Category Archives: Accessory Patterns

Before “Twenties’ Fashions” Had That Twenties’ Look

Fashions for women from Butterick patterns, February 1924. Delineator Magazine, page 32.

The iconic look of nineteen twenties’ fashions — dropped waists, short skirts, an emphasis on youth — didn’t really dominate until the latter half of the decade. These styles from 1924 don’t suggest flaming youth.

Butterick coat 5055 with skirt 4743, from 1924.

These outfits from the tubular twenties have very long skirts, just exposing the ankle area. Women’s hemlines are not much changed from 1917. The 1924 Butterick suit coat shown above, from the lower left of the page, not only looks matronly to me, it reminds me of the suits of 1910, although the body ideal is quite different.

More suits from The Gimbel Book, a 1910 catalog in the Metropolitan museum collection.

Another suit, from the Bendel Collection, by French designer Jenny has a vague twenties’ look, hinting at a lowered waist, but it is actually from 1914. Here’s a closer look at that Butterick style for 1924:

The coat is long, the bust is low, and the waist is ignored. 1924. Butterick also sold the hat pattern, a Tam-o Shanter, No. 4886.

An illustration from later in 1924 shows that this shapeless look (with the same hat) was not necessarily for older women:

Butterick hat pattern No. 4886, is worn with a coat (Butterick 5120) and matching skirt (Butterick 4983.) in Delineator, April 1924.

Returning to the top of page 32, a “box coat,” elaborately embroidered using Butterick transfer pattern 10181, is at left. The dress worn under it does have a dropped waist.

At left, Butterick’s box coat pattern 5052 over dress 4721. From 1924. The outfit at right is made from coat pattern 5051 over dress 4789.

Butterick coat pattern 5053 treats the female body as a long cylinder, although this pattern was available up to bust size 46 inches, which assumed a proportionately bigger hip measure.

Left, a “coat dress,” Butterick 5054, with embroidery pattern 10191; right, a mannish suit made from “sack coat” 5040, blouse 4790, and skirt 4753. Delineator, Feb. 1924, page 32.

The sack coat (as in the traditional sack suit worn by men) is shown with a Butterick hat pattern, 4973. From 1924.

Here’s another illustration of hat 4973, worn by a much more girlish model, from April of 1924.

This last coat, from the lower right side of page 32, is rather charming, perhaps because it looks more like the fashions to come:

Butterick coat pattern 5032, Delineator, February 1924.

The model is drawn as a teen; her hem shows just a bit more leg, and the coat’s pin-tucked trim on cuff and collar hints at an Art Deco influence.

Butterick coat 5032 — with a swirling button — and cloche hat pattern 4973 again.

When I look at these styles, I can hardly wait for the “real” twenties to begin. As in the 1960’s, styles favored by young women and teens became dominant as the decade progressed.

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Butterick Vacation Wardrobe for $25, 1933

You could make a complete summer vacation wardrobe — six outfits — for just $25 from a set of Butterick patterns. Delineator magazine, May 1933, p. 69.

The Butterick company’s target market in the 1920’s was upscale; there were regular reports on French fashions, and even a new column giving women financial advice during the stock market boom of the late twenties. But in this Depression Era article from May, 1933, the emphasis is on economy.

The accessories suggested include some rather elegant shoes, a sweater, and, as explained in the text, only one hat that you couldn’t make for yourself.

I’m not surprised that those shoes were expensive.

A Store-bought black straw hat for summer, 1933. Delineator, May 1933, p 69.

A store-bought sweater and a home-made hat, May 1933; Delineator.

Other gloves and hats could be made from Butterick patterns:

Butterick glove pattern 5135, hat pattern 5126, and clutch purse No. 3131. Delineator, May 1933.

Notice the extended shoulders on most of these clothes.

Butterick Skirt 4908, worn with a sweater and coat 5043; next, dress 5019  in a fine print; “tennis dress” 5104 made in white; and afternoon dress 5095 in a floral print voile fabric. May, 1933. Delineator magazine.

In addition, a print suit (a dress plus jacket) and a “Letty Lynton” – influenced evening gown were part of the twenty-five dollar wardrobe.

Butterick evening gown pattern 5069 from May, 1933.

