Category Archives: 1930s-1940s

Broad Shoulders for September, 1933.

Wide shoulders were appearing as early as September, 1933.

I had thought of mannish padded shoulders as typical of the late 1930s and early 1940s,…

https://witness2fashion.files.wordpress.com/2016/02/bfn-sept-1943-p-11-suit-dresses-shoulders.jpg

Butterick Fashion News, Sept. 1943. Broad, padded shoulders for women.

… but the September 1933 issue of Delineator surprised me. The huge, ruffled shoulders of the Letty Lynton era (the movie was released in 1932) were an early symptom of a change in silhouette — and the ability of wide shoulders to make hips look smaller in comparison mustn’t be ignored.

Shoulders begin to square up as early as summer of 1933.

Delineator, July 1933, p. 53. Left, a yoke with sharp shoulder line; right, a Letty Lynton ruffled shoulder.

Fall and winter coats offered novelty shoulders, sometimes exaggerated by fur trim:

Tpo of page 61, Delineator, September 1933.

Bottom of page 61, Delineator, September 1933.

Lead paragraph of Delineator article, September 1933, p. 61. “These shoulders look broad, but not stoutish.”

Butterick 5276, a coat with enhanced shoulders, was recommended for a college wardrobe. Delineator, Sept. 1933, page 63.

Even without fur or padded shoulder rolls (reminiscent of Elizabethan fashions!) the shoulders are getting straight and squared off, as in this blouse.

College wardrobe, Sept. 1933.

Patterns for women not going off to college show the same exaggerated shoulder line:

Ladies’ dress patterns from Butterick, September 1933.

Ladies patterns, Delineator, Sept. 1933, page 66.

As hips become impossibly narrow, exaggerated shoulders widen the top of the body.

“Paris frocks” become Butterick patterns, Delineator, Sept. 1933, page 65.

“Coal-heavers’ shoulders” are a feature of this Butterick pattern. Delineator, September 1933, page 55.

Ladies’ dress patterns from Delineator, September 1933, page 55. Note that extended yoke at bottom right.

Butterick 5247, 5270, 5259, and 5365. September 1933.

Extended shoulders were also shown on coats for girls:

Even the little girl’s coat (top right) has wide shoulders, thanks to its yoke or collar.

Older women also benefited from broader shoulders in 1933:

Clothes for women no longer young or slender. Butterick patterns 1933.

Delineator, September 1933. I found No. 5307 at the Commercial Pattern Archive.

Those shoulders, almost square, cannot be achieved without padding, but I have not found a 1933 pattern at CoPA that mentions shoulder pads — not even this exact pattern, No. 5307.

Coats for evening wear were even more exaggerated, evoking the sleeves of 1895:

Evening dress with jacket; Butterick pattern 5279, Sept. 1933.

Evening wrap and evening dress for a trousseau, Delineator, September 1933.

Four years later, in 1937, these patterns for young women were still “broad shouldered.” The “squarely fitted” cape shoulders were especially stylish.

Butterick patterns for young women; Delineator, Sept. 1937.

 

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Filed under 1930s, 1930s-1940s, Capes, Children's Vintage styles, Coats, Vintage Styles in Larger Sizes

Learning from Browsing at CoPA

One of 64,000 pattern images you can find online at the Commercial Pattern Archive.

I know I recommend the online Commercial Pattern Archive at University of Rhode Island too often, but it just keeps revealing new reasons to visit. (Online Inventory last time I checked: 64,681 sewing patterns; mostly 1840s through 1970s.)
I can’t link to CoPA images anymore, because users now need to create a login, but you just create a user ID name and a password, and log in to use a totally free website! I never get email from them.

Two Butterick patterns from February, 1922. Delineator.

I’ve been sorting through my Delineator photos from 1922, and happened to log in to CoPA to check construction details — not really expecting to find much. However, I found a surprisingly large number of Butterick patterns from 1922 archived — and that means images of both back and front of the pattern envelope. You can see the shape of the pattern pieces!

“Armistice” blouse 1922 pattern The Commercial Pattern Archive (CoPA) has put over 60,000 vintage patterns online.

