Category Archives: 1930s

White Dresses for Summer, July 1931

“First Comes White — Then White with Color;” page 25 of a two-page article in Delineator, July 1931.

White dresses — and white with color accents — were the topic of a two page article in Delineator magazine in July 1931. It even included a white coat for summer:

Butterick coat pattern 3964 was a double-breasted polo coat with raglan sleeves. Delineator, July 1931, page 25.

It was described as a polo coat, and camel’s hair twill was suggested, although pale beige or pastels could be substituted for natural camel color.

1931 is not far from the late 1920’s, so it’s not surprising to see a lot of nineteen twenties’ hipline interest combined with a nineteen thirties’ natural waist.

This summer dress, Butterick 3949, combines white with color. I thought the tennis racket just signalled “summer,” but she’s wearing athletic shoes, too. Delineator, July 1931, page 24. The “white for tennis” idea didn’t apply to casual games.

Butterick 3979 has an unusually long, curved yoke on the skirt front. Delineator, July 1931, page 24.

This skirt was only pleated and yoked in front; the entire back of the dress is one piece.

This dress has a clever horizontal line (yoke and short sleeves) making the upper body look wider, in contrast to narrow 1930’s hips, accented with strong vertical lines in the skirt.

The curving seams on Butterick 3993 give it a dressy look to me, and in spite of the tennis racket, she is wearing pumps, not tennis shoes. Delineator, July 1931, page 24. The elaborate cut of this skirt is repeated in back.

“It is the perfect frock either for playing or spectating;” I think silk shantung would be a “spectating” fabric.

Butterick 3999 is sleeveless, double-breasted and loosely bloused. Delineator, July 1931, page 24. The back view shows short sleeves.

On this dress, the flares of the six gored skirt are repeated in the back.

Financial constraints during the Depression made Delineator magazine switch to smaller and less elaborate illustrations than the glorious full color fashion pages of the mid-1920’s.

Butterick 3956 has a 1920-ish look, with its long “weskit” style bodice and yoke, but it is from Delineator, July 1931, page 25. Optional short sleeves.

“…For any sporting event — for action or the sidelines. It’s all-whiteness fairly cries for the addition of the boldly bright accessories that will ring changes in the simplest little outfit this year.” Transforming a dress with accessories was a frequent theme in the Thirties.

Butterick 3995 has a surplice-line wrapped front. Delineator, July 1931, page 25. There is a long sleeved version, too.

A vestee (a partial blouse) is usually separate from the dress, and the colored cuffs might be detachable for laundering.

All of these patterns were available in what was then the normal range of sizes for women: bust 32 to 44 inches, with hips correspondingly bigger.

Butterick 3954 shows some vestiges of 1920’s styles. Delineator, July 1931, page 25.

Butterick 3973, a simple “utility” dress, accessorized with a golf club. Delineator, July 1931, page 25. Optional short sleeves.

Butterick 3981, a white dress accented with nautical embroidery, a colorful striped scarf and matching belt. Delineator, July 1931, page 25.  Does it have a dark binding around the neckline and armholes? From the small drawing, it’s hard to tell. Short sleeve option,

It’s undeniable that white accents a summer suntan (chic in 1931) and looks cool and fresh on hot days.

Advertisements

2 Comments

Filed under 1920s-1930s, 1930s, Sportswear, Vintage patterns, Vintage Styles in Larger Sizes

Work Clothes: Bib Overalls and Coveralls

Story illustration by George Giguere, Delineator, February 1924. A young man in bib overalls receives a visit from two pretty girls. Notice the house across the street. This is not necessarily a farm.

When I began writing witness2fashion, I wanted to focus on everyday clothes, clothing for working class people. All the men in my family did manual labor — skilled labor, but impossible to do without getting dirty.

My mother (in light dress) with her older sister and her two brothers. About 1913, judging from their ages. My Uncle Harris, wearing a coverall on the right, would have been working in his family’s ice house by then.

I grew up seeing bib overalls on my father and my uncles. This is not a scholarly history of overalls, but a little tribute to a 20th century classic.

Both overalls [the word I use to refer to bib overalls] and coveralls [by which I mean mean a one piece garment with sleeves which covers the body from neck to ankle] have been around for a very long time. Early Levi jeans were called “waist overalls.”