The stiff, sheer layered sleeves show the influence of Adrian’s design for Joan Crawford in the film Letty Lynton.

Butterick jacket dress 5107, 1933.

The $25 budget didn’t include accessories, not even the ones made from Butterick patterns.  However, there is an emphasis on the need for wardrobe planning:  coordinating your pieces so that they can all be worn with either black or white accessories. (And, if you could afford a vacation in 1933, setting some limits would definitely make packing easier.)

The cost per outfit of making the $25 wardrobe. Delineator, May 1933. Page 69.

The cost of the Butterick patterns themselves ranged from fifty cents (the jacket dress or the evening gown) to thirty-five or forty-five cents for the other dresses, and twenty-five cents for the hat pattern, which included three styles. I wonder if the big, stylish buttons were included in the price estimates.

In 1936, a woman fresh out of college could expect to earn about $80 per month. According to one article, on this salary, she could even afford to take a vacation…. https://witness2fashion.files.wordpress.com/2014/03/1936-oct-working-college-grad-woman-budget-end.jpg?w=500

She can “join a savings club and see the world. Happy landing, we say.” — Woman’s Home Companion, October 1936.

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Butterick Hats and Dresses for May, 1933

Butterick hat pattern 5126, Delineator May 1933, page 70. The version at the bottom has complex self trim passing through two rings or buckles.  The others have rows of decorative top-stitching.

Description of Butterick hat pattern 5126, from 1933.

Although pattern companies still sell hat patterns, it’s always a pleasant surprise to find traces of a vintage hat pattern. Butterick hat pattern 5126 was featured on the same page as five outfits for May of 1933. The fashion for matching your jacket lining to your hat would be easy if you made your hat yourself — or had your dressmaker do it.

Butterick patterns from Delineator, May 1933. Page 70. Butterick 5105, 5108, 5109, 5107.

Butterick 5105 is shown with a contrasting top; Butterick 5108 has a wide-shouldered weskit. 1933.

Butterick 5105 and 5108 have the very long skirts of 1933.

The coat of Butterick 5109 is shown in three-quarters length; Butterick 5107 uses the same fabric for the blouse, belt and hat.

Butterick coat 5109 over a skirt and blouse ensemble; right, Butterick dress and jacket ensemble 5107. Delineator May 1933, p. 70.

An alternate view shows coat 5109 at full length; the full-sleeved matching underdress is shown with a light bodice and dark skirt to match the coat.

Butterick coat and dress ensemble 5109; Butterick suit 5107. Delineator May 1933, p. 70. No. 5107 is cut with very wide shoulders, and the jacket is lined with a plaid fabric that shows when the scarf-neck is tied. The fullness of the sleeves taken in with tucks and top-stitching. The hat matches the jacket lining.

The fashion editors of 1933 noted the emphasis on wider shoulders, which was attributed to Schiaparelli’s influence. As the year progressed, shoulders became wider and sleeve caps became puffier in an attempt to make hips look narrow by contrast. (The shoulder pads and long skirts of the 1980’s had the same purpose.)

Butterick pattern 5088, from May, 1933. Delineator magazine, p. 70.

The “lingerie boa” and sleeves with a full cap, credited to Schiaparelli. Delineator, May 1933, p. 70. Her pointy hat also shows Schiaparelli influence.

Although patterns for bust sizes 33 through 44 inches were standard for Butterick in the 1920’s, these five patterns go no bigger than a 40 inch bust.

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Maternity Patterns from 1907

Top of a full page article about Maternity styles from Ladies’ Home Journal, Jan. 1907, top of page 60.

Since Mother’s Day is approaching, this 1907 article about maternity fashions from the Ladies’ Home Journal seems appropriate. I accessed this article through ProQuest. The images were very faint and the text hard to read, so I have enhanced them.

A surprise on the same page was this 1907 advertisement for a “book” of maternity skirts, from Beyer and Williams Co., which could be purchased “made to order.” Lane Bryant is usually thought of as creating this niche market.

Ad for Fine-Form Maternity Skirt catalog, Ladies’ Home Journal, Jan. 1907, p. 60. “If not in need of a maternity skirt, remember our famous B & W dress and walking skirts….”

