Category Archives: Children’s Vintage styles

Trying to Put a Name to Forgotten Faces

I know where this picture was taken, but not when, or who it is. Monaco, Excelsior Art Gallery, 183 Main Street, Stockton, Cal. “The most artistic photographic work guaranteed, at moderate prices.” Ben Batchelder owned several photo galleries in Stockton from 1872 to 1891, but not necessarily the Excelsior at 183 Main…. So the picture is still undated.

Once a year (usually in December) I try to remind readers to use family get-togethers as an opportunity to bring out that box or scrapbook full of old family photos and go through them with the eldest members of the family. Try to put names to the faces. Someday, someone might thank you. (And you might hear some surprising stories….) If you’re lucky, more than one person will be able to put a name to the faces in the photos.

Photograph taken by Elliott and Harkness in Stockton, California. On the back the sitter has written, “Drunk when taken.” (I think he was kidding….)

I’d like to identify this man — he seems to have had a sense of humor. And he really was better looking than the “drunk” photograph implies:

Great hat. Now, who and when was he? A member of my family? or a friend who gave his picture to a pretty girl or to a member of the same fraternal organization? There’s no name on the back.

I’d also like to date his suit, hat, etc. If I knew his name, I could probably find out what he did for a living, and where he fit in the socio-economic scale. Did he live in Stockton, which was quite a large city by the 1880’s? Or was he a farmer who came into town so rarely that he had his picture taken to commemorate the event?

These children were also photographed in Stockton. I used Pioneer Photographers of the Far West to date these photos.

Two photographs taken at the Pioneer Gallery, 198 Main St., Stockton, CA.

A photographer named Ben Batchelder was active in Stockton from 1872 to 1891, but he only had the Pioneer Gallery at this address for three years: 1884 to 1887. It’s a clue; it eliminates some possible relatives because they were too old or too young to be this age in those years. It’s nice to be able to date these photos — but it would be nicer to know more about them. The date is not enough to identify this boy and girl.

Unknown boy in suit with short trousers, big bow. Photographed in Stockton, CA, between 1884 and 1887.

Unknown girl in a wool dress that looks home-made. Photographed in Stockton, CA, between 1884 and 1887.

By the 1980’s I had only one relative I could ask about family photos from the 1880’s and early 1900’s: my Aunt Dorothy, also known as Dot. (We can usually identify our close relatives, even if the picture was taken before we were born.) However, as I try to verify names and dates from public sources, I am discovering that — in the words of literary critics — she was an “unreliable narrator.” And, since I have been using photos she identified and dated to identify other photos, I made a serious error.

I had already figured out that some of the photos I inherited from Dot were probably labeled years after they were taken.

This photo — and many taken on the same weekend — says Monte Rio, July 4, 1921. Dot is 3rd from left, and my mother is on the far right.

She seems to have had many weekend getaways in 1921: in Monte Rio, in Santa Cruz, in Truckee, plus a trip to Washington State…. Or perhaps she just remembered having a good time in 1921, and wrote that on all of them (?)

Dot (back to camera) and The Gang from the Office, Truckee, CA, 1921.

Four women in Santa Cruz, CA, 1921. Dot is third from left. For more about their clothes, click here.

Dot in Granite Falls, Washington, 1921 (She wrote.)

I’m not blaming her — doesn’t everybody have a shoebox full of (pre-digital) photos that we finally get around to putting into a scrapbook years later? Her scrupulousness about writing dates on photos and on the scrapbook pages made me too trusting. I can recognize my Great Aunt Alice, because she was still alive (and lively) when I was a child. (That impish smile in the lower left photo captures the Alice I knew: shrewd and witty.)

Alice Barton: 1900’s, 1930s, 1950s.

My very young Aunt Dot is sitting on the steps with her brother Mel (in sailor suit.) The woman in stripes, center, is her Aunt Alice (my great-aunt.) But — is the woman in white her Aunt Cora or her Aunt Laura? I’m no longer sure.