If you are trying to replicate a vintage pattern, whether you use drafting or draping, seeing the shape of the original pieces is very helpful.  And if, like me, you have no intention of re-creating the pattern, (that used to be part of my job) you can still learn a lot about vintage clothing construction.

NOTE: The images from CoPA that I show here do not reflect the quality of CoPA images online.  Because I couldn’t download them directly, I printed them, scanned them, and put them into a “500 dpi on the longest side” format. Unfortunately, I scanned the prints at the “black & white” resolution instead of at the “photograph” resolution. Image quality was lost on my scanner, not CoPA’s.

This bad image is not what Butterick 4025 looks like at the CoPA site. (https://copa.apps.uri.edu/index.php)

Elastic in 1920’s garments

There was a time when I was suspicious of any so-called vintage 1920s’ garments that depended on elastic. That was just my ignorance, based on “book learning” and classroom generalizations. Once I started really paying attention to vintage pattern magazines and pattern envelopes, my mind opened a bit!

All of these 1922 patterns include casing for elastic at the (usually lowered) waist.

Tunic Blouse 3462

Butterick tunic blouse 3462 from Delineator, January 1922.

If you sew, you know that there is a lot of information on the pattern envelope that you won’t find in the pattern’s catalog description.

CoPA shows images from the front and back of the pattern envelope whenever possible. The version at top right shows the tunic with “cascades” at the sides.

Pattern 3462 included a variation with “cascade” panels on each side, and the information that the waist could have elastic.

I’m surprised that there is no elastic casing pattern included, but it was mentioned in Delineator magazine’s pattern description (January 1922, p. 26.)

Dress 3460

Butterick 3460, Delineator, January 1922, keeps its shape with elastic at the slightly dropped waist. (Left, a Spanish comb in her hair.)

The front of the pattern envelope, from the Commercial Pattern Archive.

“Ladies’ and Misses’ One-Piece Dress, “Closed at the Back, with or without Elastic in Casing at Low Waistline or Blouse Body Lining.”

The pattern pieces for Butterick 3460, from CoPA.

This detail shows an inside belt and length of elastic. It also reminds us that the 1920s’ blouson effect was sometimes achieved with an optional inner bodice lining. (With bust dart!)

Pattern description from Delineator, January 1922.

This simple dress was also illustrated with a matching cape:

Butterick dress 3460 with matching cape, Butterick 3589. Delineator, March 1922.

Coat 3594:  This coat, which I find bulky but oddly appealing, could be controlled with elastic at the waist:

Butterick coat 3594 is gigantic, but beautifully trimmed…. Delineator, March 1922.

Butterick coat 3594 in Delineator magazine illustrations.

The front of the pattern envelope. In the online CoPA archive, the image is much clearer (and they have several copies of this pattern!)

Pattern pieces from the envelope. CoPA will tell you how to print a larger image (See CoPA Help)

Rubber elastic tends to degrade faster than the other components of the garment, so the elastic itself may not be present in a vintage dress (or underwear.) But these patterns confirm its use.

I was surprised to see this “Armistice” blouse [Not what they were originally called] issued in 1922. It can have elastic in a casing at the waist:

The “Armistice blouse” was still available as a pattern in the 1920s. The center panel is the “vestee.”

Pattern pieces for Butterick 3672 from CoPA.

Searching CoPA for a specific pattern: “Search by Pattern Number”

After you create a log-in at CoPA, you can search for any pattern by number (e.g., type in “3672” and select “Butterick” from the pattern company pull-down list. Chose “Any” collection. Results will show you images and links to further information — including the date for every pattern they have!   Say you own Vogue 1556, by Yves St. Laurent? CoPA’s archive number will tell you it was issued in 1966. (If you have an approximate date, you can also date patterns which are not in the archive by finding where they would be in the company’s number sequence and checking their resemblance to other styles and envelopes from the same year….)