Back to the maternity patterns and advice available from Ladies’ Home Journal:

Since pregnancy was not mentioned in polite society, and was usually concealed as long as possible, 1907 maternity clothes looked as much as possible like current fashions. Ladies’ Home Journal patterns 2914 (bodice) and 2915 (skirt.)

The bodice was “designed by R.C. Pond,” the skirt by E. L. Phelps, and the drawings were by Anna W. Speakman. [Sometimes the ProQuest search terms are yellow-highlighted so thoroughly that the word is obscured.]

 

Back view of 1907 maternity bodice and skirt; LHJ patterns 2914 & 2915. [Here, “girdle” means belt or sash.]

Maternity clothing should be “inconspicuous in color, dark blue and black being preferable.” “Albatross” fabric could be worsted or cotton.

The bodice was adjustable:

The drawing shows the laced-up under-bodice and the hook and eye, side front  closings of the fashion fabric. [“Waist” is another word for “bodice.”]

The inner lining or foundation was tightly fitted, but laced up on each side of the front, so it could expand as needed. The fashion fabric was pleated and it also expanded. How it was possible to maintain the fashionable S-curve silhouette is not discussed.

“Maternity waist [i. e., bodice]” LHJ pattern No. 2914.

At left, an illustration of the expandable waist of the ten-gored skirt, LHJ pattern 2915.

Although the pattern was sold in waist sizes from 24 to 30 inches, the skirt could expand as much as fourteen inches at the waist and more at the hip.

Undergarments were also important; there is an emphasis on light-weight fabrics, since the usual layers of ruffled petticoats of 1907 could be heavy enough to cause a backache, even if the wearer was not pregnant.

Maternity undergarments, Ladies’ Home Journal, January 1907, bottom of p. 60. Tucks running around the petticoat and drawers could be let out as the front hem was pulled up by the baby bump.

Petticoat pattern 2913 description, LHJ, January 1907.

LHJ pattern 2913 for maternity undergarments, designed by H. C. Routery. 1907.

As an expanding abdomen lifted the skirt in front, the entire flounce could be lowered. From what I have seen, this problem was completely ignored by maternity dresses in the 1930’s.

Description of maternity corset cover pattern, LHJ 2911.

A maternity corset cover and maternity drawers (underpants), LHJ patterns 2911 and 2912 from 1907.

Description of maternity drawers pattern 2912, LHJ, Jan. 1907, p. 60.

There is the expectation that, after the baby is born, its mother will want to continue wearing these garments — they can be returned to her pre-baby size. Of course, most women probably did resort to wearing a “wrapper” housedress during the later months.

 

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Filed under 1900s to 1920s, Accessory Patterns, Maternity clothes, Old Advertisements & Popular Culture, Slips and Petticoats, Underthings, Underthings, Hosiery, Corsets, etc, Vintage patterns

Hats and Dresses for Young Women, April 1924

The young woman at left wears Butterick dress pattern 5141 with Butterick hat pattern 4973. (The cape can be removed; it buttons on.) The frilly cloche worn with Butterick dress 5167 is presumably store-bought. Delineator, April 1924, page 36.

One of the pleasures of pattern illustrations in old magazines is seeing the accessories that accompany them. I especially enjoyed these 1924 hats and dresses for “Misses age 15 to 20” (and for “smaller women.”) Some of the hats are actually illustrations of  Butterick patterns. Other hats and accessories seem to be drawn (in both senses) from a selection kept on hand at the Butterick offices.

A satin dress topped with a wide brimmed hat. Butterick dress 5173, Delineator, April 1924. Page 36.

I’ll show most of  these outfits in full at the end of this post; first, I’ll show the hat details.

This Butterick dress with cape is pattern 5099. April, 1924. The cascade of roses on the hat would be easy to duplicate.

This wide-brimmed hat has a free-form pattern on the band. It’s worn with a tunic and slip combination, Butterick 5155. April 1924, Delineator.

Right, a simple cloche with an oddly cut front brim is shown with a plaid dress and decorated gloves. Delineator, April 1924, p. 36.