Waist overalls from Sears, Spring 1896. The construction is like that of men’s wool trousers, with a high back and a buckle for adjusting the waist fit. “Overalls” meant a work pant — with or without an “apron” or “bib,” front. The top two were also available in a bib version: “Same as above, with apron front … and strap suspenders.”

For farmers and other men (and sometimes women) doing manual labor, the bib overall was almost synonymous with “work clothes.” It was also an ideal garment for active children.

My great-aunt with my Aunt Dorothy, my Uncle Mel, and my Uncle Harris. Dorothy was born in 1901, so this is probably before 1906. My grandmother has very sensibly dressed her boys in bib overalls.

Sears Roebuck sold overalls for children “4 to 14” as early as Spring of 1896. They called them “Brownie suits.” The model is not wearing a shirt: “Let your boy play in the healthy outdoor air this summer, dressed in a Brownie Suit. They are all the style this season.”

In 1907 the style had changed slightly.

From a Sears catalog, 1907. Overalls were made of durable fabrics and allowed a boy to “play without being afraid of spoiling his best clothes.”

The pockets seem a bit small to me, but a boy wearing these could answer the call of nature without adult assistance, since the bib suspenders unhooked from the front.

In 1907, the boy who didn’t wear overalls might wear something like this:

Clothes for boys from Sears catalog, 1907. Not really suitable for playing in the dirt.

Since overalls were made of heavy fabrics, and available at low prices from catalogs, I was a little surprised to see Butterick sewing patterns for them:

Butterick pattern 5410, for men’s overalls/coveralls, and Butterick 5365, a very similar “play suit” for young boys. Both from Delineator, 1924. Note: the word “jumpsuit” dates to World War II and is American in origin; in England they were called siren suits.

Butterick pattern 5780 for men’s bib overalls [also called apron overalls,] Delineator, January 1925. This man is a mechanic carrying a pipe wrench. My Uncle Mel, a plumber, still wore striped overalls in the 1940s and 1950s.

Overalls for boys two to twelve; Butterick 5258 from June 1924. He may be gardening, but professional farmers wore overalls, too. [And, more than 20 years later,  my Grandma bought me sandals exactly like those he is wearing. Mine were always red, bought new at the start of each summer.]

Some children wore overalls as a matter of course:

A farm family in 1934; photo from a Nujol ad in Delineator, April 1934.

For a well-illustrated article on bib overalls, as worn by farmers and others, click here.

Overalls for a “youth” and a grown man, from Sears, Spring 1929. “Fellows! The real thing! … just like Dad’s!” Left, bib overalls and a matching jacket in “Sturdy 2.20 white back denim.”

My uncle, the plumber, wore dark, denim, indigo blue overalls with narrow white stripes — and a matching jacket — in 1950. Unlike modern plumbers who wear jeans, he could crawl under a sink without exposing cleavage in back.

Sears overalls and matching jacket, Spring catalog, 1929.

“Heavy reinforcements where reinforcements are needed. Securely bar tacked at all points of strain.”  Levi Strauss used rivets to reinforce stress points — and held a patent.

One of the great things about bib front overalls was the specialized pockets.

From the Sears Catalog, Spring, 1950. Carpenters overalls, left, have ample pockets for nails, a carpenter’s rule, carpenters’ pencils, and a loop on the side seam of the leg for carrying a hammer. Painters’ and paperhangers’ overalls have room for paint rags, etc. House painters traditionally wore white overalls.

Sears overalls for painters and paperhangers, 1897. “Two pockets and knife pocket.”

If you’ve ever hung wallpaper, you’ll appreciate the knife pocket.

My father wears [once white] carpenter’s overalls in 1950. His foreman, at left, preferred dungarees and a blue work shirt. Note the foreman’s felt hat.

1956: Sears’ coveralls and overalls from Everyday Fashions of the Fifties. Coveralls were favored by auto mechanics; they had to lie on their backs to reach the undersides of cars. There’s not a baseball cap to be seen on these working class men from the 1950’s — they are wearing their old “good” felt hats.

In this illustration, a traveling salesman shows his wares to a woman he (understandably) mistakes for the farmer’s wife:

Story illustration, Delineator, February 1936.

However, overalls could be beach pajamas or play suits for women in the 1930s:

Masthead illustration by Leslie Saalburg for Delineator, March 1932. She’s not wearing a top under her overalls.

These pajamas were suggested for tennis in an ad from Delineator, June, 1932. They look like a trip hazard to me.

Women had worn men’s overalls when doing factory work in the First World War.

