Category Archives: evening and afternoon clothes

Evening Gowns Held up with Straps, 1920

Butterick pattern 2690, evening gown with camisole top, Delineator, December 1920. This pattern was featured two months in a row.

Evening gowns for misses aged 14 to 19; Butterick patterns from February 1920. Delineator.

The 1920 name for these gowns, bare-shouldered and supported only by straps, was “camisole top.”

Paris fashion by Georgette, illustrated for Delineator in February 1920.

Actresses and couturiers introduced these very bare evening looks before 1920, but I am surprised by how many 1920 examples I found when I started looking — and in just one source, Butterick’s Delineator magazine. [I did find a Standard pattern from 1919 with a straight top, simple straps, and optional sheer, cape-like sleeves at the Commercial Pattern Archive: Standard 391, archive No. 1919.65 BWS]

There aren’t even visible straps holding this bodice up, just the beaded hem of the sheer drape:

Butterick evening waist pattern 2083, Delineator, January 1920.

Digression: Serendipity — here is a surprising discovery I made while reading the text of a 1924 corset ad:

Unfortunately, this corset ad mentioned a strapless brassiere but did not illustrate it. Bien Jolie ad, Delineator, September 1924.

The earliest strapless brassiere I found in the Sears catalog was Fall, 1939.

Only slim strands of beads are supporting this gown from 1920.  Delineator, March 1920, p. 128.

The text for this photo concerned the “coils over the ears hairstyle,” and didn’t even mention that very revealing dress. Nor did this photo of a messy “houpette” hairdo have much to say about the beaded straps of this young woman’s gown:

This photo caption did mention “braces over the shoulders,” but was really focused on the “houpette” hairstyle.

“We only meant to show her ‘houpette’ coiffure, but from the braces over her shoulders to the ribbons on her feet she is so utterly engaging that we could find no place to draw the line.”Delineator, March 1920.

While I recover from that admiring description, perhaps I should mention that the 1920s’ “camisole” was sometimes an undergarment for the top of the body, but also referred to the simple bodice that many 1920s’ skirts hung from.

Later 1920s’ skirts didn’t necessarily hang from the waist; a simple bodice (“camisole”) could be basted to skirts so they hung from the shoulder.  Butterick skirt patterns 6601 and 6588, 1926; Warren’s camisole skirt foundation ad, 1924.

One thing “camisole” seems to mean is “a bodice/undergarment suspended from [narrow] straps.” (In 1920, the word “chemise” might also describe an undergarment with narrow straps.)

The narrow straps of these French couture gowns are really minimal: just a strand or two of beads:

Don’t be distracted by her necklace; her dress is ends just above the bust and is suspended from strands of beads. By Drecoll, sketched for Delineator, May 1920.

Evening gown by Beer. Sketched for Delineator, October 1920.

Butterick patterns followed suit:

Butterick 2690, illustrated in November of 1920.

This camisole topped dress came in sizes 32 to 46 bust, and the skirt, embroidered with a spiderweb pattern, seems “vamp”-ish to me.

Butterick embroidery design 10741 is a pattern of spiderwebs.

[Lanvin showed a lacy spiderweb design like this in 1922 (French Vogue, January 1.) ]

The same 1920 issue of Delineator showed a more modest alternate version: sleeveless, with V-neck.

Butterick evening dress 2690, in a more covered-up version; illustrated in Delineator, November 1920.

Yes, this is the same dress as the black, very bare version at the top of this post; that illustration was from December 1920.

Butterick 2690 with the camisole top and the “pleated panels” skirt. December 1920. It seems to be black, but might be any dark color.

Delineator showed women how to make “Paris” trims for evening dresses:

“Making Paris Trims” article from Delineator, March 1920, p. 147. [Several of the dresses for misses have this high waist and a strap top.]

These very bare dresses for misses have beaded straps:

Butterick 2067 for young women aged 14 to 19, February 1920.

Butterick dress 2702-B is a camisole top dress. For misses 16 to 20.  Delineator, November 1920, p. 127.