Browsing through a year or group of years: use “Complete Search”

Or you can click on “Complete Search” and search by year (or a period of several years, e.g. 1920 through 1926 — just hold down the shift key while selecting.) You can limit your search in many ways (e.g., “male” + “adult;” or  “1945” + “hat” +”McCall;” or “1877 + “Any”….)

One of hundreds of McCall patterns from the 1920s you can find at the Commercial Pattern Archive. McCall 5315 from 1928.

Trying CoPA: If you love a specific decade, start with one year (e.g., “1928” + “McCall”  + Collection: “Any”) By the mid-1920s, McCall pattern envelopes had beautiful, full color illustrations. New to CoPA? Start with McCall in the 1920s, or try McCall in 1958! Less well-known pattern companies are also well-represented. Scroll though the “Pattern Company” pull-down for Hollywood, Advance, La Moda, Pictorial Review, DuBarry, & dozens more.

TIP: Be sure you set the final category (Collection) to “Any” if you want to search the complete archive. Otherwise, you’ll miss some good stuff! Also, search more than one way. “Medical uniform” (Category: Garment) got 20 results; “Nurse uniform” (Category: Keyword) got 38. It’s not a complaint; just what happens when many people try to describe things for a spreadsheet.

Next: Pattern pieces for side drapes (“cascades”.)

The dress at right has a cascade at each side.

 

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Three Pattern Companies, Similar Styles: 1939

Cover of Butterick Fashion News, September 1939.

The cover of the Butterick Fashion News flyer for September 1939 showed a sheer black dress over a matching slip. It has the puffy sleeves of the era, and a V neck.
The Du Barry store flyer for the previous month showed a similar dress.

Du Barry pattern 2319 B. DuBarry store flyer August 1939.

In fact, it was on the cover of the Du Barry flyer, in a yellow, printed, non-sheer fabric version:

Du Barry Prevue cover, August 1939. Pattern 2319 B.

Du Barry showed it a third time, in purple:

Du Barry 2319 B.

Butterick (and Companion-Butterick) patterns were sold in fabric stores, and, before the Great Depression, Butterick was aimed at middle and upper-middle class shoppers. Du Barry patterns were sold only at Woolworth’s — the five and dime store. “Du Barry Patterns are 10 cents Each — For Sale Exclusively by F. W. Woolworth Co.” By contrast, Butterick pattern 8556 cost 45 cents.

In fact the two sheer black dress patterns are not identical — just two different expressions of a current look.

Companion-Butterick 8556.

Du Barry 2319 B. Slide fasteners [zippers] began appearing in dressy dresses about 1937.

The Butterick bodice is probably more difficult to make, since its curved seams end in a crossed, tucked piece in front that becomes a belt in back.

The Du Barry bodice uses simple gathers or ruching for the bodice and the sleeve heads.

However, the Du Barry pattern has a soft pleat in the center front of the skirt.

The Butterick skirt is more flared and cut in several panels.

Butterick 8556.

Even the sleeve heads are more tailored; both dresses are consistent within their own aesthetic.

At this point, I realized that I have a third, contemporaneous store flyer: Simplicity Prevue, August 1939. It, too, shows a sheer black dress pattern. In fact, Simplicity showed two!

Simplicity 3129, a sheer black dress. August 1939.

Simplicity 3150, sheer black dress, August 1939.

Both of the Simplicity patterns have yokes at the shoulders (diagonal in the case of No. 3150, and horizontal on No. 3129. Both were shown made in opaque fabrics, too.

Two views of Simplicity 3150.

Simplicity patterns cost 15 cents each, more than Du Barry (10 cents) and much less than Butterick (45 cents.)

Simplicity pattern information for 3139 and 3150.

Although the Simplicity patterns did not come in larger-than- usual sizes, they had this caption:

Simplicity recommended these two patterns (3150 and 3139) as “slenderizing.”

Maybe because they could be made in black? Lynn Mally at American Age Fashion found this photo:

Ashville, Ohio, July 4th 1938. Photo by Ben Shahn, Library of Congress.

Ashville, Ohio, July 4th 1938. Photo by Ben Shahn, Library of Congress.

If it seems odd that older women were wearing see-through dresses, perhaps they were the generation that wore  lingerie dresses twenty-odd years before?

