the long gray skirt. In Delineator, April 1924.

Jenny suit, 1924. The applied trim is bands of self-fabric. See the book Classic French Fashions.

This Jenny ensemble puts a 7/8 length beige coat over a beige, rose, and green plaid dress. The plaid also trim the coat. Delineator, July 1924.

When the very narrow “tubular” silhouette came in, Jenny was ready:

Two long, narrow “tubular” coats by Jenny, illustrated in Delineator in September, 1924.

In 1925, one of Jenny’s designs was this coat and dress ensemble. Her hems were rising rapidly, but she went against the tide with this very high collar, and a dress trimmed with tiny gold buttons.

Jenny puts this green velvet coat over a dress of rose-beige crepe de Chine, trimmed with hundreds of little gold buttons. Delineator, September, 1925.

1926 shows Jenny still among the top-ranked couturiers:

Three couture ensembles from Delineator, June 1926. Jenny shows a short flared coat over a “just to the knees” dress.

Earlier in the 1920s skirts tended to be straight in back; now these are flared all the way around.

Jenny again catches the mode: a bloused top. Sketched for Delineator, September 1926.

A very bare evening dress with a flared skirt. It was orchid pink crepe satin embroidered with pink pearls. Jenny design, sketched for Delineator, January 1926.

Evening dresses by Jenny and Chanel, Sketched for Delineator, February 1927.

There are a lot of 1960s’ and 70s’ “Twenties” costume dresses out there, covered with tiers of fringe, but this is what beaded fringe looked like in the hands of a couturier like Jenny; on a pink dress, a deeper pink “fringe of crystal beads that touch it with rosy frost.”

Beaded fringe in geometric patterns on an Art Deco evening dress by Jenny, Delineator, February 1927.

Top of beaded dress, Jenny, 1927. I like the way beaded fringe partly covers the deep V neckline — it’s subtly sexy.

I’m not as impressed by every one of her 1927 creations, although closer study usually reveals a little extra creativity. (Remember these are just a tiny fraction of her output.)

Left, Jenny, for evening; right Vionnet day dress. From Delineator, August 1927.

This black and white (?) satin dress comes with a heavily sequinned black chiffon bolero. Jenny in Delineator, October 1927.

Her more tailored coats and suits really are wonderful, with many subtle touches.

One-button suit by Jenny, illustrated in Delineator, June 1927.  The button suggests “a high waistline,” the style of the 1930s, which was just starting to appear.

Lovely lines and pocket detail on the left; astrakhan (unborn lamb) is used on the collar and — unexpectedly — on the back skirt of the coat at right. [Photo distorted by the curvature of the page.]

Her very flared, collarless 1927 coat is a fore-runner of 1940s’ and fifties’ styles.

If you can ignore the scarf, this is a coat decades ahead of its time, from the “Swing” of its flare to the curved seams running into the pocket; note the curved detailing on the cuff. Illustrated for Delineator, May 1927.

It’s quite a change from the tubular coats she made in 1924! Just three years had passed.

Two long, narrow “tubular” coats by Jenny, illustrated in Delineator in September 1924.

In 1928, Delineator was still enchanted with Jenny’s flower-printed underwear, which she had been showing since 1917, or possibly earlier.

Poppy printed chemise by Jenny, in Delineator, April 1928.

In 1929, Jenny was showing asymmetrical fashions. These are dramatic and unusual.

These 1929 gowns from Jenny play with asymmetry and two-toned color schemes. Delineator‘s Paris report, November 1929.

The short satin gown is very unusual. I wish we could see all around it.

Where does the dark begin? Where does it end? What happens in the back? I don’t know.

By this time, Jenny was in her sixties. She continued making up-to-date gowns in the 1930s. Thanks to Elizabeth Handley Seymour’s desire to make and sell copies to her London clients, the V&A museum has a color sketch of a slinky, broad-shouldered Jenny gown, 1936.

Jenny was one of the couture houses that did not re-open after closing during World War II. For a time line of Jenny’s life, click here.