Butterick 2702-B next to a V-necked dress more usual in the evening wear of the mid-1920s. Actually, they’re the same pattern…!

The “conservative” dress pattern (2702-A) also included a camisole top version (B); what’s more, No. 2702 is the “size 16 to 20 years” version of Butterick 2690! Butterick was really committed to these styles.

Butterick 2702 is a teens’ 16 to 20 version of 2690, illustrated in two camisole versions and a pale blue  sleeveless one earlier in this post! 2702-A is like the sleeveless version of 2690, but with an optional sheer sleeve.

Straps didn’t have to be beaded:

Butterick 2181; February 1920. Two different straps.

Party looks for “debs and sub-debs,” Delineator, Feb. 1920.

The contrast between the covered-up and very bare dress is striking, and reminds me that young men returning from war were more accustomed to the #2151 kind of party dress (above left) than the “nothing under this dress but me!” #2181 (center.)

Two dresses with strap tops, and a slightly more conservative one, right. #2130 is actually pretty revealing, too, since it has a very sheer layer over a camisole top.

The sheer-over-camisole-top versions were probably chosen by girls (or their mothers) who were not ready to show off so much bare skin. All these alternate views include a sheer sleeve.

Paris designer Elise Poret showed a sheer layer over her bare, camisole-strapped bodice in February 1920.

Party dresses for 14 to 19 year-old women. Butterick 2107 and 2238, March 1920.

The dress at left has a gathered sheer layer over a camisole top. Most 1920 evening dresses were not bare, camisole topped fashions. This pattern is another from February 1920.

Butterick evening waist pattern 2172 with skirt 2166. February 1920. The horizontal line of the camisole layer is partially covered by the V-shaped top layer.

This dress, Butterick 2682, does not have the dropped waist of the later nineteen-twenties, but the V-neck and sleeveless bodice are very typical of those years.

However, the popularity of camisole-topped dresses —  bare, revealing dresses — is shown by their appearance in these ads:

Ad for Woodbury soap, for “the skin you love to touch.” Delineator, March 1920.

From an ad for Cuticura soap, November 1920.

From an ad for Cutex nail polish. September, 1920. Two different straps.

From an ad for DeMiracle hair remover, “every woman’s depilatory.” Delineator, January 1920.

Detail, cover of Delineator Magazine, October 1920.

The initial shock of dancing with young women in scanty, revealing clothing didn’t happen in the “Roaring Twenties.” It began with the “lost generation” right after World War I. ” …Members of The Lost Generation had survived World War I but had lost their brothers, their youth, and their idealism.”  They didn’t “discover” sex, but they certainly discussed it more frankly than their grandparents had.

 

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Filed under 1900s to 1920s, 1910s and WW I era, 1920s, evening and afternoon clothes, Hairstyles, lingerie, Underthings, Underthings, Hosiery, Corsets, etc, Vintage Couture Designs, Vintage Styles in Larger Sizes

Beautiful Shoes from 1930

These I. Miller shoes could be dyed to match your dress. Featured in Delineator, June 1930, p. 28.

1930 was a good year for shoes, especially if you like high heels. Most of these are afternoon or evening shoes, but it’s a pleasure to see the quality of delicate scrolls of piping, or combinations of fabrics and kid….

These high heels are piped with silver kid. From J. & P. Cousins, in Delineator, June 1930.

These high heels from 1930 could be dyed to match your dress.

Pale blue suede & kid afternoon pumps from Laird Schober. Delineator, June 1930, p. 28.

White kid pumps with a flash of colored trim and colored heel. For a color image of gold kid and brocade Laird Schober shoes, click here.

Queen Quality shoes were advertised in Delineator; they are not extravagantly expensive, but not cheap, either.

[In my experience, pumps with that high cut are pretty much guaranteed to make women’s feet bulge over the top after they stand for a few hours….]

Queen Quality shoe prices, May 1928. They range from $7.50 to $12.50., “some as low as $6.” [In 1936, a college girl was expected to spend $12 per year on shoes, @ $3 per pair.]

For more causal occasions, heel heights are varied.