At the top of page 37, a gored cloche hat pattern (Butterick 4973) is shown with a caped dress pattern, Butterick 5070. Delineator, April 1924. I love the rose inside the brim of the hat worn with dress 5136.

As on dress 5141, at the top of this post, the short matching cape on pattern 5070 is optional.

Butterick dress 5145 is decorated with a large monogram (from a Butterick embroidery transfer.) The hat is Butterick pattern 4449. April 1924. Note the wallet-like clutch purse with a handy strap on the back.

Two ways of trimming a cloche hat; shown with Butterick dresses 5114 (left) and 5082. Delineator, April, 1924, p. 37.

Clusters of cherries cascade from the hat worn with Butterick dress 5159. Delineator, April 1924, pg. 37. The dress is made from fabric printed with large roses, shown later in this post.

A pleated frill trims the front of this cloche, like a 20th century version of the fontange. Butterick dress 5165 is probably an afternoon dress. April 1924.

Another Butterick hat pattern, No. 4886, is worn with a coat (Butterick 5120) and matching skirt (Butterick 4983.) Delineator, April 1924.

For those who are curious about the dresses, here are some full-length images:

Butterick 5481 and 5167, Delineator magazine, page 36, April 1924. Even on very young women, the hems are still several inches below the knee. The hips are made snug with tucks and buttons [!]

Page 36, top right: Butterick 5076, 5151, and 5173. Delineator, April 1924.

Top of page 37; Delineator magazine, April 1924.

Bottom of page 37, Delineator, April 1924.

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Filed under 1920s, Accessory Patterns, bags, Gloves, handbags, Hats, Purses, Vintage Accessories, Vintage patterns

Fringe Fashions, December 1918

Old copies of Delineator magazine always have surprises that catch my eye.

December fashions, Delineator, 1918, top of p. 64

December fashions, Delineator magazine, 1918, top of p. 64. Butterick patterns 1276, 1260, 1255, and 1243.

Parts of the December 1918 issue were probably ready to print before the Armistice was announced on November 11, and the magazine contains many references to World War I.

Butterick doll clothing for a soldier, 402, and a sailor, 403. Delineator, December 1918.

Butterick doll clothing: “boy doll’s military suit,” pattern 402, and “boy doll’s sailor suit,” 403. Delineator, December 1918. This woman’s “one-piece dress” pattern was available up to size 44.

text-patterns-1276-402-403-1918-dec-p-65-dec-1918-btm-text

But the “theme” of the month seems to be fringe. Here is the bottom of the same page:

Butterick patterns for women, December 1918. Two are fringed, and the gold dress is trimmed with black monkey fur. Delineator, p. 64.

Butterick patterns for women, 1283, 1294, and 1305. December 1918. Two are fringed, and the gold dress is trimmed with black monkey fur. Delineator, p. 64.

Pattern descriptions for Butterick 1283, 1294 and 1305, December 1918. Delineator.

Pattern descriptions for Butterick 1283, 1294 and 1305, December 1918. Delineator.

Fringe could be light-weight, like chenille, or made from heavier silk or cotton. I have encountered monkey fur coats in costume storage. [Eeeeeek. Just as unpleasant as having the paw fall off a vintage fox fur stole.]

More fashions with fringe appeared on page 63:

The blue dress is fringed; the other is trimmed with fur. Delineator, Dec. 1918,. p 63

The blue dress (1278) is trimmed with fringe; the other outfit (blouse 1259 and skirt 1105) is trimmed with fur and decorative buttons. Delineator, Dec. 1918, p 63. Two different muff patterns were illustrated, 1190 and 9517.

In addition to keeping your hands warm, a muff often had an interior pocket that functioned as a purse.

Two more fringed day dresses, Dec. 1918. Delineator, p 63.

Two more fringed day dresses, Dec. 1918. Delineator, p 63. Butterick 1253 and waist/blouse 1263 with skirt 9865. No. 1253 is illustrated in satin; waist 1263 is in velvet, worn over a satin skirt.

More fringe from December 1918:

Butterick patterns illustrated in Delineator. Dec. 1918, page 65.

Butterick patterns illustrated in Delineator. Dec. 1918, page 65. Fringe trims the center two.

Butterick patterns in Delineator, page 71, December 1918.