P.S. Does this post seem familiar? My bad. I was trying to be sure I had scanned all my department store fashion news flyers, found two of these flyers missing from my picture files, and consequently didn’t realize that I had written about some of these patterns before! So, you are not having a deja vu experience…. Click here for “More Sheer Dresses from the Late 1930s” or “Sheer Black Dresses, Fall 1930.”  That’s where you saw these pictures before….

 

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Boleros Part 3: Day and Evening, 1930s

A bolero jacket tops an evening gown, center, in this editorial illustration by Leslie Saalburg, Delineator, November 1931. The Nineteen Thirties’ bolero was often used with evening wear…. [But boleros continued to be a daytime option, too.] If not actually used as a separate jacket, a bolero might be suggested….

Left, Butterick 4093 from October 1931; right, a vintage dress circa 1929 -31 has the same bolero effect built into its bodice.

Butterick 4093: the width of the bolero enhances the slenderness of the waist and hips. This bolero “runs to a point at the back, is split and tied with a bow.”

A bolero built into the dress contrasts with the slender hips and belted waist. Butterick 3696 from Delineator, February 1931.

This pattern for a tied bolero reminded me of a vintage tied jacket (not a bolero) that I also love.

Right, a bolero for evening is tied at the waist. (Usually, but not always, daytime boleros were tied near their neckline.) Butterick 3460, Delineator, October 1930.

Although this vintage velvet jacket is hip-length, not a bolero, the tie at the waist has the same effect.

Vintage 1930s evening jacket with front-waist tie and dolman sleeves.

The sleeves taper from very full to tight at the lower arm.

This 1931 lamé evening jacket stops at the waist, like a bolero, and has curved fronts, like many boleros — but the word “bolero” is not used:

Another glamorous, but simple, waist-length evening jacket. Butterick 4076 from September 1931. Delineator.

The fad for huge, ruffled “Letty Lynton sleeves” can be seen in this bolero from 1933:

Bolero illustrated for a fashion column, Delineator, April 1933.

In 1936, boleros over evening gowns added versatility to the fashions, which could be worn with or without the jacket, creating two different looks.

A bolero with a long, twisted tie changes this evening gown from daringly bare (left) to chic but modest; the covered-up look was suitable for dinner and night-clubs. Vogue 7507, from Ladies’ Home Journal, November 1936.

[It’s also a reminder that a gown which appears to be black and white in a movie might really be green, or some other intense color.]

A white gown could be “dressed down” for dinner by a colorful bolero jacket. LHJ, July 1936.

This gown in soft silk or chiffon with printed green organza [or some other fairly stiff fabric] has a low back, covered on a cruise ship by a hooded bolero. Convenient for moments when you step out onto the deck in the moonlight. LHJ, February 1936.

Another article on cruise wear also emphasized the bolero jacket — by packing several boleros, you only needed to pack one long evening gown.

Butterick 7407 shows a halter dress in sheer blue printed fabric — topped with a white bolero. Woman’s Home Companion, June 1937.

From a fashion editorial describing a Companion-Butterick cruise wardrobe. WHC, June 1937.

Below right: this sheer bolero over an evening gown appeared in Ladies Home Journal, July 1936:

Vogue 7403, 7369, and 7386. LHJ, July 1936. A corsage doesn’t have to be worn on the shoulder…. Click here for a closer view of the bolero.

Right, a dignified lace dress with matching bolero; Butterick 7998 from 1938. Butterick Fashion News flyer.

That lace gown is probably for mature women, since the size range is 34 to 52 inches (bust.) But evening gowns for teens also showed them with bolero tops.

A bolero tops a prom dress; WHC, May 1937.

A long dance dress for teens, with bolero jacket. Butterick 7354.

This reminds me that wedding dresses for church ceremonies — and prom dresses in conservative schools — could not reveal bare arms (at Roman Catholic weddings) or have strapless tops or “spaghetti straps” as late as the 1960s, so this jacket would satisfy the chaperones. A girl could take it off when she was alone with her date….