Dot said this was Aunt Laura, but I’m no longer certain. Is it Laura or Cora? (That is a terrific coat — with an enormous hat — whoever is wearing them. Note the mud splashes around the coat’s hem.)

I believed that my Aunt Dot could tell the difference between her Aunt Laura and her Aunt Cora — they were still alive when she was an adult. But… trusting her identification of photos, I think I wrote a post about the wrong one!

I thought this was Great Aunt Cora, with an unknown man, and my Great Aunt Alice, in the 1930s. Their dresses are short and sleeveless, with belts at the waist: after 1925, probably close to 1930. (Other photos I have examined recently suggest that the man is their brother, John, who died in 1934. Three surviving siblings; that makes sense.)

My research in local sources [The San Mateo County Genealogical Society has amazing databases online!] finally located Cora and Laura’s death dates: Cora died in December of 1924; Laura lived until 1936. Therefore, the woman in glasses in this photo is probably Laura, the unmarried librarian, instead of Cora, the widow. (Oops!)

I subscribed to Ancestry.com a few years ago only because I wanted to access its collection of Sears, Roebuck catalogs. (And I would recommend this to anyone who needs to research “everyday clothing” instead of couture. You’ll get more information for $20 a month than from a dozen books.) But, once I noticed that Dot’s spelling of names was quite variable, I began using Ancestry.com to try to find the correct spelling of names for the people in her photos.

Azalia Dellamaggiore (as spelled on census records) on the courthouse lawn in Redwood City, CA, dated 1918. Dot’s shadow as she takes the picture is included.

Again, Dot did her best. If you asked me to spell the last names of everyone I have met in social situations, — well, I couldn’t. Also, after you meet people several times, and think of them as friends, it’s embarrassing to have to ask them what their last names are! What was Dot — a girl with an 8th grade education — to make of a name like Dale Lucchesi — or Luchese? or Luchassi… or Lucassi? (She pronounced it Loo chee’ zee.)

Dale Lucchesi [she wrote Lucassi here] sent this photo of himself to my aunt. Early 1920s.

Dale Lucchesi [she wrote Luchessis this time] sent this charming photo of “my little brother and I” to my aunt around 1921. (Look! A sleeve garter! and a tiny boy still in a dress!)

If Dale had given her a studio portrait with his signature on the back (as many of her old beaux did) she would have figured it out. Caston Popescul signed  his:

Studio portrait of Caston Popescul mailed from Columbus, Georgia, dated 1920. (He’s retained his WW I military haircut. For reasons I don’t understand, this haircut was back in fashion in 2017!) Caston was a soldier in the American Army when he applied for U.S. citizenship in 1918.

C. Popescul and Dot Barton in Santa Cruz, 1921. (That’s what she wrote.)

Then there’s a military man sometimes identified as “Val:” Volowsky or Walasky or Walisky ….

“Volouskey” (or “Valowskey”?) changes a tire while Jack and Dot look on.

“Walasky” with a tank, on the Stanford University campus in Palo Alto, CA; dated 1920. There was a WW I military camp, Camp Fremont, in nearby Menlo Park.

Nick and “Walisky” at Neptune Beach. Dated 1920.

Dot and the soldier-with-the-hard-to-spell-name at Neptune Beach, Alameda, California. Dated 1920.

(Is that a box camera in her hand?)

Census Name Variations

I’m finding some wild spelling variations on census reports, too — possibly the fault of the census taker, or the person who happened to be at home to answer questions when the census taker knocked on the door — or a transcription error made when the hand-written census forms were typed into a database.

You wouldn’t think a four-letter name like Lipp would be a problem — but I found some Lipps under the name Siff. And Sipp. And Gipp.  Barton showed up as “Baldhoe” in 1940. So just imagine the variations I’ve found for the family of Augustus Feodorovich Moosbrugger, who emigrated from tzarist Russia at the age of 19 and married one of the Lipp girls; the name on her tombstone is “Alice Moosberger” — and my aunt Dot pronounced it “mooseburger.” Tasty!

I’m so glad someone identified this couple; it’s my mother’s father with Emma Emerson, whom he did not marry.