Fur or fringe trims these Butterick patterns in Delineator, page 71, December 1918.  Women’s dresses No. 1294, 1309, and 1285.

Butterick patterns, Delineator, Dec. 1918, p. 68.

Butterick patterns, Delineator, Dec. 1918, p. 68. The shape of the skirt is determined by the high-waisted, curve-flattening corset of the era.

Fringe hangs from the pockets of a skirt, Delineator, Dec. 1918, p. 68.

Fringe hangs from the pockets of a skirt, Delineator, Dec. 1918, p. 68. Butterick blouse 1306 with skirt 1226. Shirt-waist pattern 1279 with skirt of suit 1101.

In October, Butterick suggested a fringed wedding gown, pattern 1169, shown again in November in a dark, velvet version:

Left, wedding gown 1169, Butterick pattern from October 1918; right, the same pattern in velvet, worn for a formal occasion. (November, 1918.)

Left, wedding gown 1169, Butterick pattern from October 1918; right, the same pattern in velvet, worn for a formal daytime occasion. (November, 1918.)

If you weren’t ready to go wild with fringe, you could carry a subtle fringed handbag instead of a muff.

Winter coats from Butterick December 1918. The woman in the center carries a matching striped muff; the woman on the right carries a fringed handbag. Delineator, December 1918, p. 66.

Winter coats from Butterick December 1918. The woman in the center carries a striped muff (Butterick 1266) to match her coat; the woman on the right carries a fringed handbag (Butterick pattern 10720.) Delineator, December 1918, p. 66.

The coat on the right is a reminder that the “Barrel skirt” or “tonneau” was [to me, inexplicably] in fashion for a while.

 

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Filed under 1900s to 1920s, Accessory Patterns, bags, Hairstyles, handbags, Hats, Hosiery, Purses, Vintage patterns, Wedding Clothes, World War I

Dual (or Triple) Purpose Apron, 1949

This is a rather peculiar multi-purpose pattern: an apron that could be used as an evening cape….

McCall Pattern 1509 for an apron, or a cape, or ....

McCall Pattern 1509 for an apron, or a cape, or ….

“And that’s not all!” as they say in those ads on TV at two in the morning. McCall 1509 could also be an overskirt, made to match your dress material, or in lace, organdy or taffeta,  and trimmed with velvet, beads or sequins:

McCall pattern 1509, the "glamour tunic apron," first appeared in 1949. Images from McCall needlework catalog, Nov. 1950.

McCall pattern 1509, the “glamor tunic apron,” first appeared in 1949. Images from McCall needlework catalog, Nov. 1950.

McCall 1509.

McCall 1509. “The new costume stretcher. It changes day dresses into date dresses…. Glamorize your dresses with the new tunic apron! It’s smart to match fabric to your dress material. Wear this style tied at front, back, on the side…. Note slenderizing effect.”

If you wore the glamor tunic over a mid-calf sheath dress, you would have two looks without having to make two dresses.

Maybe it was the words “costume stretcher,” but when I saw this pattern, I remembered a fascinating item which Joy Spanabel Emery featured in her book, A History of the Paper Pattern Industry. Butterick pattern B4408, from 1948, was a set of “Yoke, Flares, and Flounces for Skirts.”  The purpose of the pattern was “to lengthen skirts.” Click here to see it. I wonder if this McCall Apron/Tunic pattern was ever used the same way?

The black version, with velvet and bead trimmed pockets, would allow you to lengthen the skirt of the dress under it.

The black version, with velvet and bead trimmed pockets, would allow you to lengthen the skirt of the dress under it by adding fabric between the waist and the hip, and would work with almost any black sheath dress.

Why Would You Want to Do That?

During the years of the Second World War, America was “cut off” from French couture.

In England and America, regulations controlled the amount of fabric in garments.

Dior’s “New Look,” introduced in 1947,  was in part a reaction to years of fabric shortages, fabric rationing and war-time clothing restrictions.

The "Bar Suit" from Christian Dior's "Corolle" collection, 1947.

The “Bar Suit” from Christian Dior’s “Corolle” collection, 1947. American magazines called this “the new look.”