Butterick evening gowns, August 1938 pattern flyer.

Butterick 8004, left, and Butterick 7997, right, with removable bolero top. The bodice of 8004 (“molded to slim your waist”) has a sort of false bolero effect, being larger than the gown below it.

Buttterick 8004, 7997, and 8010. BFN, August 1938. No. 8004 was available in sizes for teens and for women up to 44″ bust. The two on the right are for Junior Misses, up to bust 38.”

Another bolero with coordinating evening gown, left, Butterick 8461, from July 1939. BFN.

A Junior Miss evening gown with bolero jacket. From Butterick Fashion News flyer, July 1939. ” ‘Straps’ on the dress tie in a halter effect….”

However, older women might also buy a pattern that included the versatile bolero in 1939.

Right, Vogue 4128, Vogue Fashion Flyer for May 1939.

Designer Lucile Paray was featured in an article about Paris fashion revivals (i.e., “retro-inspired) — like leg-o-mutton or “Directoire” sleeves — in 1937. Paray’s evening suit was inspired by the turn of the century garment (with bolero) illustrated beside it.

Lucile Paray designer evening suit; illustrated for Woman’s Home Companion, December 1937.

The bolero doesn’t get much simpler than this one, from June, 1937:

Butterick 7405, an evening ensemble with bolero jacket, Woman’s Home Companion, June 1937.

Meanwhile, bolero jackets for daytime use were also seen throughout the Thirties.

In fact, Butterick 7405 had many casual and sporty variations for daytime!

Boleros were not just for evening wear in the 1930s. Click here for more about 7405.

To be continued as “Boleros Through the 1930s, Part 4.”

 

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Vintage Photos for the Holidays

A little girl communicates with her “Paw Pa” through an ear trumpet. Family photo.

“Can you hear me now?”

It’s time for my annual reminder to keep a box of unidentified family photos and an acid-free pen or a pencil at hand for the quiet moments at family gatherings.

Gertrude, Mack, and Nina Holt with their mother “on her 70th birthday” (1938.) They lived in Pulaski, Tennessee, and sent this to their brother Leonard, in the Army in San Francisco. “I sure do wish Leonard was on here and then the 4 children and mother could all be together.”

Any time you gather with your eldest relatives and friends is a good time to chat about the past. Family stories need to be passed down. (Bonus: you won’t have to talk politics….)

If you think you’ve heard all the stories before, consider that now that you are fully adult, seniors may be willing to tell you things they wouldn’t speak of when you were a child:  failed marriages, lost loves, siblings who died young or were never mentioned for some other reason. (I certainly learned some surprising things when I asked as a adult!) Perhaps there is a terrific story behind one of those faces. Besides, sometimes the stories are funny — and just waiting to be told when the time is right.

Today’s photos come from a side of my family I never knew.  My aunt Dorothy’s husband, Leonard H. Holt, died suddenly a short time before I was born.

My uncle Leonard Holt, serving in World War II.

Dorothy, Holt, and Dorothy’s mother. Redwood City, CA, about 1919.

Dorothy is dressed in hiking clothes, and Holt is wearing “civvies” although he served at nearby Camp Fremont, an Army training camp during the First World War.

L. H. Holt standing in front of a Southern Pacific Railway building in San Francisco. Picture dated 1923.

Dorothy did tell me that Holt was very particular about his clothes, and had his army uniforms tailored to fit well. Look at his elegant shoes! After Dorothy died, I found some of Holt’s silk shirts (with white French cuffs and made for a detachable collar) stored in the cedar chest that once held her wedding linens — a “hope chest” as unmarried girls called them. Holt’s shirts were beautiful, in soft pastel colors or stripes that epitomized the Arrow Shirt man’s look.

I think they were married about 1925. In 1930, Holt was still in the Army, and the couple lived on the Presidio, a beautiful Army base in San Francisco.

Dorothy and Holt vacationing in the snow, early 1930s.

In spite of war-time travel restrictions, Holt’s nephew (?) Jody Holt (serving in an Army band at the time) was visited by his sweetheart “Miss Meek” and his mother (?) Sally Holt, in San Francisco. 1945.