Dorothy’s father (b. 1862) with Emma Emerson — their names were written in pencil on the back. He married my grandmother in 1893, so this is earlier — probably 1880’s, as the dress suggests. [Taken in Stockton at Monaco Excelsior Art Gallery.]

It was a delight to find this picture:

Signed on the back, “Geo E. Meekins, Menlo Park, California.” It also says, “Age 25.” I found him in the Register of Voters: he was 25 in 1890. How satisfying!

The back of Meekins’ portrait is inscribed — in elaborate writing — “Geo. E. Meekins … Compliments to Miss Lillie M. Lipp,” Dorothy’s mother (my maternal grandmother.) Below, my Aunt Dot wrote, “Mama’s first fellow.” I think she got that one right.

Unknown woman in the snow, white fur muff and stole,  probably 1917 to 1922. I’m still looking for a photo that will identify her….

P.S. Thank you, Aunt Dorothy, for hundreds of photos!

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Great Twenties’ Styles for Girls 8 to 15: April 1929

Three Butterick patterns for girls 8 to 15 years old, Delineator, April 1921, page 38.

Three Butterick patterns for girls 8 to 15 years old, Delineator, April 1929, page 39. The legs look coltish, (as they did in 1960’s illustrations…) but the bodies have credible proportions.

The daytime styles we think of as quintessentially “nineteen twenties” have kneecap length skirts, dropped waists, a sporty air, and proportions that look pleasant on an actual female body. The elongated fashion illustrations of the Twenties are hard to imagine on a normal young woman — but these illustrations of teens look “just right” to me.

These charming and sophisticated Butterick patterns for girls 8 to 15 years old are easy to imagine on a real (and adult) person. If you’re seeking inspiration, scroll down for the details:

A suit (dress plus matching coat), a dress, and a suit made up of suspender skirt with attached blouse, and jacket. Delineator, April 1929. Only the suspender skirt (right) is a style not worn by older women.

The dress in the center looks girlish in comparison to its neighbors. On the other hand, that’s a lot of eye makeup! Delineator, April 1929, page 39.

Here are the details:

Butterick 2572 has pleasant proportions, and those bias cut chevrons at the neckline of the sleeveless dress would look just as good without the 3/4 length coat. (Nice detail: the chevrons are repeated on the coat pockets and sleeves.)

Butterick 2427 has nothing childish about it. A long tie in back is purely decorative, but flatters the figure.

The sleeve/armhole treatment is very 1920s, and the swooping curve of the yoke, balanced by a curve on the skirt yoke, is elegant and sophisticated. If you were copying these designs for an adult, a small bust dart — or two — in each side seam would be a good idea — and common in women’s patterns from the later 1920s.

Butterick 2574 has a suspender skirt. They were worn by young adults, but not by matronly types.

Butterick 2485 owes a lot to Chanel; her jersey suits and cardigan sweaters were a major influence on the acceptance of casual chic.

You could make two blouses to go with this skirt, which hangs from an underbodice rather than the waist: one dark blouse and one in a lighter color. Bingo! Two suits instead of one. (Two neckline variations are illlustrated, too.)

Butterick 2507 uses fagoting — a nod to Vionnet — in a simple shift. I think it would look better without the embroidery.

In spite of those tucks over the breast, I’m not sure this one would be flattering to a grown woman.

Crisp and made dynamic by plaid on the bias in the top of the dress and pocket. Butterick 2558, for girls 8 to 15, Delineator, April 1921, page 39.

A long-sleeved version was also possible; and of course, the plaid is zingy, but not required. This dress could be monochromatic, or made with a white or cream top and a dark skirt and trim, or in two shades — or two textures — of the same color, for a dressy look.

I can’t imagine many pre-teens getting away with the amount of mascara illustrated, but….

Actress Phyllis Haver in an ad for Maybelline Mascara, Delineator, April 1929, pg 107.

Blame it on the movies. Advertisers didn’t have photo doctoring programs in the Twenties, but they still managed to doctor photos….

A little exaggeration in an ad for Maybelline Mascara, 1929.