Julian Robinson’s Fashion in the Forties (which has a British slant) makes it clear that many aspects of the New Look — tiny waists, widened hips, flowing drapery and longer hemlines — were under way before the war, but fabric rationing and “utility” clothing kept women in short skirts and other late thirties’ styles until the war ended.

Slim Two-Piece patterns from a Butterick store flyer, October 1943. Patterns 2734 and 2725 have skirts that stop just below the kneecap/

Slim Two-Piece patterns from a Butterick store flyer, October 1943. Patterns 2734 and 2725 have skirts that stop at mid-kneecap, and use about three yards of fabric for the whole outfit.

Joy Spanabel Emery concisely summarized American clothing restrictions:

“In 1942, the War Production Board (WPB) issued Regulation L-85, specifying restrictions for every item of women’s clothing. The regulation essentially froze the fashion silhouette. It limited the use of natural fibers, limited full skirts to a seventy-two-inch circumference, and banned knife pleats and patch pockets (part of a ‘no fabric over fabric’ rule.) Pattern companies responded patriotically. For example, Simplicity announced ‘patterns with few pieces, made from 3 yards or less….’ ” — A History of the Paper Pattern Industry, page 136.

As in the 1929 – 1932 period, in the post-war years 1947 -1949 the fashionable skirt length dropped precipitously.

Simplicity store flyer, April 1948. Long, full skirts were a luxury after wartime scrimping.

Simplicity store flyer, April 1948. Long, full skirts were a luxury after wartime scrimping.

And, although it’s easy to make a skirt shorter by taking up the hem, it’s very difficult to make a skirt several inches longer without an obvious “patched” look. You can add a contrast band or ruffle to a full, gathered skirt and make the result look deliberate, but the dresses and skirts of the war years were made close to the body, in an effort to avoid wasting materials.

So — how could a woman on a limited budget get from this silhouette …

Left, two suits from 1943; right, a suit from May 1944. Butterick 2746, ad from Vogue, and Butterick 2979.

Left, two suits from 1943; right, a suit from May 1944. Butterick 2746, ready to wear ad from Vogue, and Butterick 2979.

… to this one?

Three Butterick suits from 1949. Butterick Pattern Flyer, Nov. 1949.

Three Butterick suits from 1949. Butterick Pattern Flyer, Nov. 1949.

It takes a while for fashions to change, since only a few people adopt a drastically new silhouette at first. But eventually, if successful, the new styles displace the older ones in the stores. By the late nineteen forties, dresses that could be made with less than three yards of material looked shockingly short.

War-time dress patterns: you could make aany of thers dresses in an average size (16) with three yards of fabric or less. Butterick 2721, 2735, 2600, and 2611;store flyer, Oct. 1943.

War-time dress patterns: you could make any of these dresses in an average size (16) with three yards of fabric or less. Butterick 2721, 2735, 2600, and 2611; store flyer, Oct. 1943.

For women used to making their clothes last for years, (and remaking them) and especially for women on a limited budget, patterns like B4408 — which offered a way to lengthen skirts from waist to hip instead of by letting down the hem — must have seemed like a very good idea (if you still had a well-defined waist).

Butterick 4408 circa 1948 from an image on Pinterest

Detail of Butterick B4408 circa 1948 from an image on Pinterest; ( I couldn’t find it at its source.)

The idea was to remove the original waistband or bodice, let out the waist-to-hip darts (if any,) and insert a new piece in the skirt  — which would be concealed by a peplum, as in B and C. Fortunately, a peplum was often part of the New Look, which exaggerated the width of the hips in order to make waists look smaller. Notice the peplum at top right in this Dior image from 1948 (from Life magazine.) I’m looking at the McCall multi-purpose apron pattern with this in mind.

McCall 1509 tunic apron used as a peplum would allow you to lengthen your old cocktail dress.

McCall 1509 tunic apron used as a peplum would allow you to lengthen your old cocktail dress.

What a cocktail dress from May 1944, might look like when lengthened with the addition of a peplum to hide a pieced skirt.

What a cocktail dress from May 1944, might look like when lengthened with the addition of a peplum to hide a pieced skirt. New hairstyle optional….

Of course I’m just speculating — which is always fun….

 

 

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