Holt died of a heart attack not long after this happy family visit.

Dorothy was so grief-stricken that she had a sort of breakdown, and didn’t speak of him very often, but she kept up a correspondence with his large family, including the Garners (his mother’s family) in Tennessee. In 1975, someone sent her a photo of the old family home on the farm:

“The little old home on the farm, Pulaski, Tenn, Oct. 1975. Mack Holt’s Farm.”

Mack was still alive, and his new home was much larger.

Holt’s brother Mack apparently kept the old family farm, maintaining the tiny old farmhouse, and lived in a newer, larger house — a family success story. There is great information on the back of the photo, including “Mack J. Holt, Murry Drive” & “Leonard’s brother.”

The great thing about photos exchanged by mail is that they are often labeled or signed, including long notes on the back  — a treasure for genealogists.

Many of these children are Leonard and Dorothy’s nieces and nephews. The back of the picture is full of information.

The back of a photo of many Holt family children. It tells us that Holt’s sister Nina had five children, and that his sister Gertrude had children (one called Hickie) and grandchildren. I don’t know who Estelle was, but that’s a trail to follow.

This photo gave me the names of Nina and Gertrude’s husbands: (Oddly, there’s another Mahlon in the family, her uncle….)

“Nina + Howard” and “Gertrude + Mahlon”

This photo is so old that is has cracked, but luckily the faces and their names are intact: “Leonard’ s Father The Holt Boys John & Mahlon Holt.” JH is on the right.

Unfortunately,  not all the pictures mailed from Tennessee are labeled.

All I know about this couple is that they were photographed in Pulaski. Is this the same mustached man who appears far right in the large group photo below?

Perhaps there are folks in Pulaski, Tennessee, who will recognize their ancestors in this large, undated picture. (It’s 7.5 x 9″) I’d be happy to send it to someone who’d treasure it.

Studio photograph of the Holt family of Pulaski, Tennessee. There are no names on the back, but I think I recognize John Holt, standing 2nd from right, from another photograph. (He died in 1904.) I believe one of the young boys is Leonard H. Holt.

The woman seated center in this photograph appears to be wearing a mourning hat and black veil.

Detail of woman in widow’s cap.

Could the man seated in front, with a large mustache, possibly be this mystery man, photographed with both Holt and Dorothy, probably in the 1920s?

Unknown man with very large mustache, standing with Leonard H. Holt, probably at the Presidio in San Francisco, probably 1920s.

Mustached mystery man with Dorothy Barton Holt, probably at the Presidio in San Francisco, and, judging from her clothing, in the 1920s.

I believe this man was a visiting relative — there are many pictures of him. I could easily believe he’s from Tennessee….

[For any genealogist interested in the large group picture — or in any of these people, I believe these are relatives of Leonard H. Holt, born in Pulaski, Giles County, Tennessee on February 2, 1893 or (probably) 1894. His parents were John Richard Holt (1868-1904) and Metta Ann Garner (1868-1939).  Their other children included Gertrude “Mamie” Holt (1893-1986), Katrina “Nina” Holt (1897 – ?), and McCallum “Mack” Holt (1900-?) My Uncle Holt (his wife never spoke of him by any other name) died of a heart attack while serving in California in 1945. At the time of his death, according to his wife, he held the rank of captain. They were childless. I think he was a Freemason, and Dorothy belonged to the Eastern Star — for those who can search such records. I have many photos of Holt family relatives, and no one to give them to.] You can contact me through witness2fashion@gmail.com

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Patterns of Fashion Book Series Continues!

Cover image from Barnes & Noble website.

Very welcome news to costumers is that the great Patterns of Fashion book series begun by Janet Arnold, who died in 1998,  is being continued. Arnold wrote three gridded pattern books, (Patterns of Fashion 1660 to 1860, Patterns of Fashion 1860 to 1940, and Patterns of Fashion 1560 to 1620, and I just received information from the Costumers’ Alliance about a British source that is continuing her work.