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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.

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Clothing Patterns for Boys, 1920’s

Butterick patterns for boys up to 17; Delineator, August 1924.

I don’t mean to neglect clothing for men, but it evolves more slowly and less obviously than clothing for women. Seeing the great sweaters and knickers on the boys who visited Mount Lowe, I remembered that I’ve been compiling a file of Butterick patterns f0r boys. Today’s focus is on pre-teens and boys up to 16 or so. [With a digression on the Butterick Deltor….]

Boys about to play an informal game of baseball, Delineator, April 1928. From an ad for Quaker Oats. The jacket on the right is very like the pattern illustrated above, and… there are two more great, patterned sweaters!

Boys had been wearing short trousers, knickers, and Norfolk jackets for some time. This is an ad from 1917, but the trousers would be much the same in 1927:

Ad for boys clothing from Sampeck Company, Delineator, May 1917.

Boys’ clothes were often very similar to men’s clothing — with the exception of those short trousers.

Suit jacket, tie, and bare knees. Butterick pattern 4840. These boys were shown in an ad for Butterick patterns. Delineator, February 1924. Clothing for pre-school boys (left) was less “manly” than for their school-age brothers.

Butterick assured mothers that they could make clothes for their children that would not look obviously home-made. Delineator, February 1924.

The Deltor was Butterick’s patented instruction sheet. In an era of blank tissue pattern pieces, identified only by punched holes and purchased in an envelope with all the sewing instructions that would fit on the envelope  — and nothing more — the innovation of a pattern that came with an illustrated “how to” guide made Butterick’s reputation. The guide was called “The Deltor.”

Bottom of Butterick pattern ad, February 1924.

Butterick patterns included a suggested fabric layout, as well as assembly instructions, but the pattern pieces were still unprinted, factory-cut tissue in this 1924 ad.

Happy ending of the Butterick ad from Delineator, February 1924.

Why boys were expected to suffer the cold — wearing trousers that ended at the knee in all weathers — I do not know. At least these aren’t flapping in the wind:

A Mackinaw coat and a polo cap from Butterick, December 1924. Mackinaw pattern 5709 for boys 4 to 16 years; cap pattern 4068 for boys 2 to 12.

Their knees might be cold, but their socks were spectacular. Butterick overcoats for boys, Delineator, September 1926. Right, double-breasted Butterick 6256 for boys 2 to 6 years; left, a man-styled overcoat (Butterick 6270) for boys 8 to 16.

This knicker suit (Butterick 7096) even has a matching vest, just like Dad’s suit. The little boy’s double-breasted overcoat (Butterick 7056) is a classic — it looks much like men’s winter overcoats today. Delineator, September 1926.

The day when a boy got his first pair of long trousers marked his entry into manhood.

A suit with optional long trousers, sized for boys from 5 to 12. Butterick 6145, July 1925. Note the short-trousered version at left, for young boys.

Butterick 5010. A boy’s shirt might still be called a blouse in the twenties. Delineator, February 1924.

A man’s soft-collared shirt was sometimes called an outing shirt or a negligee shirt. Delineator, April 1924. Both boys and men wear short neckties.

Summer meant even shorter pants — or possibly golf knickers — for boys.

From left:  Pattern 6025 is for young boys; the blazer (Butterick 4458,) golf knickers (No. 5950,) and an outfit (right) meant for hiking or camping (Butterick 5378) are for older boys. July 1925.

[Butterick Play suit 5365 will be covered when I write about Overalls, some other day.] This is another view of those “camping togs,” Butterick 5378.

Even in Africa, this was the basis for the Boy Scout uniform:

Two boy scouts in Africa; Delineator, March 1929.

Four Butterick pattterns for boys from August, 1926:  shirt 7023, short trousers 4480, windbreaker 7031, and golf knickers 5950. Delineator, August 1926.

That wide range of pattern numbers, from 4480 to 7031, is a reminder that boys’ clothes, and children’s patterns in general, have a longer fashion life than women’s clothing.