For French fashion illustrations of Jenny modes, visit the wonderful blog A la Recherche des Modes Perdues [lost] et Oublies [forgotten]. There is a search box and a language translator option.

[Added on 4/21/19] And one for the road: A Jenny evening dress with a complex  skirt and a high, cross-over front. It was Reseda green crepe Romain; the long ties in back gave a flattering rear view, or could be worn with one tie brought to the front.

500 jenny GH 1929 april pg 69 Jenny evening crossed front

Gown by Jenny, from Good Housekeeping, April, 1929, page 69.

The poor image quality is what happened when many magazines were converted to microfilm to save library space.

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Less Familiar Designers of the 1920s, Number 1: Jenny (Part 1)

Evening dress by Jenny (Jeanne Adele Bernard Sacerdote) as sketched for Delineator, January 1926.

Some leading designers of the nineteen twenties have names that still sell fashion. Chanel comes to mind. Others were famous before and after the Twenties, like the House of Worth. Having a successful perfume brand helps: “Joy,” by Patou is still available. This is the first in a series about once-famous 1920s designers who are no longer well known.

Jenny (born Jeanne Adele Bernard, later Jenny Sacerdote) was ranked with those big names in the Twenties, but is not as well known today. I’ll be sharing a few of her designs, with links to help you find others.

These are merely a few of the designs by Jenny that were sketched for Delineator, *** and I do not have photos from every year between 1917 and 1930. Her ability to adjust to changes in fashion is admirable.  Born in 1868, she became famous in her fifties, showing 300 pieces in her collection of 1918.

Two sketches of couture by Jenny (Jenny Adele Bernard Sacerdote ) shows her ability to move with the times. Delineator, 1917 and 1927.

Left, a gown with a “tonneau” or “barrel” skirt — a fashion innovation from 1917. Right, a bare, narrow, fringed and beaded evening gown from 1927.

Jenny in 1917

Jenny was already being copied in 1915. The V&A collection has several color sketches of Jenny designs. London dressmaker Elizabeth Handley Seymour sketched hundreds of French couture gowns and coats which she was prepared to duplicate for her customers. She included this coat by Jenny, this evening gown, and this elegant afternoon or evening gown.

Jenny was such a “star” in 1917 that even her underwear collections were featured in “Reports from Paris.” She’s notable for her use of bright colors and print fabrics (!) in her lingerie:

This frothy undergarment was “sulphur-yellow ‘gaze’ trimmed with lace.” Delineator, August 1917.

On Jenny’s pink satin knickers, cream yellow lace is outlined with little roses or ‘cocardes’ [sic] of satin ribbon:

Doucet was a very well-established design house; Jenny is treated as his equal. Delineator, August 1917. Note the ribbon straps.

Print fabric lingerie by Jenny, 1917. Sketched for Delineator.

Jenny used “Flowered muslin in a quite indescribable design of white flowers outlined with pink on a blue background” for her pleated chemise, 1917. I remember how new and exciting print underwear was in the 1960s!

This pink chiffon Jenny dressing gown would have been called a “combing jacket” in an earlier era. (See “Peignoir.”)

A dressing gown by Jenny in Delineator, July 1917: “ruched pink chiffon over a pink satin skirt.”

Other Jenny designs from 1917 show that she had a sense of humor. She named this dress, amply trimmed with fur, “My hairy one.”

Jenny called this model “Mon Poilu” –“my hairy one.” Sketched for Delineator, December 1917.

However, her velvet skating dress seems a little impractical:

Jenny described this as a skating dress. Delineator sketch, December 1917. The tassels would be flying!

The coat below is actually sleeveless, worn over a matching gray silk dress. The geometric trim is stitching in green thread.

Short sleeveless coat over matching gray silk dress, green stitching. Jenny, sketched for Delineator, September 1917.

In June, 1917, Delineator showed a page full of couture designs which featured the new “barrel” silhouette. This was one from Jenny. Page 56.

Delineator claimed the barrel silhouette was chiefly the influence of Jeanne Paquin:

The barrel or tonneau skirt, sketched by Paquin’s own artist. Delineator, March 1917, p 56.