Jenny Tiramani, principal of the School of Historical Dress in London said:

“Please tell people that we have decided not to use a distributor or to put the book for sale on Amazon. They take too much money and we need the funds to keep the school going and to publish Patterns of Fashion 6 & 7 which are both already in the pipeline!

We will be selling the book ourselves from our School of Historical Dress webshop and will try to give a good price for those people buying the book in countries far flung from the UK.

[Patterns of Fashion] 5 is in China being printed next week and published 31st October. …We need all the publicity we can get as the publisher of all future volumes of the series!”
Please support this incredibly rare and precious resource, the School of Historical Dress!! Here is where you can find their web site.

Click here to find out about current and upcoming volumes of Patterns of Fashion, plus other relevant publications.

Mantua, Late 17th century, Collection of the Metropolitan Museum.

Other books include Seventeenth Century Women’s Dress Patterns (Vols. 1 & 2), and Waistcoats from the Hopkins Collection c. 1720-1950 “The waistcoats are shown with close-up details of its shape, construction and decoration, alongside images of people wearing similar styles from the same time period.” Janet Arnold’s other books are also available.

(One virtue of the Patterns of Fashion Series — aside from the meticulous research — is their large format: printed on extra wide paper, the scaled patterns are easy to refer to while you are working.)

Patterns of Fashion 4 covers body linens 1540 to 1660 — “the linen clothes that covered the body from the skin outwards. It contains 420 full colour portraits and photographs of details of garments in the explanatory section as well as scale patterns for linen clothing ranging from men’s shirts and women’s smocks, ruffs and bands to boot-hose and children’s stomachers.

 

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Shirtwaist Dresses, 1939

Companion-Butterick 8459, a shirtwaist dress, appeared on the cover of Butterick Fashion News, July 1939.

It was featured on the back cover, too, and several other “shirtwaist” dresses appeared in this flyer. The 1939 shirtwaist could be casual or dressy.

If the text didn’t describe this as a “beautifully detailed shirtwaist dress,” I wouldn’t have classified it that way. Companion-Butterick 8459, July 1939.

Companion-Butterick 8459 does not button down the front, and the bodice is not a separate piece. Clever darts created the shape of this easy to make, pull-over style.

Companion-Butterick 8459, from back cover of BFN flyer, July 1939. A zipper in the side seam would allow you to pull the narrow waist over your shoulders.

Butterick 8459 used only four pattern pieces. Back cover, BFN flyer, July 1939.

Butterick shirtwaist dress 8479 uses pocket flaps as belt carriers. July, 1939. [Note the seamed stockings in the back view.]

Butterick 8466 combines a shirtwaist dress with a coordinating jacket. BFN, July 1939.

This dressy shirtwaist is Butterick 8497. BFN, p. 9, July 1939.

Are these shirtwaist dresses?  That’s not how they are described. BFN, p. 4, July 1939.

Center is Butterick 8493:

Right, Companion-Butterick 8483. BFN, July 1939.

Companion-Butterick 8493: “For spectator sports, wear this dress with brisk pleats in the skirt, and a pocket individualized with embroidery.” Sizes 12 to 20, 30 to 44.

I love this two- (or three-) toned dress with a zipper that runs all the way down the front.

Butterick 8470 has a zipper running from neckline to hem, but it isn’t a housedress.

[For more about the popularization of zippers in women’s clothing during the 1930s, read “Zip” Part 1 and/or Part 2. ]

Even fancier is this print dress made from “sheer” fabric:

Butterick 8486 looks like a shirtwaist to me — its bodice opens with buttons to the waist

The shirtwaist dresses that were a staple of my college wardrobe in 1962 were constructed like this; they buttoned down the front, usually to a concealed placket below the waist. (This 1939 version probably has a zipper opening in the side seam.)

Obviously, I can’t define “shirtwaist dress” from the way the Butterick Fashion News flyers use the term…. But I still appreciate their convenience and versatility.

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Filed under 1930s, 1930s-1940s, Companion-Butterick Patterns, Hats, Hosiery, Hosiery, Sportswear, Vintage Accessories, Zippers