Brown and white spectator pumps from Stetson, featured in Delineator, June 1930, p. 28.

This white linen and white kid sport shoe from Adapto came with piping in various colors.

There’s a lot going on in this perforated tan and white sandal from Walkover. June 1930; Delineator, p. 28.

Delineator may have occasionally featured brands that advertised in the magazine, like Queen Quality, but most of the shoes mentioned in the June, 1930, issue were not made by advertisers.

These are couture-level shoes by famous French designers:

Designer shoes from Paris; Delineator, June 1930, p. 29. Made by Costa. The Met Museum has three pairs of Costa shoes.

The complex heel — are those bands of gold or silver leather, or jewels? — and the graceful curves are a sign of quality.

Ducerf-Scavini was very high-end. For 1928 shoe designs by Ducerf-Scavini, click here.

Even mass-market shoes from 1930 could be elegantly trimmed; in fact, Foot Saver shoes were aimed (as you might expect) at w omen who wanted comfort as well as style.

This ad for Foot Saver shoes appeared in the same June 1930 issue of Delineator as the high fashion shoes. The shoe on the right looks like it’s made to be comfortable, but the style at left is not noticeably dowdy….

Nor is this one:

Foot Saver evening shoe, November 1930.

Foot Saver shoe ad, November 1930.

The 1930 shoe illustrations from Delineator, June 1930, pp. 28 & 29, were by Leslie Saalberg. For more gorgeous shoes see Paris Shoes for April, 1928.

 

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From Curved to Straight and Back Again: Corsets 1917 to 1929

Ad for Bien Jolie Corsette, an all-in-one bust flattener and corset. Delineator, March 1926.

Corsets, 1907 and 1926. The garment on the right is a “corsette,” very lightly boned — if boned at all.

I took a detour from corsets to brassieres before writing this post, because brassieres became necessary when corsets became so low that they couldn’t offer bust support.

The female shape as seen in corsets advertised in Delineator: 1907, 1917, and 1924.

American Lady corset ad, April 1917.

In 1918, this Kabo corset and brassiere ad pairs a corset with a brassiere. The two were often worn together. Kabo made both.

Most brassieres of this era did not have two “pockets,” or “cups” as they were later called; they did not lift the breasts, but “confined” them. Click here for bust confiners.

Ad for the Kabo “Flatter-U” brassiere and bust flattener. Delineator, November 1920. “It makes a flatter you.”

DeBevoise brassiere ad, June 1920. Delineator. This mesh brassiere (some would call it a bandeau) produces a low bust with a very gentle curve.

Warner’s Rust Proof Corset ad, February 1922. These corsets are being worn without a brassiere.

These dresses from 1922 are nearly unstructured, like a tube with a belt and sleeves. Butterick patterns. Low busts, slouching posture.

[How were those busts possible? Read on.] The smooth, tubular lines of the Twenties demanded a smooth, all-in-one garment, brassiere plus girdle, and the corsette or corselette was born.

Article in Delineator, February 1924.

This Treo “brassiere girdle” — “a combination garment” appeared in May, 1925.

Bien Jolie corsette ad, October 1924, Delineator.

Some women (especially young or slender ones) wore a girdle without a brassiere. Below, left: a “hip-confiner” of glove silk.

Left, a glove-silk hip-confiner was almost not there. Right, a corset for those who needed more control. Delineator, February 1924.

Some wore neither.

Some slim women wore a girdle or corset with a brassiere…

Brassiere patterns from Butterick’s Delineator, July 1926.

…  or a bandeau.

Bust-flattening bandeaux from Sears catalog, 1928.

However, for those larger women who wore a bust-flattening brassiere with a corset, the brassiere needed to come down over the corset to prevent an ugly bulge between them:

Long Brassiere. From fashion advice article in Delineator, February 1924.

Ad for the H & W brassiere with diaphragm control. March 1924. It won’t “Push up” the “flesh.”

Dress patterns from Butterick, April 1924; Delineator.

Those who wanted a completely smooth, no curves, flexible shape under their dresses could wear a corselette.