They look better to me when the model is sitting down.

Jenny created this dress for 1917. Delineator, March, p. 56. “Blue serge dress with eight box plaits over each shoulder. The square line at the neck appears in many of the new dresses.”

Left, a design by Jenny — in black satin under white chiffon embroidered with flowers — appears next to a design from the House of Worth. Delineator, March 1917.

I’m sure you could find many more Jenny designs: try searching for Delineator at Hathi Trust; select Journal, then choose a year, and search within the volumes you find. 1922 for example…

*** Note:  Butterick Publishing Company had offices in Paris, giving their pattern makers a chance to follow the very latest trends, which were reported on several times a year, often illustrated by Soulie. All the illustrations I’ll use in this “Less Familiar Designers” series come from Delineator‘s coverage. Caveat:  Pattern companies could sometimes buy couture items and copy them, but designers were not happy to be copied without any payment, so sketch artists attending fashion shows had to be quick and furtive, and sometimes had to work from memory. Read Fashion is Spinach, by Elizabeth Hawes for a sketcher’s real inside story.

Next: Jenny in the 1920s.

Tennis dress by Jenny, sketched for Delineator by Leslie Saalburg, February 1927.

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April 1928 Ad for Belding’s Silks

Part of an ad for Belding’s “Pure Dye” Silks, Delineator, April 1928.

I don’t have a picture of the entire page, but this ad interested me because it shows dress patterns from several companies:  Vogue, McCall, Butterick and Pictorial Review. It also shows a range of women’s styles for 1928, and it shows the cost of the fabric to make them.

Belding’s “Pure Dye” silk was not weighted “or in any way adulterated” to make it seem more substantial than it was. In other words, this was not the cheapest silk fabric available. In fact, at $3 to $6+ per yard, it was relatively expensive.***

(The Belding Brothers of Michigan established a successful business manufacturing silk thread and silk fabrics, with factories in four states.  They also built housing to attract the best female employees, as well as libraries and a hospital for their workers. “Belding Brothers & Company merged with Heminway Silk Company in 1925 and did business as Belding-Heminway. Soon after, the company was acquired by Corticelli Silk Company and did business as Belding-Heminway-Corticelli. The last mill in Belding closed in 1932.” This 1928 ad also mentions Belding’s silk stockings.

Butterick 1904 was featured in the ad; here it is shown in striped silk.

The Butterick Publishing Co. illustrated it in a different fabric in Delineator magazine:

Butterick 1904 made in dotted fabric. Delineator, June 1928. a “frock for mornings or sports” in sizes from 32 to 48 inch bust.

McCall pattern 5168 in Belding’s Silk ad, Delineator, April 1928. This 100% “radium weave” pure silk was washable “Vanette.”

(“Radium silk” was not radioactive.)

Butterick pattern 1906, Belding’s Silk Ad; Delineator, April 1928. “Simple crepe frocks like this have a smartness that belies their small price.” This is made of Belding’s Crepe Iris, “guaranteed washable crepe.”

This Art Deco (or Moderne) dress doesn’t strike me as especially “simple” to make; I love its geometry (“plaits in an architectural outline,”) but I’d be tempted to hire a “little dressmaker” to deal with all those interlocking pieces.

Butterick’s own illustration of dress 1906, from Delineator, March 1928.

This dress is more formal, with a jeweled “buckle” centered on the hip yoke, and a draped neckline.

Another McCall pattern, 5157. Belding’s Silk ad, Delineator, April 1928. This afternoon frock was made in Belding’s “Satin Ciree.”

Top center in the ad was this jacket and dress combination made from Vogue patterns. The plaid dress is topped with a plaid scarf — not an easy combo to bring off well!

Vogue jacket 9273 is combined with Vogue dress 9261. Belding’s ad, April 1928. The “sport silk” fabrics are “Washable Broadcloth” and “Crepe Cashmere” for the jacket — “heavy enough to tailor crisply.”