American woman in Ladies' Home Journal, August 1917.

American woman, Ladies’ Home Journal, 1917.

They also wore them during World War II, but this 1940’s sewing pattern is for work or play:

Anne Adams sewing pattern 4350 circa 1942.

My father still wore overalls from time to time after he retired in the 1970’s. This striped pair have big, removable pockets attached with a zipper.

Striped overalls worn on a fishing trip, 1970s — better than gutting fish in your good trousers and shirt!

He’s  standing in a basement laundry room. Automatic washing machines may explain why many workers now wear chinos or jeans instead of overalls.

Here are some overalls for children from the 1940’s:

Overall-styled play suit (with matching jacket) from Butterick Fashion News, October 1943.

An overall/play suit very like the back-baring beach pajamas of 1932, with narrower legs. Butterick Fashion News, August, 1948.

Overalls for children continue to be popular. These brand new striped overalls from OshKosh are faded and aged before being sold.

I don’t remember these, but here’s proof that I used to wear overalls, too:

Witness2fashion in overalls, early 1950s. The curls and the hair bow were my mother’s idea.

What’s with the dirt piles? My father was a housemover; the house behind me is “up on blocks” and on its way to a new location.

A house being moved from one location to another, California, 1950s.

In England, “housemovers” move furniture, but in my part of the world, where wooden houses survive earthquakes better than stone or brick ones, housemovers could separate a house from its foundation and move it to a new location, often miles away, while keeping it perfectly intact. It was definitely skilled work.

P.S. The Vintage Traveler supplied a link to the article in Paris Review: The Jumpsuit That Will Replace All Clothes Forever. We’re not convinced.

4 Comments

Filed under 1900s to 1920s, 1920s, 1920s-1930s, 1930s, 1940s-1950s, 1950s-1960s, 1960s-1970s, Boys' Clothing, Children's Vintage styles, Menswear, Old Advertisements & Popular Culture, Sportswear, Uniforms and Work Clothes, Vintage Garments: The Real Thing, vintage photographs, Women in Trousers, World War I

Work Clothes Patterns: Doctors and Dentists

An artist’s idea of an operating room, Delineator, Sept. 1934.

Anyone who grew up — as I did — watching the 1931 movie Frankenstein every time it was on TV will probably associate these long surgical gowns with Colin Clive shrieking, “It’s alive! It’s aliiiiive!

But it never occurred to me that Butterick would offer sewing patterns for surgical gowns and dentists’ smocks. We now order such things from specialty uniform supply houses.

Butterick pattern 5306 is a doctor’s operating gown and cap. From Delineator, June 1924.

I hope no doctor operated in his spats…. And — maybe it’s the test tube — but there’s a touch of Gene (Young Frankenstein) Wilder in his eyes.

Butterick suggested it was “much less expensive” to make gowns like this than to buy them.

During World War I, Red Cross Volunteers made surgical gowns, robes for hospitalized soldiers, specialized pajamas for hospital and convalescent use, hot water bottle covers, bed linens, and surgical dressings, among other things.

Patterns for these officially approved hospital supplies were available for ten cents; this article ran in Ladies Home Journal, Delineator, and other women’s magazines in the fall of 1917. These images are from Ladies’ Home Journal, December 1917.

LHJ, Dec. 1917. The urgent need for such hospital supplies brings home some of the horror of the war, in spite of government censorship at the time.

From LHJ, December 1917.

“Already the needs are greater than the supplies available….” American women wanted to help, but their efforts needed to be directed toward the most urgent medical needs in 1917 and 1918.

So the idea of sewing home-made operating gowns was not at all strange in 1924.

A pattern for a dentist’s gown was also offered by Butterick:

Butterick 5426, a pattern for a dentist’s gown from Delineator, August 1924.

The basic dentist’s gown didn’t change much, except that short sleeves were introduced….

A dentist and his nurse in an ad for citrus fruits. Delineator, June 1934.

Although Butterick assumed that dentists were male in 1924, my friend Barbara collected this interesting vintage garment for a woman, thinking it would have suited a pharmacist or other woman working in a medical field:

This looks like a woman’s work uniform top; the 3/4 sleeves suggest the World War I era. The neck is plain, and it’s easy to wash and iron.

Do you think she was right?