This corsette gives a perfectly flat silhouette in front. 1924.

(There were many spelling variations: Corsette, Corselet, Corselette, Corsolette….) Most corselettes did not use metal bones, but depended on seams and elastic to shape the body into something resembling an oblong test tube — the “boyish” shape suited to Twenties’ fashions.

Left, a corset; right, a bust flattening bandeau over a waist-high corset. April 1925. DeBevoise ad.

Article in Delineator, February 1926, p. 24.

This corsette is trying to turn a mature figure into a boyish one…. Bien Jolie ad, February 1926.

Corselette for large figures, “boned in the modern manner.” The bottom may be boned, but the top is soft silk jersey! Warner’s ad, April 1925.

A very flat posterior was as important as a flat bosom:

Back view, Bon Ton Corset ad, April 1925.

More corsettes/corselettes from 1925:

Bien Jolie Corsette ad, April 1925.

Bien Jolie corsette ad, June 1925.

Casual dresses from Butterick patterns, June 1925; Delineator, p. 29.

Although you might not see it in these ads, (perhaps because corsette ads were probably aimed at women old enough to have “figure problems”) by 1926 a change was taking place.

Article in Delineator, February 1926. p. 24.

“The younger woman who can keep slim and firm… either wears no corset at all or a tiny girdle of satin or glove silk with an equally ephemeral bust-supporter of lace or net.” Interesting that in 1926 1) the bust is supported, not flattened; and 2) the girdle supports a curve under the bottom. (The illustration does not quite match this description.)

Illustration for article in Delineator, February 1926, p. 24.

Research by the J. Walter Thompson advertising agency in 1924 and 1925 discovered that younger patrons, dubbed “flappers” by buyers and the JWT staff, “were looking for uplift styles of brassiere, in contrast to older women who wanted the flattening styles.” (Uplift, p. 40.)

Curves gradually returned. For me the interesting thing about these Butterick brassiere patterns from 1926 is that both the flatteners and the brassiere with breast separation are on the same page:

https://witness2fashion.files.wordpress.com/2016/04/1926-july-p-38-500-undies-top-left-bras-flattener.jpg

At top, two bust flatteners, pattern 6964. At bottom right, pattern 6961 for a brassiere that separates and does not flatten the breasts. Delineator, July 1926, p. 38. [It does not offer any support, just coverage.]

Bien Jolie corset ad, July 1926, p. 80. Delineator.

Bien Jolie corsette ad, September 1926. (Quite interesting fabric!)

Gossard corset ad, February 1927.** Note the curvy hips and the division between the breasts.

The bust was being worn in a more natural position:

Couture evening dresses by Boulanger and Paquin, illlustrated for Delineator, February 1927. p. 18. Note the high bust.

Modart’s combination, March 1928. Notice her curved bust silhouette. (Not helped by that garment!)

Modart ad, March 1928. Bandeau and girdle, bottom of same ad as above.

This brassiere isn’t even mentioned, but it has separation and a supportive band. Modart ad, March 1928.

Transition: two “foundation garments” featured in the same corset advice article; Delineator, March 1929.

The return of the curve, 1929:

Fashions that show off the female shape: (Butterick patterns) September, 1929. Delineator.

Light, non-restrictive foundation garments, October, 1929. Delineator.

Soft, flexible undergarments from Nemo-flex. Illustration from Delineator, October 1929.

Improvements in elastic, made possible by new Lastex fabrics, came just in time for the change to 1930s fashion.

** Gossard corsets had an ad campaign praising the curve (Hogarth’s “line of beauty”) as early as 1924.

Ad for Gossard “Line of Beauty” corsets, praising the curved figure, Delineator, February 1924.

If you’ve read all the way to here:  sorry this post was so long, but there was a lot I needed to get off my chest…!

 

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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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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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Filed under 1920s, 1920s-1930s, Coats, evening and afternoon clothes, Slips and Petticoats, Sportswear, Underthings, Hosiery, Corsets, etc, Vintage Couture Designs, vintage photographs