Just as 1920’s women’s skirts sometimes were attached to an underbodice that hung from the shoulders, trousers for little boys whose pants wouldn’t otherwise stay up were sometimes attached to a button-on top. Naturally, this made trips to the toilet difficult without assistance.

Talon Zippers had a 1929 ad campaign stressing that zippers would make children able to dress and undress themselves, building self-reliance.

Click to read Zippers Are Good for Your Children. How did over-the-knee socks stay up? Click here.

A page of costume research for one character in the musical She Loves Me. Sometimes, if the costume will be “shopped” or rented instead of built, a sheet like this shows the director, the actor,  and the costume shop what to expect.

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A Trip to Mount Lowe, 1920’s

I found this souvenir group photo of a trip up the Mount Lowe electric railway, apparently taken in the late 1920s.

A group photo of visitors to Echo Mountain, on the Mount Lowe scenic railroad. Late 1920s.

“At the top of the incline was perched Charles Lawrence, the official photographer, on a special scaffold from which he would take pictures of the arriving visitors.[30] For 25 cents, visitors could purchase a souvenir photo of their arrival on the incline car, with everyone else aboard, of course.” — From Wikipedia, which has a thorough history and some excellent images. Click here.

Front cover of Mount Lowe souvenir photo from the late 1920’s.

The scenic railway provided views of Los Angeles, thousands of feet below. Between 1925 and 1936, there was a restaurant/tavern on the summit. (It burned down.)

Inside cover of Mount Lowe photograph. Late 1920’s.

Parts of the rail trip would definitely result in an adrenaline rush: click here.

Of course, what fascinates me are the faces and clothes of this group of ordinary people on holiday — even if it’s just a day trip. Thanks to the magic of computer scanning and photo enlargement, (and the sharpness of Lawrence’s original photo) we can see them in some detail.

I’ve cropped the picture to show just the people. Echo Mountain, Mount Lowe, 1920’s.

I was about to mention that all the women are wearing hats — until I saw one who isn’t: my mother.

Top row, from left, my mother’s mother, her aunt Alice, and, Marcelle-waved but hatless, my mother.  Notice her “bee-stung” lips. The woman in the pale cloche wears a necktie, and so do other women, as you’ll see.

A group from the top right side of the photo. We see several women wearing horn-rimmed glasses, which were replacing glasses with thin gold or silver rims — or no rims at all. The woman at center wears the older stye of glasses.

It’s apparently summer, since many men wear light colored hats or boaters. Women are evenly divided between cloche hats and hats with brims. Love that striped sweater!

The center of the photo. The boy in the front row also wears a lively, patterned sweater.

At the back, we see a boy in a cloth cap (a big one) next to a woman in a turban-like hat; 1920’s printed dress fabrics include the Art Deco one at right. The man’s tie is short, stopping inches above his waist.

Another short necktie, and a pleasant-looking woman wearing horn rim glasses and a ribbon-trimmed dress.

A good sample of hats — and a woman who clearly wore large sized dresses. The striped hat on the right is my favorite — and it’s worn by a mature lady in a print coat.

I like this dignified older couple. (The girl in the middle doesn’t seem to be having a good time.)

The gray-haired woman in the light-colored cloche at lower right must have seen many changes in fashion during her lifetime — and she’s adapted well.

In the front row we can see a variety of hem lengths, depending on age and taste. Late 1920s.

The older woman at left has a long hemline (and I think her slip is showing,) while the mature but stylish woman on the right shows her legs up to the kneecap.

In this group, the woman on the right wears a shorter skirt than the oldest woman pictured above, but not as short as the woman in the Art Deco print dress. The young girl has bare legs and exposed knees. The boy proves that not all great sweater and knicker combinations were reserved for the golf course.

Hope you enjoyed the trip! Visitors to Mount Lowe in the late 1920’s.

A similar crowd photo, found on Flicker, is dated 1922. It includes four young women woman (front row, far left) in hiking trousers and boots. The ruins of the Mount Lowe Railway are a hiking trail today. It is near the city of Altadena, California.

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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.

 

 

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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.

 

 

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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