6 Comments

Filed under 1900s to 1920s, 1920s, 1920s-1930s, 1930s, Menswear, Old Advertisements & Popular Culture, Shirts and Blouses, Uniforms and Work Clothes, Vintage Garments: The Real Thing, World War I

Great Aunt Cora: From Victorian to 1930s

EDITED 4/14/2018: Well, this is awkward…. Weeks after writing this post, based on photos identified by my late Aunt Dot, I finally located information about when my Great Aunt Cora and her sister Laura died. Cora, Mrs. McGarvey, died on December 31, 1924. Laura, the city librarian, died in an automobile collision in 1936. That means that the woman in glasses in this photo, whom I identified as Cora, is actually Laura.

Cora [Laura], an unknown man, and Alice, in the 1930s.

So it was Laura who wore short skirts in the 1920s, and horn-rimmed glasses, and worked outside the home for most of her life. Cora was not the merry — or at least, cheerful — widow that I thought she was. It was Laura who took road trips and adapted to changing fashions as shown in these photos.

This is definitely Cora, because she wrote the inscription on the back of the photo herself — “To Sister, From Aunt Cora.”

Cora as a young woman; there is a pretty comb or hair decoration in her bun. Her strong profile is one way I can distinguish her from her sister Laura, but it’s not always easy. [EDIT 4/17/18: No kidding! I often got it wrong — and so did my aunt, who still knew them when she was an adult.]

EDIT 4/17/18: Beyond this point — beware of unreliable identifications and deductions regarding Cora!

Left, my Great Aunt Alice; right, her older sister, Cora. Early 1900s. The unexpected bow in Cora’s hair may be an early indication of her un-stodgy fashion sense.

As I try to sort family photos, I am also trying to sort out their stories. At dinner last night, my husband gave me a strange look and said, “It’s hard to realize that you knew people born in 1875.” Well, I only knew them insofar as a child can know an adult, but I have vivid memories of my Aunt Alice in her seventies, still witty and clever. I wish I had known her older sisters, Cora and Laura.

Cora was the eldest, born in 1867.

Cora Barton as a child. She was born in California in 1867, the eldest child of five. [EDIT 4/17/18: this may not be Cora, in spite of what my aunt Dot wrote on the back of the photo. It was more common to photograph the firstborn child, especially if it was a boy: Cora’s brother Charles was born in 1862, when very young boys were sometimes dressed like this.]

When you think of the rapid change of Euro-American fashions in the 20th century (and before) it is extraordinary how often women had to adapt to new ideas — in clothing, and in concepts of modesty and propriety. [EDIT 4/17/18: At least this — the point of sharing all these photos — is true.]

Cora and Laura came into their teens in the era of outrageous 1880’s bustles. As the daughters of a Methodist Episcopal minister, they didn’t have a big budget, and it must have been important to look “respectable.” Here, they are reclining informally with a friend at a photographer’s studio:

Cora and Laura Barton with their friend Alice Mason. Probably late 1880s. [EDIT: No reason to doubt this photo — although the names of the sisters may not be in order….]

In 1920, she sent this old portrait photo of herself to her niece Dorothy, nicknamed “Sister” or “Sis” because she came along after two brothers. The back says, “To Sister, from Aunt Cora, July 1, 1920,” but the hair style is much earlier.

Cora as a young woman; there is a pretty jeweled comb or hairpin in her bun.

At the time of her marriage, the local newspaper reported that she had “had charge of the city library” for a number of  years. (Did they confuse her with her sister Laura, or did one replace the other as librarian?) [EDIT 4/17/18: Maybe everyone had trouble telling them apart?]

[Probably] Cora — who became Mrs. William McGarvey in 1896 — sitting on a porch hammock; probably early 1900’s.

She is wearing a shirtwaist with a collar that could accommodate a mannish, detachable stiff collar. They often appear on turn-of-the-century American women drawn by Charles Dana Gibson.

And she looks very sad.

Cora Barton McGarvey [EDIT: or this could be Laura….] in a shirtwaist blouse. I don’t have the expertise to date it precisely. This is one of the few pictures in which she looks like the eldest of the three sisters.

EDIT 4/17/18: Anything about Cora from this point on is suspect; she was married to Mr. McGarvey; the 1900 census information is correct; but she is not the woman identified as Cora in these photos.

I can’t say that her marriage was an unhappy one, but, as you will see, widowhood seemed to suit her. In the 1900 census, her two adult sisters were living at the same address as the McGarveys. William McGarvey, accountant, was listed as head of household, Cora as wife, and her sisters Laura and Alice as “servants.” There was one male “servant” or farmworker, and no mention of children. Cora’s husband died in 1918.