Pictorial Review pattern 4229, Belding’s ad, Delineator, April 1928. The asymmetrical dress has a soft jabot/drape running down the bodice.

The relatively simple dress is made of Belding’s silk printed crepe “in a distinctive modern design — a summery pattern suggesting the lovely modernism of Paris.” (The “Style Moderne,” which we also call “Art Deco,” was introduced at the Paris Expo of 1925  (Exposition internationale des arts décoratifs et industriels modernes)

This classic 1920’s evening dress is Vogue pattern S 3191.

It is sleeveless, with low armholes; a surplice closing (thought to be slenderizing;) an under layer seen at the neck opening; and a big bow forming a side drape. At first I thought it had a (very unexpected) short sleeve, but a close view shows that the model is wearing an arm bracelet, along with two necklaces and very long dangling earrings.

Detail of jewelry in the Belding’s ad illustration. 1928. Note the low armhole.

The next gown is surprisingly bare:

Pictorial review pattern 4159 is an evening dress made in sheer silk Georgette. Belding’s ad, Delineator, April 1928.

This gown is notable for its narrow jeweled straps and its asymmetric shoulder (or neck) line.

A woman really could not wear much underwear under this dress — just knickers and stockings. (And maybe a girdle….)

Details of the diagonal neckline and shoulder straps of Pictorial Review evening pattern 4159.

Georgette is usually a sheer fabric, so this dress is probably built over a straight, opaque silk lining, which would also support the blousing and hip decoration. That neckline would still be worth copying, if you have the figure for it!

*** The Sears catalog (Fall 1928) offered washable silk satin yardage for 74 cents a yard.

Washable silk satin from Sears, 1928.

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Valentine Fashions from 1926

Three young women in their teens admire an elaborate Valentine card in this illustration of Butterick patterns. 1926. Naturally, their shingled hair styles are also up to date.

For the February 1926 issue of Delineator, the fashion illustrations for teens, boys, and girls clothes were built around a Valentine’s Day theme. Even the patterns for little boys  were related to Valentine’s Day in the clever illustrations, probably by M.S. Walle.

Left, a little girl wears leggings to protect her from February weather; right, a little boy in short pants (buttoned to his shirt) holds a Valentine card to be mailed.

Right, an older girl in a green, caped coat is about to put the boy’s card in the mailbox. 1926.

Page 30, Delineator, February 1926. Valentines are mailed, received, and enjoyed by children wearing Butterick patterns.

The girl at left wears a dress that could go to the office — or, being velvet, to a daytime party. It is quite short. Frillier party fashions are worn by the other girls.

Butterick fashions illustrated on top of page 30, Delineator, February 1926. Hems for young teens barely cover the knee. Little girls’ knees are bare.

Even the littlest girl holds a Valentine close to her heart.

A range of ages for girls, plus some little boys in short pants, were shown in patterns illustrated on page 31.

A candy box and Valentine’s cards interest these schoolgirls. Delineator, p. 31. February 1926. One girl still has long, long curls.

This Valentine girl is dressed up in an entire outfit made from Butterick patterns, including her hat.

These little boys play with a ball, while the girl below holds a heart-shaped cookie (with a bite out of it.)

Young girl’s fashions, February 1926. Imagine buttoning those leggings!

Even very little girls attract Cupid’s attention.

Since I’ve been absorbed in boleros from the 1930s this week, I can’t resist pointing out this much longer 1926 bolero:

The long bolero at left is typical of the twenties, when the waist was near the hips.

The younger the girl, the shorter the dress. These are for ages 15 to 20.

All these “Valentine” girls wear their dresses much shorter than adult women in the same issue.

Women’s skirts are shown well below the knee. Delineator, page 28, February 1926.

Although I couldn’t find a signature on the pages of children’s fashions, the February illustrations for women’s fashions were signed by M.S. Walle.

Artist’s signature at lower left: M. S. Walle.

Happy Valentine’s Day!

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Filed under 1920s, Accessory Patterns, Boys' Clothing, Capes, Children's Vintage styles, Coats, evening and afternoon clothes, Hairstyles