In the 1920 census, Cora was a widow, Laura was the city librarian, and Alice was a clerk at the county courthouse. Laura was listed as head of household, and her sisters were listed as her “partners.”

At 54, Cora [no, Laura], top left, looks quite fresh and modern in her checked dress in this photo from 1921. Her youngest sister, Alice, is holding their baby nephew. Do Cora and Laura [No, Cora] (in sweater) have cropped hair? It’s more likely that they have just cut bangs.

From this point on, Cora [Laura] wears glasses — and not “old lady” wire-rimmed glasses — “modern-in-the-twenties” horn rims.

Cora [No, Laura] eating watermelon on a road-trip vacation, 1920s.

Here’s another photo from the same vacation:

My mother, center, flanked by, on the left, her Aunt Alice (born in 1875) and right, her Aunt Cora, (born in 1867)  [EDIT: no, it’s Laura, born in 1869] climbing a hillside on their trip to Catalina Island, 1920’s. They don’t look at all like the stereotyped older women in 1920’s advertising or movies — no long skirts, no dark dresses, no lace collars. (However, their skirts are not as short as their 20-something niece’s.)

A reminder of the drastic changes in fashion they experienced —

Here are Cora [?] and Alice as they looked in their thirties:

The Barton sisters wearing the “pouter pigeon” look of the S-Bend era, probably before 1910.

And here they are in their fifties:

Left, Alice (b. 1875;) center, their sister-in-law, also born in 1875; and right, Cora, born in 1867 [EDIT: It is Laura, born in 1869.] These “late Victorian” women have all adopted short skirts and bobbed hair during the 1920’s.

And they kept right on wearing up-to-date clothing. Here, they have even adopted sleeveless dresses — these women who grew up wearing high collars, long sleeves, and floor length skirts.

Cora, an unidentified man, and Alice, in the 1930’s. [CORRECTION: Laura, probably her brother John, and Alice — the three surviving siblings. John died in 1934.]

They looked like they were having a good time on that vacation with my mother….

Cora [No, Laura], on the left, enjoying watermelon from a roadside stand, 1920’s. Cora/ Laura almost seems to be flirting with the camera. My mother is on the right.

I liked Cora’s playful pose so much that I tried to paint her:

“Watermelon Stop No. 2”

I wish I’d known her.

Cora, a sister-in-law, Laura, and Alice dressed as hoboes; note the little brown jug in Cora’s hand. Probably before 1910. [Edit: Or: Laura, a McGarvey sister-in-law, Cora, and Alice.]

P.S. If the story of fashion for older women interests you, be sure to visit the American Age Fashion blog.

 

 

11 Comments

Filed under 1860s -1870s fashions, 1870s to 1900s fashions, 1920s, 1920s-1930s, 1930s, Children's Vintage styles, Costumes for the 19th century, Hairstyles, Late Victorian fashions, vintage photographs

Also Very Thirties: Great Big Collars

Butterick dress 5391 from March 1934 has a great big collar with matching cuffs. Delineator magazine.

A while ago I posted a collection of fashions that featured over-sized bows, which were “Very Thirties.” Today’s featured nineteen thirties’ look is Great Big Collars.

Great big collars didn’t necessarily have that “Puritan” look, but many of them did.

Butterick 5688 from Delineator, May 1934.

Butterick 5870 claimed to be based on a design by Lanvin. (I wouldn’t care to sit for long on all those big, big buttons….) Left, illustration from Delineator, September 1934, Right, photo of the pattern constructed, from Delineator, August 1934.

Digression EDIT 3/18/18: In response to a question from Christina, I looked for more information on these two images, and found that, in August, the dress design was supposedly from Lanvin, and in September, it was attributed to augustabernard:

https://witness2fashion.files.wordpress.com/2014/02/1934-aug-p-62-lanvin-dress-pattern-7870-text.jpg?w=500&h=367

From Butterick’s Delineator magazine, August 1934, p. 62. “Jeanne Lanvin’s button-down-the-back dress….”

Pattern description of Butterick 5870 from Delineator, September 1934. This time, the design is supposedly inspired by augustabernard. I guess that answers the question I posed back in 2014: When Is a Designer Pattern Not a Designer Pattern?

End of Digression.

Photography was just beginning to be used in the less expensive fashion magazines. I love seeing the “fashion ideal” alongside the fashion reality. What an awkward pose that model has had to take!

The illustration on the left seems to show a double collar, which was definitely a fashion “thing.”

Versions of Butterick collar pattern 5952, Delineator, November 1934.

Collars and scarves could change the look of a dress for the office; Delineator, November 1934.

Butterick dress pattern 5854 has a double collar and “don’t order soup while wearing these” cuffs. September 1934. Photo by Arthur O’Neill.

Butterick dress pattern 4564 has a soft, sheer double collar. June 1932.

Butterick dress 5785 from Delineator, July 1934. This sheer double collar is probably a stiff organdy — which would be crushed by a winter coat.

Butterick dress 5854 has a double collar and double cuffs. Delineator, August 1934.

These collars would make any woman look like the perfect secretary or executive assistant.

Some collars could also be changed from one dress to another, which helped to make a small number of dresses look like a more extensive wardrobe. This was practical fashion for the Great Depression. [For other examples of changeable collars, see One Good Dress in the 1930s,  or   More Button-On Collars.]

Here are some Great Big Collars I have shown before, but these are clearer images:

A great big double or triple-layered collar, Butterick 4797, was featured in an article about “new life for old clothes.” Very timely, in December of 1932.

Another version of Butterick collar pattern 4797 from Dec. 1932.

A new collar was cheaper than a new dress, and several collars could make one dress seem like a larger wardrobe — this was during the massive unemployment of the Great Depression, after all.

This V shaped collar has a high neckline to cover whatever “antiquated” neckline was already on your dress or sweater. Delineator, December 1932.

This similar V-shaped collar was part of the dress:

This vintage dress with a great big collar reminds us that black and white images don’t always give a true idea of what was being worn.

Butterick dresses from November 1934. Delineator. One has a great big collar; one has a great big bow (two, actually.)

Not all great big collars were so attention-getting. These dresses were recommended for the college girl:

September 1931: a dress for college. Butterick 4058 has barely a trace of 1920’s fashion. Delineator.

Butterick 5812, another double-breasted dress for college, from August 1934.

Sometimes crisp and business-like, a big collar could also be soft:

This big collar is an important part of the dress’ asymmetrical design. Butterick 4564 from June 1932.

Butterick 4558 from June 1932 also has a surplice closing. Delineator.

This big collar appeared on an evening dress for women over forty:

Butterick 5924 — “smartness at forty’ =– uses its large, cape-like collar to camouflage upper arms. Delineator, November 1934.

Big collars were not just for grown-ups:

Butterick girls’ dress pattern 4416 from April 1932. Delineator.

And, remember, big collars did not have to be white:

A woman in a big, checked collar visits her butcher. [Prime rib was probably not on everyone’s menu in 1934.] Delineator.

Speaking of dresses for secretaries: I can never resist a plug for the pre-Code movie Baby Face.

Movie Recommendation: Baby Face, 1933
If you watch the movie Baby Face, from 1933, you’ll see Barbara Stanwyck in many variations of the simple dress with accessories, as she literally sleeps her way to the top. This is a Pre-Code picture, a lot more frank about sex than movies were 20 years later! (In some versions, it begins with this teenaged girl’s father clearly prostituting her to the patrons of his dive bar.) Armed with determination, cynicism, and a series of ‘secretary’ dresses, she works her way to the penthouse suite – and a much more glamorous wardrobe.

 

 

12 Comments

Filed under 1930s, Accessory Patterns, Children's Vintage styles, Dresses, Old Advertisements & Popular Culture, Uniforms and Work Clothes, Vintage Couture Designs, Vintage Garments: The Real Thing, Vintage Styles in Larger Sizes

Summer Evening Gowns, 1936

Four Vogue evening patterns, Ladies’ Home Journal, July 1936.

Evening gowns were the topic of two articles in Ladies’ Home Journal, July 1936. One featured four Vogue patterns which women could make at home; the other was more inspirational, showing evening dresses and jackets, photographed in color by Edward Steichen.

Evening Gowns from Vogue Patterns, 1936

“We thought of Saturday-night dances and twilight roof-garden dining when we chose these delicious, simple summer evening dresses. Haven’t they the Vogue look about them — in their clear-cut lines,and their new fashion points?” — text from Ladies’ Home Journal, July 1936.

Vogue 7403, 7369, and 7386. LHJ, July 1936. A corsage doesn’t have to be worn on the shoulder….

“First we must tell you about that luscious blue shade. None other than “bluebonnet blue,” the official fashion color for the Texas Centennial this summer. We suggest one frock in this shade if you can wear it, preferable in marquisette or organdy. ”

The Dreamstress.com has a lovely, illustrated article about marquisette.

Butterick 7386, in bluebonnet blue, is “low-cut” but has a sheer bolero jacket cover-up. LHJ, July 1936.

“The low-cut dress No. 7386 has long-sleeved bolero jacket, giving the costume real versatility.”

Vogue 7403 has a tunic top. LHJ, July 1936.

“No. 7403, with its new tunic and tiny cap sleeves cut in one with the blouse is shown in flowered marquisette. It is ‘Easy-to-Make.’ You might prefer lace.”

Vogue 7369 is double-breasted all the way down, with the width of the front panel increasing. LHJ, July 1936.

“No. 7369 is double-breasted all the way down, and trimmed with saw-tooth edging, of embroidered organdy here. Any sheer crisp cotton would be nice.” Rickrack used so that only half of it showed was a popular trim in the mid-thirties.

Vogue 7403, 7369, and 7386. LHJ, July 1936.

Vogue 7400 was recommended for those who don’t feel comfortable in sheer chiffon or organdy. This evening gown can be made from cotton or linen. LHJ, July 1936.

“At least one girl in every crowd feels foolish in floating chiffon, or even organdy. For her, a tailored frock like No. 7400, in bird’s-eye pique or printed linen. You can see it’s an ‘Easy-to-Make.’ “

I appreciate the idea that not every woman wants to look soft and delicate.

In the same issue, photographer Edward Steichen was assigned a group of apparently store bought dresses (not credited) on models grouped around a piano. The two-page layout shows the fashion for very large scale prints. In 1936, women’s magazines like Delineator and Ladies’ Home Journal were still experimenting with photographs instead of fashion drawings, so this full-color spread was an expensive experiment.

Evening dresses photographed for Ladies’ Home Journal by Edward Steichen. July 1936, page 18. Like Vogue 7385, the one on the left has a matching jacket. The one on the right seems inspired by the early 1800’s — or a nightgown.

Large scale feathers were a popular fabric print, perhaps the influence of Elsa Schiaparelli. The cream colored dress has a sheer top layer. LHJ, July 1936, p. 18.

A large scale floral print dominates this gown in a burgundy/dark green combination that was popular. [I have childhood memories — 1940’s — of many gray- wine-and-dark-green drapery and upholstery fabrics, and a color print that seemed to appear in every motel….] The feature article on evening dresses was called “Midsummer Nocturne,” written by Julia Coburn.

On the facing page were two more large-scale print fabrics and what appears to be red marquisette or silk netting.

Three evening gowns photographed by Edward Steichen for Ladies’ Home Journal, July 1936, page 19. The red and the white dresses are very sheer, probably netting or marquisette.

Left, a large-scale floral print on a black ground is spectacular. With such a dramatic fabric, the gown can be very simple. The red gown has a modest layer of sheer marquisette fabric covering a minimalist under layer.  Large horizontal tucks give interest to the skirt. LHJ. July 1936, p. 19.

The combination of a bold, stylized floral design with a sheer white gown is interesting:

A bold linen jacket covers a delicate net dress. LHJ, July 1936, p. 19.

All the sleeves on these two pages are full and puffy at the shoulders — a hint that wide shoulders are  a  coming fashion.

Here is the text written by Julia Coburn to accompany these photographs.

The “white-coated gentlemen” would be wearing summer dinner-jackets:

An off-white, double-breasted dinner jacket worn with tuxedo trousers. Esquire, July 1934.

An off-white dinner jacket was illustrated using cut-outs of the actual fabrics in Esquire, July 1934.

For more about gentlemen’s summer evening dress, click here.

 

1 Comment

Filed under 1930s, Vintage patterns

Fashion Transition: From 1920’s to 1930’s

https://witness2fashion.files.wordpress.com/2015/03/sears-hems-fall-in1929-1930-1931-500.jpg?w=443&h=500

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

Higher Waists and Longer Hems

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Butterick blouse 3968, July 1931.

Tunic Blouses for Transition — Again

https://witness2fashion.files.wordpress.com/2015/05/1924-dec-p-30-color-old-dress-btm.jpg?w=502&h=445

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

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

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

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

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

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

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

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

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

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

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

2 Comments

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